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This article examines curatorial practices, both traditional and digital, in the Guizhou Provincial Museum’s ethnic exhibition to assess their effectiveness in representing ethnic minority cultures, fostering learning and inspiring curiosity about ethnic textiles and costumes and associated cultures. It also explores audience expectations concerning digital technology use in future exhibitions.

A mixed-methods approach was employed, where visitor data were collected through questionnaires, together with interviews with expert, museum professionals and ethnic minority textile practitioners. Their expertise proved instrumental in shaping the design of the study and enhancing the overall visitor experience, and thus fostering a deeper appreciation and understanding of ethnic minority cultures.

Visitors were generally satisfied with the exhibition, valuing their educational experience on ethnic textiles and cultures. There is a notable demand for more immersive digital technologies in museum exhibitions. The study underscores the importance of participatory design with stakeholders, especially ethnic minority groups, for genuine and compelling cultural representation.

This study delves into the potentials of digital technologies in the curation of ethnic minority textiles, particularly for enhancing education and cultural communication. Ethnic textiles and costumes provide rich sensory experience, and they carry deep cultural significance, especially during festive occasions. Our findings bridge this gap; they offer insights for museums aiming to deepen the visitor experiences and understanding of ethnic cultures through the use of digital technologies.

This paper provides an overview of activities in the field of virtual museums and considers a number of issues for which there are parallels in the field of digital libraries.

Using a range of illustrative examples, we attempt to determine what defines a virtual museum on the one hand and a digital library disguised as a virtual museum on the other; when it makes sense for virtual museums to work in partnership with digital libraries, or draw on digital library research and development; and how the power of the digital environment might be harnessed to further the traditional values of the museum community.

Finds that virtual museums and digital libraries have much in common and the boundaries between them are increasingly blurred. The provision of object‐level metadata, needed to realise the wider potential of the digital environment to enhance and extend the traditional museum experience, gives rise to a number of issues which are shared by libraries and for which shared approaches would be beneficial. In particular, collaboration between the museum and library communities is essential if solutions to the problems of cross‐domain searching are to be found and its potential to facilitate new knowledge creation fully exploited. However, any collaborative approach must take into account the differences, as well as the similarities, between the two communities, as these differences are fundamental and defining.

The paper will be of interest to museum, library and other information professionals, and particularly those developing distributed and/or cross‐domain digital collections.

The purpose of this research is to assess trends in information categories featured on costume and textile collection web sites, and to assess differences in the online capabilities of these features between 1997 and 2006.

The instrument was a content analysis of costume and textile collection web sites developed from a study completed in 1997. The previous study identified information categories which included hyperlinks to other sites, events calendars and forms to arrange visits, FAQs, online tours, and discussion group links. Information about education programs, contacting staff, volunteering, membership, and museum purchases was also noted. Data were collected from the 60 web sites used in the original study.

The findings revealed that costume and textile museums were using web sites to stimulate interest in visiting the physical museum. A picture of the artifact does not show all the specific features of an actual costume and textile, and thus the audience needs to actually visit the museum in order to learn about costume and textiles. A comparison of the 1997 and 2006 data revealed an increase in the frequency of features with higher levels of interaction capabilities.

The research was limited to observing web sites and web site information categories documented in the original study.

The paper identifies the information categories that costume and textile museums find most useful to fulfill audience needs and describes trends in the use of information on web sites which can serve as a guideline in developing museum web sites.

This article describes an important project in the history of preservation of Egypt's culture heritage. Initiated by the Egyptian Ministry of Culture and executed by the Cabinet Information and Decision Support Center (IDSC), the project involves the Cairo Egyptian museum that contains the world largest collection of ancient Egyptian antiquities (160,000 objects). A major problem in the museum is the lack of a standardised approach for registration, resulting in a variety of unrelated registration schemes and the non‐existence of efficient tools for information dissemination. This project aims to resolve these problems. A team of Egyptologists, museum curators and system analysts, designers and developers defined the basis for work and specified project challenges which included the indexing of all museum objects ensuring cross‐referencing between already used registration schemes. The result has involved the use of multimedia computer technology to establish a complete database of museum objects (text, image and sound) and various cultural products, in addition to the establishment of required procedures and standards to organise the internal museum workflow and the provision of training programmes for staff. The outcome of the project is expected to be profound in enabling researchers and curators to have instant access to any object in the museum and providing the museum's visitors and public with a wealth of information about ancient Egypt.

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.

Applying the stimulus-organism-response (S-O-R) theory in a wine museum context, this paper aims to examine how and why experience design characteristics influence visitor satisfaction, particularly investigating the role of epistemic (learning) and hedonic (having fun) values as the underlying mechanisms of this relationship.

The authors collected field survey data from 652 visitors at a world-leading wine museum. The authors tested the research model on ten modules of the museum using path analysis and a bootstrap approach; the authors further conducted mediation analyses to test how the design of the museum’s modules influenced perceived value and satisfaction.

Content comprehensibility and surprise, as well as interactivity and ease of use, are core design characteristics that drive visitor satisfaction. More significantly, hedonic and epistemic values play a significant mediating role in influencing the relationship between design characteristics and visitor satisfaction.

The authors provide clear and actionable recommendations to help managers design museums that provide educational, entertaining and satisfying visitor experiences.

To the best of the authors’ knowledge, this is the first study to apply the S-O-R theory in a wine museum context. The significance of this study lies in demonstrating how and why experience design characteristics support the creation of an edutainment visitor experience that drives visitor satisfaction.

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.