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Due to the impact of the pandemic that enforced mass closures and lock downs, galleries, libraries, archives, and museums [GLAM] institutions around the world were required to re-think how they interacted with the public. As a result of the measures that enforced isolation, distancing, and increased hygiene requirements, the usefulness of virtual technologies as a storytelling medium has come into sharper focus. This chapter will explore the emergence of augmented reality as a viable post-COVID-19 solution to meaningful digital narrative creation and user interaction in the museum environment. This chapter will concentrate on the development of a project between the University of South Australia [UniSA] and the South Australian Museum [SAM] to explore how it might be possible to create sustainable immersive stories within this environment.

Purpose: In the experience economy, the main challenge for museums is not only to attract visitors but also to preserve artworks. Given this circumstance, this chapter aims to offer an overview of how these cultural organisations have emerged as labs of the future culture, where all kind of technological experiments are tested so as to fulfil their mission.

Design/methodology/approach: This chapter is based on extensive literature review on issues related to robots, artificial intelligence and service automation (RAISA) in the museum sector. Examples illustrate the role of technology in the experience design and preservation of cultural resources.

Findings: 1) A chronological framework of museums’ orientations is established to understand the evolution toward the technology-driven present period. 2) Robots, artificial intelligence and service automation have a meaningful contribution to make in guaranteeing visitor arrivals. 3) This technological phase requires a tourism workforce with new skills.

Research limitations/implications: Few academic studies concerning to the use of robots, artificial intelligence and service automation in the museum sector were found. Hence, more empirical studies are required to completely corroborate the chapter’s suggestions.

Practical implications: An enlightening path for the service design of multisensory and participatory is proposed, as a useful guide for heritage managers, marketing practitioners and tourism planners.

Originality/value: Museum management has been always receiving the attention of managers, policymakers, scholars, among others. Insights of how technology enhances heritage preservation and the improvement of museum services throughout numerous examples can direct them to increase knowledge and adopt these practices.

This study attempts to demonstrate how a tourism attraction (i.e., museum) could establish its brand equity. It involves a case study on one of the most famous museums in Taiwan which involves an in-depth interview. The results show that the museum under investigation has established a clear brand identification and its brand communications but has a limited interpretation of its brand assets. Recommendations include strengthening its experiential propaganda, organizing large-scale intercity festivals, coordinating with other vendors to sell cultural products, increasing the number of professional exhibitions, and establishing a self-evaluation mechanism.

This chapter describes a participatory case study undertaken at a museum in New Zealand, involving a varied range of museum stakeholders. The research investigated aspects of museum performance assessment in the context of public accountability from the perspectives of different communities of interest, including Maori, the indigenous people of New Zealand. The complex research design involved identifying key stakeholders, and then conducting focus groups with a diversity of stakeholder types. Through a brainstorming process, these groups co-created texts which formed the raw data for the study. The stakeholder-generated texts were interpreted at various stages to produce ‘Possible Performance Statements’ which reflected the understandings and concerns of the various stakeholders in relation to the case museum's performance. Adopting the concept mapping approach developed by Trochim, the focus group participants then sorted the statements into conceptual constructs which made sense to them, and also rated the statements according to their relative importance as criteria for assessing their museum's performance. Proprietary software that is used to analyse the sorting and rating data produced concept maps and pattern matches which facilitated interpretation of the participants’ perspectives. The visual representations of the quantitative analyses enabled qualitative consideration leading to the development of a framework for museum performance assessment which would be more holistic and locally relevant and which would address stakeholder concerns.

The application of this intricate hybrid research design provided lessons which suggested other ways to gain richer data and deeper insights from the concept mapping approach, especially in a cross-cultural context. Participatory approaches which allow collective, as opposed to individual, interpretation of the co-created texts may be more suitable in certain cultural contexts, in this instance among Maori participants. The approach adopted was resource-intensive, requiring tight organisation and flexibility, greatly assisted by piloting the processes and using a professional editor to prepare the texts for interpretation by the participants. To maximise the insights from the focus groups, audio-recording of the research participants’ discussions as they generated their texts relating to museum performance assessment should be considered, as well as involving participants in the interpretation of the concept maps.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

Travel aimed in experiencing the arts, heritage, and activities that authentically depict the stories and people of the past and present is referred to as cultural and heritage tourism. This has gathered a lot of attention in the last 10 years. In order to protect their valuable history, developing countries require assistance from the international community. Cultural heritage tourism is a significant economic development tool and one of the best components of the tourism sector.

In the 21st century, in terms of museums and showcasing culture, there has been a significant commotion toward the role of people or community, rather than the morality of objectification of knowledge in a close-ended glass case. This concept can be traced back to “New Museology,” emerging since the 1970s, where a section of like-minded museologists believed that museums are for the people and of the people. It is important to include the “voices of the community” as a whole, therein, becoming a broad parlance of social culture (MacDonald, 2006).

Community participation is a process where people are facilitated by themselves and their responsiveness to their own traditions and culture. Henceforth, this chapter is an approach toward a case study of an emerging concept in Delhi – A Neighbourhood Museum in Shadi Khampur area, where the locality is prevalent since the 12th century. Other locals preside over the predating of Partition in the 17th century, when their ancestors settled from Lahore since then.

The chapter focuses on two interrelated research questions: why are museums so popular? and what can commercial enterprises learn from them? The chapter explains the popularity of museums by elaborating on the special characteristics of the cultural and economic roles of these institutions in society based on evidence in academic research and in policy documents. The chapter then provides data from a survey of 6,419 visitors and 5,065 non-visitors of the 18 most well-known (art) museums spread among 10 countries around the world. It provides evidence regarding what factors differentiate the reputations of the most reputed museums from those that are less appreciated based on museum-related factors, along with factors related to the country and city where the museum resides. The chapter concludes by examining reputation management lessons, the business can draw from the way museums operate and how they are perceived.

The reputation has a significant impact on business, and it influences by causing an exponential positive or negative effect. There are many different issues that affect the level of reputation, and they are independent from the sector of the activity. If we focus on museums, previous studies mainly highlight the different strategies in order to manage and to increase their reputation. However, each research points out a specific aspect linked to the engagement, the use of digital technologies, or social media platforms. Our research aims to deep investigate the governance and leadership drivers in order to increase positive feeling within stakeholders also by using social media instruments. This research has indeed an exploratory nature as, to the best of our knowledge, no previous research focused on a similar strategy that characterizes for a “stellar” manager applied to a small museum in a small city.

The research uses a case study by observing the effects of selecting a well-known manager of the top ranked museum in the world (Louvre) in order to boost the reputation of a “startup” museum barely known (Pistoia Museums). After having analyzed the main drivers of reputation of the case, the study uses interview with the scientific director of the small museum.

The results contribute to the discussion about the drivers and the different strategies to boost reputation by showing how the management and leadership issues are able to increase it rapidly. However, findings also point out the need to have a clear overview about the digital tools applied to an adequate communication. The results show how the flexibility of a small growing museum can positively affect and boost reputation. This strategy can be applied to other small museums that aim to affirm their identity.

This chapter outlines and explains the development of the Abandoibarra megaproject, focusing in particular on the key role of the Bilbao Ría 2000 – an innovative cross institution, public–private partnership, responsible for coordinating the transfer of land between public and private agents. The chapter critically assesses the impact of the Guggenheim Museum Bilbao, the centerpiece in the Abandoibarra scheme. The narrative is based on fieldwork conducted by the author in the city of Bilbao. The chapter utilizes scholarly research, official sources, and reports in the news media to support the arguments. The chapter questions the viability of revitalization schemes based on urban megaprojects. Applying some of the elements in the revitalization mix to most cities may be unavoidable due to rapid and acritical adoption of policy discourses from center to periphery, but expecting to replicate one city's success in another context may prove extremely hard. The motivations of the Basque political elite to attract a Guggenheim museum go beyond the potential (and we might add, limited) urban regeneration benefits of a building, and can only be understood within the political context of the Basque Country and its relations with Spain. The case of Bilbao's revitalization has attracted significant attention as of late. This chapter uncovers the key issues surrounding Bilbao's transformation and puts the process in the context of capitalist globalization and the formation of globalizing cities.