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So far, most studies in cultural tourism have looked at visitors in relation to the experience itself. This study aims to bring a broader view on what constitutes the daily environment of younger visitors and how museums could use this knowledge to develop a service delivery that is more adapted to their needs without sacrificing the museums’ integrity and authenticity. As such, this research brings a unique and deeper analysis of young visitor behavior, in relation to arts and cultural practices that could be expanded to other areas of tourism experiences.

The present study examines the main art and cultural tourism activities among adolescents. Using 32 in-depth interviews with adolescents between 13 and 18 years of age, this research takes a closer look at their experience and perceptions of art museums and exhibitions.

The findings show that adolescents’ perception of arts and exhibitions do not correspond to museum art criteria held by cultural tourism professionals. Based on the key theoretical themes emerging from the empirical investigation, a conceptual framework of adolescents’ attitudes toward arts and exhibitions is now presented to provide insights into the dimensions of adolescents’ art consumption in today’s western consumer society. Figure 1 provides a graphic model that visualizes adolescents’ art consumption experiences and summarizes the main findings and marketing implications in the arts field.

Based on these findings, new ways of engaging with adolescents in the field of arts are suggested to create new business opportunities for the museum. The findings lean toward the necessity to develop a more youth-centric approach, which differentiates between how adults define art and what adolescents believe art is supposed to be. Thus, the findings demonstrate that adolescents’ art consumption experiences are deeply anchored within the context of their social environment and the value judgments of their peers. The adolescent-centric logic within the arts experiential context is taken into account to underline the gap existing in many current arts marketing strategies that are targeting young visitors – and especially adolescents.

By extending the expectancy-disconfirmation theory and integrating the elaboration likelihood model, this study aims to explore the reference effects (i.e. disconfirmation and self-identity) and customer engagement that affect customer experience on satisfaction with a museum visit. The study is designed to test a dual-mediator mechanism involving disconfirmation and self-identity. The moderating role of cognitive, affective or behavioral engagements is also examined with the overall purpose to advance the understanding of customer experience in cultural consumption such as museum visits.

A self-administered field survey in two stages was carried out on visitors to the Hong Kong Museum of Art. A total of 465 valid response sets were used for analysis. Hypotheses were tested using confirmatory factor analysis, three-step mediation test, structural equation modeling and moderation regressions.

Disconfirmation and self-identity are found to be dual mediators in the experience–satisfaction relationship. Cognitive engagement reduces the effect of knowledge experience on disconfirmation and self-identity but increases that of the entertainment experience on disconfirmation and self-identity. Affective engagement amplifies the effect of knowledge experience on self-identity but mitigates the importance of entertainment evaluations.

Findings highlight the importance of both perceived knowledge and entertainment experiences in visitors’ evaluation of a cultural experience. Managers are suggested to craft promotional messages with the psychological appeal that connects visitors with museum services. Appropriate engagement tactics for museums can be developed to avoid overloading visitors with information.

Previous studies treat disconfirmation as the dominant reference effect in the formation of customer satisfaction. This study shows both disconfirmation and self-identity as dual reference effects that link the customer experience to satisfaction in the museum context, serving as a pioneer in defining how the influence of experience on reference effects varies depending on how customers are cognitively and affectively engaged in such context.

The purpose of this paper is to identify the main factors contributing to museum experience and assess the differences in museum experience perceptions of domestic and foreign tourists. Furthermore, examining the relationship between museum visit experience and overall satisfaction for the domestic and foreign tourists is another purpose of the paper.

Data collection was conducted using the convenience sampling method. The on-site survey was carried out with the participation of domestic and foreign tourists visiting Antalya Historical and Archaeological Museum in Turkey.

Analysis of data from 151 domestic and 151 foreign tourists visiting to Antalya Historical and Archaeological Museum indicated that edutainment, comfort, escape and aesthetic are the underlying dimensions of museum experience. The aesthetic dimension was identified as the most important aspect of the museum visit experience. In addition, museum visit perceptions of the domestic and foreign tourists and overall satisfactions with their visit were found to be different from each other.

The findings of this study provide a better understanding of the museum experience from the domestic and foreign tourists’ perspectives. Furthermore, the paper presents a novel and integrated approach to investigate tourist experiences in the extending museum experience literature.

An increasing number of immersive technologies have been adopted in museum tourism in response to shifting consumer habits in the digital era. In contrast, the authenticity experience of museum tourists relies on genuine relics, the environment and activities, which are ancient or traditional. This raises the question of whether tourists can perceive authenticity in immersive technology-based museum tourism. To address this question, this study aims to explore the impact of virtual reality (VR) attributes on tourists’ presence, tourism authenticity and subsequent behavioral intentions in virtual museums.

Data were collected via scenario-based surveys of participants who had taken virtual museum tours based on VR. A total of 174 effective questionnaires were collected for exploratory factor analysis via SPSS 25. Afterward, 597 questionnaires were obtained for confirmatory factor analysis and path analysis via Mplus 7.4.

A conceptual model of how VR attributes influence presence, authenticity and visit intention was developed. There is a chain intermediary between presence and visit intentions, from original authenticity to interactive authenticity and then to emotional authenticity. Technology readiness and museum familiarity moderate some relationships between VR attributes and presence.

The findings can guide museums in improving the use of VR. For example, managers can improve the quality of virtual systems and adopt various interactive forms to enhance tourists’ participation experiences.

These research findings contribute to the research area of immersive technology adoption, enhance the understanding of tourism authenticity in the new context of technology application and extend the presence-emotion-intention theory.

This paper aims to investigate the authenticity concept and its antecedents and consequences within the context of museums.

A higher-order scale of authenticity is developed and then tested for reliability and validity using a sample of museum visitors. To investigate authenticity in a model with two antecedents and two outcomes, an additional data set was collected. Hypotheses were tested using structural equation modelling.

The results show that perceived authenticity of the museum, the visitor and the materials in the museum are dimensions of perceived authenticity, resonating with Bal’s (1996) research in this area. Findings also confirm that consumer scepticism and expectations are antecedents to perceived authenticity of the visitor experience in museums, and that perceived authenticity in turn affects visitor satisfaction and perceived corporate hypocrisy.

This research provides a framework for museums to manage visitors’ perceptions of authenticity, and to plan and design exhibits accordingly.

Our research, set in the museum context, articulates the basis of perceived authenticity, its antecedents and outcomes. This study sets the foundation for research to further explore how perceived authenticity interacts with other constructs relevant to consumption.

The improvement of museum service quality and efficiency is a hot issue in recent years. This paper aims to explore the influencing factors of museum audience satisfaction with music playing experience and provide empirical support for the improvement of museum service quality.

In this study, first, the basic theory of customer satisfaction and the basic theory of structural equation model are introduced. Different types of music have different effects on audience experience. At the same time, for different types of museums, different exhibition halls in the same museum and different types of exhibitions, the use of music should be tailored to local conditions. Then, a questionnaire survey is conducted to investigate the satisfaction of the audience of Hunan Museum with their music playing experience, and the survey data are collected and sorted out. Structural equation model (SEM) is used to study the customer satisfaction of Museum audiences' music playing experience, so as to find out the factors that have the greatest impact on the satisfaction and put forward corresponding improvement suggestions.

The results show that perceived value and perceived quality have the greatest impact on customer satisfaction.

Museum audience satisfaction model involves many variables and has complex relationships. Therefore, there are still many shortcomings in this study.

Therefore, this study has important practical significance for museums to serve the society, improve the level of exhibition and realize their own value. By improving the exhibition environment and paying attention to the complaints of the audience, the satisfaction of the audience can be improved.

The structural equation model is applied to the study of museum customer satisfaction.

The purpose of this paper is to examine museum visitors’ experience. The objective of the research is to explore preferences, behaviour, overall. This study experience and the determinants on repeated visits to two heritage sites. In particular, a more comprehensive regression approach is introduced and employed to compare results at two regional museums.

First, a factor analysis identifies a set of orthogonal factors related to visitors’ perceptions on their positive and negative experiences at two different museums. Second, a two-step cluster analysis is implemented to identify specific demand segments. Third, a regression analysis reveals the key determinants that influence visitors’ perceptions on the quality of services provided at the cultural sites. The empirical data were collected at two archaeological museums located in Sardinia and Trentino Alto Adige (Italy).

On the whole, some homogeneous findings have been obtained for the two cultural sites, regardless of the different levels of attractiveness exerted by these two museums. Moreover, the outcomes highlight that the two museums need to be reinterpreted and reorganised with the provision of supplementary services, able to satisfy a broader audience, and enriching their traditional mission that is to collect, preserve and exhibit the archaeological heritage.

The methodological approach presented in this paper is for practitioners and curators to deepen their understanding of their consumers and to improve the overall quantity and quality of services offered.

This paper presents a novel and integrated approach to investigate customers’ experience and their needs with the aim of improving the overall quality of the services provided at the museum. The proposed methodology is used to analyse multidimensional aspects of the visit to a cultural site. Within the literature on museum marketing and management, this methodological framework can be regarded as an alternative approach to analyse visitors’ experience, characteristics, behaviour, preferences and to elicit specific characteristics of different segments of demand.

This paper aims to better understand museums’ image. The study examined the influence of visitors’ socio-demographic (gender, social class), tripographic (party group, previous experience with the museum and timing of the decision to visit the museum) and geographic characteristics (national – international visitors), on the different components and dimensions of perceived museums’ image (cognitive and affective) in a major tourism destination.

This research focussed on museums located on Gran Canaria (Canary Islands, Spain). The population of the study included museum attendees who visited the main museums of the island (13 museums). The selection of respondents (252) was made following a systematic random sampling at the exit gate of the museums.

The repeat visitors and those who plan the visit in advance were found to have a more positive museums’ image for both the cognitive and the affective components of museum image. There was also a positive influence of party group on the cognitive and affective dimensions of image, whereas families showed a less positive image. In addition, there were significant relationships between the visitors’ socio-demographic characteristics of gender, and social class, and the affective and cognitive components of image – women and higher classes achieving a better image. National visitors also showed a more positive image on both the cognitive and affective components of museum image. Six image dimensions were found and specific effects on each are discussed.

This study adds to the growing literature on museums for a better understanding of the perceived image of this cultural product (museums) at the destination, and how it can be managed according to the profile of their publics. Additionally, it considers the different dimensions of museums’ image: quality of visitation experience, convenience and functionality, price, general appearance, museum shop and affective image.

The purpose of this paper is to answer fundamental questions on the perceived value of active senior visitors (55+ years old) in the context of cultural heritage sites, when using immersive technologies, conceptualizing technological experience by illustrating an extended space in the pre, during and post phases of visits. Furthermore, it will reveal a better understanding of digital transformation opportunities and risks in the tourism industry and its related sectors regarding active senior travelers and it will further provide some insights and tools that are required to follow.

Since the authors are studying a population that is thus far not fluent in the means of digital opportunities, the authors will conduct two semi-structured interviews before and after visits to the museums in order to lower the level of emotional bias responses. Moreover, observations of the participants’ interaction with technological devices will be assessed during their visit.

Current findings enrich the theoretical perspective of perceived value. First, they extend our knowledge on the perceived consumers’ value of active senior visitors in the application of immersive technologies pertaining to archeological museums. They also shed new light on the different dimensions of the perceived value (epistemic value, functional value, hedonic value and social value) of active senior visitors concerning museum transformation. Third, they provide an integrative framework for extending the boundaries of the museum technological visit experience, linking the pre-, during-, and post-visit phases.

Having a longitudinal study that evaluates the same population of seniors over a longer period would enhance our understanding of perception and adoption behavior in non-users. It entails the dimensions that are necessary from a theoretical and managerial point of view, thus contributing to strategic planning for museum managers who are planning on going digital in the coming years aiming at creating further value and satisfaction for their active senior visitors to cultural heritage sites.

The majority of research concerning technological developments and experiences to date has focused on holistic views studying different stakeholders’ perspectives or on digital natives’ perception regarding museum digital transformation. However, only few studies have evaluated the perceived value of active senior travelers and their overall satisfaction when visiting museums that became digital.

The purpose of this paper is to develop a blended mobile game-based learning service called CoboChild Mobile Exploration Service (hereinafter CoboChild) to support children’s learning in an environment blending virtual game worlds and a museum’s physical space. The contextual model of learning (CML) was applied to consider the related influential factors affecting museum learning and to promote children’s continuous learning and revisit motivations.

CoboChild provides a thematic game-based learning environment to facilitate children’s interactions with exhibits and other visitors. A practical system has been implemented in the National Museum of Natural Science (NMNS), Taiwan. A questionnaire was used to examine whether CoboChild can effectively fulfill the CML and to evaluate the impacts on museum learning.

CoboChild effectively fulfilled the CML to facilitate children’s interactive experiences and re-visit motivations in the blended mobile game-based learning environment. Most children described the system as providing fruitful playfulness while improving their interpretations of exhibitions and learning experiences.

CoboChild considers the related contextual influences on the effective support of children’s learning in a museum, and builds a child-centered museum learning environment with highly integrated blended learning resources for children. CoboChild has been successfully operating in the NMNS since 2011.

This study developed a blended mobile game-based learning service to effectively support children’s learning in museum contexts. The related issues are shown to improve the design of blended museum learning services. This innovative approach can be applied to the design of other child-centered services for engaging children’s interactive experiences in museums.