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This study aims to determine museum experiences by analyzing the TripAdvisor reviews of the museum visitors in Gaziantep and offer suggestions for improving the visitors' experiences by taking museum curators' opinions.

The case study method was used as one of the qualitative approaches in the study. The research comprises two stages. TripAdvisor reviews about five museums in Gaziantep were analyzed in the first stage, and museum curators' opinions on the visitor complaint reasons and solution suggestions were discussed in the second stage.

The study showed that satisfying or non-satisfying experience factors might differ according to visitors, museum curators and both visitors and museum curators. Therefore, each museum curator should effectively manage every component of visitor experience factors by its target audience.

Although this study has some valuable findings and contributes to the literature, it also has limitations. The study's sample consists of five museums in Gaziantep. Further studies can be carried out on a larger population and sample. The data for determining visitor experiences, the first stage of the research, were obtained only from an online platform (TripAdvisor).

The proposed model provides a holistic perspective on evaluating and managing visitor experience. There may be structural problems (small size of the museum area, lack of parking spaces and elevators, etc.) with the museum beyond the manager's control. Also, the lack of information and communication (limited concept, lack of artifacts, etc.) causes criticisms of the museum.

This paper contributes to the museum management literature with a model for enriching the quality of the museum experience and increasing the museum's attractiveness. The study showed that museums contribute to the visitor's experience in all dimensions. While visitors thought museums primarily contribute to object experience, museum curators thought museums contribute more to visitors' cognitive experience and other experience elements.

The present study analyzed the visitor comments and the opinions of museum curators from a holistic perspective, considering the internal and external factors that are effective in the visitor experience, and revealed the reasons for the visitors' negative experience and the solution suggestions toward the improvement of the visitor experience.

This research delves into the realm of Business Model Innovation (BMI), integrating it with the human-centric, sustainable, and resilient principles of Industry 5.0, proposing a new theoretical framework.

An abductive approach has been chosen to expand existing knowledge developing new ideas based on emerging phenomena. Data were gathered via semi-structured interviews with directors, managers and curators of public institutions in Italy, Switzerland, Germany and Spain encompassing Galleries, Libraries, Archives, and Museums (GLAM). These data were subsequently subjected to thematic analysis.

The findings indicate that the main enablers for Business Model Innovation (BMI) in combination with Industry 5.0 encompassed stakeholder, customer and organizational engagement, collaborative environment, knowledge and innovation management, and sustainability. These drivers were effectively leveraged through three pivotal facilitators-inhibitors: technology, resources, and leadership.

The principal constraints are rooted in the narrow contextual focus and the limited participants number. However, upcoming research efforts may broaden the horizons of this multifaceted and extensive investigation.

This study is groundbreaking as it fills a significant gap in the existing literature by integrating Business Model Innovation (BMI) with the Industry 5.0 paradigm, a novel approach that has not been explored previously. Additionally, the inclusion of GLAM institutions in this research adds a unique dimension, as they have been largely overlooked in both research domains.

The social media expands the scope of museum marketing. Through the social media marketing, visitors get a rich and colorful visual experience, and the museum can quickly and effectively convey various information to visitors. At present, the research on social media in the museum industry mainly focuses on the level of technology use, while the research on the marketing application of social media is relatively scarce, especially from the empirical perspective. This study constructs a conceptual model to identify the impact of SMMAs on visitor experience in the context of the museum industry through the empirical analysis.

A survey is conducted with a total of 538 visitors who follow the fan page of the Palace Museum Weibo. The collected data are analyzed via structural equation modeling.

The results show that SMMAs have significant effects on social presence and social support, which in turn significantly affect flow state. Moreover, the results demonstrate that social presence and social support partially mediates the relationships between SMMAs and flow state.

The contribution of this study is twofold. First, from a theoretical perspective, it offers new insights into the conceptualization of social media marketing. Second, from a pragmatic perspective, the results are helpful to guide museums how to carry out social media marketing activities.

The peer review history for this article is available at: https://publons.com/publon/10.1108/OIR-12-2020-0564

This study aims to develop an all-encompassing model to analyse various aspects of atmospherics, including components of the museum space and its physical surroundings. Moreover, it evaluates whether the identified attributes of the “museumscape” affect the positive word of mouth of museum visitors.

This exploratory study adopts a quantitative methodology. Data were collected through direct interviews with visitors at three Italian art museums and through a structured questionnaire. All dimensions were measured with multiple items on a five-point Likert scale. To assess the influence of the museumscape attributes on positive word of mouth, a structural equation model is performed adopting the two-stage testing procedure estimating the measurement model in the first stage and running a confirmatory factor analysis to assess reliability and demonstrate convergent and discriminant validity for all multi-item measures.

Six attributes of the museumscape are delineated (ambient conditions; facilities and convenience; signs and signage; staff behaviour; art gallery quality; exhibition space aesthetics). The latter three positively influence visitors' positive word of mouth.

The study expands frameworks from previous service museum marketing research in general and service museum research on atmospherics in particular. The framework developed here identifies the direct predictive power of museumscape cues on positive museum visitor's word of mouth, thus increasing knowledge of the customer service experience and service quality and atmospherics management.

The constructs discovered here may help museum managers to carefully design and manage the museumscape to enhance visitors' satisfaction and loyalty.

This study is the first application of servicescape theory in the museum context; previous applications focus on for-profit sectors.

This paper aims to explore how digital technologies can transform the museum into an “interaction platform” able to play a key role in the value co-creation processes of the tourism destination.

The paper applies the “co-creation through interactions” perspective by Ramaswamy and Ozcan. Empirically, the paper is based on the methodology of single case study identified in MArTA, the well-known National Archeological Museum of Taranto (South Italy). Data collection has been implemented through interviews with key informants and secondary data related to online interviews, press release and reports.

Findings provide empirical evidence about the contribution that a digitalization strategy can create a “museum as a platform” in which the interactions between the museum, its stakeholders and other co-creation elements (interfaces, artifacts and processes) bring benefits in terms of tourism experiences and sustainable development of the destination.

This research highlights the cultural changes and the actions that museum management has to implement to properly benefit from digitalization and to transform the museum into a reference point for reflection and innovation.

Elements of originality can be found in (1) the exploration of the wide spectrum of benefits and innovations that digital technologies can offer to the museum-mediated interactions and (2) the contribution to the understanding of the museum as a digitalized “interaction platform” capable of supporting the processes of co-creation of value in the complex network of actors and objects of a tourism destination.

The purpose of this paper is to analyse the future of the implementation of artificial intelligence (AI) technologies in services experience provided by cultural institutions (e.g. museums, exhibition halls and cultural centres) from experts’, cultural tourists’ and users’ point of view under the Industry 5.0 approach.

The research was conducted using a qualitative approach, which was based on the analysis of the contents obtained from two roundtable discussions with experts and cultural tourists and users. A thematic analysis using NVivo was done to the data obtained.

From a futuristic Industry 5.0 approach, AI is considered to be more than a tool – it as an integral part of the entire experience. AI aids in connecting cultural institutions with users and is beneficial since it allows the institutions to get to know the users better and provide a more integrated and immersive experience. Furthermore, AI is critical in establishing a community and nurturing it daily.

The most important contribution of this research is the theoretical model focused on the user experience and AI application in services experiences of museums and cultural institutions from an Industry 5.0 approach. This model includes the visitors’ and managers’ points of view through the following dimensions: the pre-experience, experience and post-experience. This model is focused on human–AI coworking (HAIC) in museums and cultural institutions.

This study aims to apply the service robot acceptance model (sRAM) to examine how attitude toward human–robot interaction (HRI) and engagement influence consumer acceptance of service robots in a frontline setting.

Data was collected from 255 visitors who interacted with a robotic tour guide at a city museum. The data was analyzed using smart PLS 4.0.

The findings show the positive effects of subjective norms, appearance, perceived trust and positive emotion on both attitude toward HRI and engagement. In addition, social capability impacted attitude toward HRI, whereas perceived usefulness affected engagement.

To deliver engaging museum experiences that bring about positive word-of-mouth and intention to visit, managers need to incorporate the sRAM dimensions in the design and deployment of service robots.

This research uses field data to empirically validate the sRAM in the context of service robot acceptance. It introduces engagement as a novel mediating variable, enriching current understanding of human-like qualities in HRIs.

This study aims to survey the existing body of knowledge about digital innovation within museums. Academic and practitioner interest in digital innovation has been piqued as technological advances that enable the rapid personalisation of information to cater towards increasingly sophisticated end-user expectations. Yet, the literature on digital innovation in the museum environment appears fragmented and lacks theoretical grounding.

Drawing on a systematic scoping review of 199 articles published during 2010–2021, this paper provides an initial indication of the size and scope of current research literature on digital innovation of museums.

This literature review elucidates the status quo and future directions of digital innovation in museum space. An integral conceptual framework is proposed to provide a comprehensive lens to steer future research and practice in this area in a theoretically grounded and systemic manner.

This study mixes both quantitative and qualitative analyses of the literature to produce an up-to-date understanding of extant research by illuminating inspiring processes, foregrounding commonly encountered challenges, framing theoretical and practical implications and proposing avenues for future research.

本文旨在考察有关博物馆数字创新的既有知识。当前学界与业界对于数字创新均抱有浓厚的兴趣, 因为技术进步使信息能够快速个性化, 以满足日益复杂的终端用户需求。然而, 关于博物馆数字创新的文献显得零散且缺乏理论基础。

基于对2010至2021年期间发表的199篇文章的系统性范围性综述, 本文初步描绘了有关博物馆数字创新的既有文献的规模和研究范围。

本文献综述阐明了博物馆数字创新的现状和未来方向, 提出了一个整合的概念框架, 从而期望以一个全面的视角引导该领域今后开展基于理论和系统化的研究与实践。

本研究综合了文献的定量和定性分析, 以呈现对既有研究的最新理解：包括阐明激发过程, 突出常见挑战, 框定理论和实践影响, 并提出未来研究的途径。

Este estudio tiene como objetivo examinar el conocimiento existente acerca de la innovación digital en los museos. El interés del mundo académico y de los profesionales por la innovación digital se ha visto avivado por los avances tecnológicos que permiten una rápida personalización de la información para satisfacer las expectativas cada vez más sofisticadas de los usuarios finales. Sin embargo, la bibliografía sobre la innovación digital en el entorno museístico parece fragmentada y carece de base teórica.

A partir de una revisión sistemática del alcance de 199 artículos publicados entre 2010 y 2021, este documento proporciona una indicación inicial del tamaño y el alcance de la literatura de investigación actual sobre la innovación digital de los museos.

Esta revisión bibliográfica dilucida el statu quo y las direcciones futuras de la innovación digital en el espacio museístico. Se propone un marco conceptual integral que proporcione una lente comprensiva para dirigir la investigación y la práctica futuras en este ámbito de una manera teóricamente fundamentada y sistémica.

Este estudio mezcla análisis cuantitativos y cualitativos de la bibliografía para producir una comprensión actualizada de la investigación existente iluminando los procesos inspiradores, poniendo en primer plano los retos comúnmente encontrados, enmarcando las implicaciones teóricas y prácticas y proponiendo vías para futuras investigaciones.

The purpose of this paper is, through an exploratory analysis, to identify good practices implemented by international museums in the phygital context and their classification in terms of customer experiences, in order to identify innovative cultural value creation and co-creation practices.

The authors adopt a qualitative approach of multiple case studies. The analysis conducted formed the information base through which to proceed with the classification of phygital customer experiences through the extended reality technologies framework

The analysis conducted on the selected international museums shows that the phygital formula can take on different characteristics depending on the technologies used and the purpose to be achieved and can be a useful tool for the co-creation of cultural value.

The originality of this contribution lies in the comparative analysis proposed among the case studies to intercept best practices in the phygital field, in the classification of phygital experiences through a novel frame of reference and in the identification of prospects for improvement of an emerging phenomenon in the literature on cultural sector management.

This study aims to investigate how art events can enrich novice visitors by transforming their practices.

This research uses an interpretive case study of the art exhibition “1/1/1/1/1” in the Oppenheim gallery in Wroclaw. It draws on multiple sources of evidence, namely, novice visitors’ interviews, observation including photo studies and content analysis of art-makers’ mediation sources. This study is an example of contextual theorizing from case studies and participatory action research with researchers as change agents.

The evidence highlights that aesthetic values and experiences are contextual to practices and are transformable into other values. The findings illustrate the role of practice theory in studying how art-makers inspire the transformation of practices, including values driving the latter.

The findings provide implications for transformations of co-creating contextual values in contemporary visual art consumption and customer experience management.

Practical implications to arts organizations are also provided regarding cultural mediation conducted by art-makers. Exhibition makers should explain the meanings of the particularly visible artefacts to allow visitors to develop a congruent understanding of the meanings. The explanations should not provide ready answers or solutions to the problem art-makers suggest to rethink.

The social implication of our findings is that stakeholders in artistic ventures may undertake adequate, qualified and convergent actions to maintain or transform the defined interactive practices between them in co-creating contextual aesthetic values.

The study provides new insights into co-creating values in practices in the domain of contemporary art exhibitions by bringing the practice theory together with an audience enrichment category, thus illustrating how novice visitors get enriched by transforming their practices led by contextual values of “liking” and “understanding”.