Use of Internet-of-Things for Sustainable Art Businesses: Action Research on Smart Omni-Channel Service

Abstract

Performance and exhibition venues are well-suited for implementing business models that leverage Internet-of-Things (IoT) concepts to integrate both online and offline information. The use of IoT technologies has led to the emergence of omni-channel services, providing customers with information from both online and offline channels. However, there is a lack of field research on the practical implications of IoT concepts in art exhibitions. An action research methodology is required to address this gap, and one potential solution is to implement an IoT-based omni-channel service that integrates online and offline channels to enhance service quality and provide a seamless customer experience. Near Field Communication (NFC), iBeacon, and Internet buttons can be used in an art gallery to achieve these objectives. This study utilized action research methods to examine the impact of customers’ technology interactions in an art gallery setting. The findings indicate that the inclusion of a physical interactive element has a positive effect on IoT use.

1. Introduction

The rapid growth of smart devices such as smartphones and tablets, combined with advancements in cloud computing, wireless communication, data storage, middleware, and software, is fundamentally transforming the business landscape. This revolution is particularly evident in companies’ challenges with the cost and technical requirements of implementing omni-channel strategies. It is imperative to acknowledge that the ongoing technological transformation not only presents obstacles but also offers opportunities for businesses to actively contribute to the attainment of sustainable development goals. As companies traverse the digital terrain, they can utilize these technologies to establish business models that are more effective, encompassing, and environmentally conscious, thus generating beneficial effects on both society and the natural world.

Performance and exhibition venues are ideal for integrating online and offline information to enhance customer value [1]. The use of the Internet-of-Things (IoT) is particularly relevant for businesses, such as retail, that use exhibition spaces. IoT can offer a technical solution for implementing an omni-channel strategy that combines offline and online channels [2]. While there exists a substantial body of literature discussing omni-channel tactics across many industries [3,4,5], limited scholarly investigation has been undertaken about the implementation of omni-channel techniques specifically targeting the sustainability of art businesses and knowledge sharing for reducing barriers. Art galleries offer both offline and online channels, with the former being the primary space where customers evaluate and purchase works, and the latter serving as a marketing tool. To expand their audience, art galleries are increasingly utilizing online platforms to host virtual exhibitions and facilitate digital purchases. This enables art fans from various locations worldwide to engage with and acquire artwork, overcoming the limitations imposed by geographical boundaries. The amalgamation of offline and online channels facilitates a continuous engagement model, enabling clients to engage with the gallery and its offerings round the clock. This integration enhances accessibility and has the potential to augment sales. Studies on visitor behavior in exhibitions have shown that customers seek to share their experiences online and access more information about the art pieces [6]. However, in many cases, galleries have not actively implemented omni-channel systems due to technical complexities and cost constraints yet. Therefore, the primary objective of this study is to address the following inquiries: In what manner does the utilization of omni-channel technology contribute to the attainment of sustainability goals within art businesses, and what are the resulting outcomes?

Conceptually, the combination of IoT technologies and galleries has been studied for positive results [7], but there is a lack of empirical facts and evidence about the processes and outcomes of applying IoT devices. When utilized successfully, these technologies have the capacity to bring about a significant transformation in the visitor experience. This transformation entails a fundamental shift in the way audiences connect with artworks, providing them with unparalleled levels of interaction and immersion. Nevertheless, despite the theoretical promise, the subject now suffers from a dearth of empirical investigations that offer concrete facts regarding the implementation processes and results of Internet-of-Things (IoT) devices in art galleries. The absence of specific empirical evidence is a challenge in assessing the real-world efficacy of these technological applications and in developing universally accepted guidelines for their integration into gallery environments. So why would applying IoT technologies benefit the business of a retail gallery? This study aims to develop an omni-channel service for a gallery IoT technology and present the acquired insights and knowledge based on the result of action research.

To achieve the study’s objective, an action research framework consisting of five phases was implemented. In the diagnosing phase, current issues and requirements for galleries were identified through interviews, observations, and literature studies. In the action planning phase, services for solving the problems were selected and arranged based on discussions with gallery staff. During the action taking phase, new technologies such as NFC, iBeacon, and an Internet button were installed in the gallery, and user behavior, changes in business processes, and customer relationship management were observed for 20 months. The evaluation phase involved analyzing the most suitable technology in terms of cost, manageability, usability, and efficiency. Finally, in the specifying learning phase, the benefits gained from the omni-channel service were elicited through an interview with the gallery director.

This paper makes a threefold contribution. Firstly, it confirms the benefits of an omni-channel strategy as previously suggested, while also demonstrating the synergistic relationship between online and offline channels. Secondly, a new type of IoT-based omni-channel service was proposed and constructed, and the most suitable IoT technology was evaluated. This provides a useful example for retailers seeking opportunities through new technologies. Thirdly, the study offers a detailed explanation of changes in customer management methods and business processes within an IoT-based omni-channel environment, as well as illustrating how the role of retailers changes through the creation of an ecosystem of connected offline and online channels.

This paper is organized as follows. Initially, we provide an overview of prior research that highlights the definitions, advantages, and technical challenges of omni-channel. We then describe why retailers require an omni-channel service based on IoT and how they implement it, as well as the benefits received by stakeholders through the five-phase action research framework. Finally, we summarize the key value of omni-channel service implementation.

2. Background

2.1. Omni-Channel Services

The emergence of new technologies has revolutionized the way companies interact with their customers, sell their products, and deliver their services. With the rise of the Internet and the increasing use of mobile devices, customers are now able to shop and engage with companies through multiple channels. This has led to a growing demand for companies to provide a seamless, integrated, and personalized customer experience across all channels, known as an omni-channel strategy. Bendoly et al. [8] define channel integration as the extent to which various channels interact with each other. Channel integration has two components: providing information and access to an online store in a physical store and providing information and access to a physical store in an online store [8]. According to [9], the omni-channel concept encompasses multiple channels and touchpoints. The key differentiator between multi-channel or cross-channel approaches and the omni-channel approach is the level of coordination and integration among channels [5].

With the progression of technology, companies have access to an increasing number of channels to interact with customers, sell products, and offer services [10,11,12,13,14]. Today, customers demand the benefits provided by both online and offline channels, such as a wide range of products, detailed product information, customer reviews, personal service, and the ability to touch the products. These benefits are increasingly expected to be offered simultaneously. Therefore, instead of managing each channel separately [15], companies are adopting an integrated approach to manage their channels, known as an omni-channel strategy [16], to meet the needs of customers who prefer to use multiple channels simultaneously.

Table 1. Descriptions of an omni-channel strategy.

Reference	Description
Brynjolfsson et al. [2]	The boundaries between physical and online channels are expected to blur, creating a boundaryless showroom.
Rosenblum and Kilcourse [17]	In contrast to multichannel, where there is a clear division between the physical and online store, the omni-channel approach allows customers to seamlessly move between online (PC), mobile devices, and physical stores within a single transaction process.
Piotrowicz and Cuthbertson [18]	A seamless and unified customer experience is provided through the integration of online elements within the physical store in omni-channel strategy.
Verhoef et al. [9]	An omni-channel strategy enables the cohesive management of multiple channels and touchpoints, leading to an optimized customer experience and performance across all channels.
Pophal [15]	In line with [9]’s definition, it is essential to comprehend how to minimize the effort required from customers during their interactions with a company to enhance their overall experience.
Melero et al. [4]	A single transaction process in the omni-channel environment allows customers to move freely among various channels, including online, mobile devices, and physical stores.

provides an example of how existing research views omni-channel strategies.

2.2. Omni-Channel Benefits and Internet-of-Things

According to scholarly consensus, the adoption of an omni-channel strategy permits consumers to navigate across all enterprise channels freely and seamlessly. Essentially, an omni-channel strategy optimizes the customer experience by leveraging the advantages of each channel to create a synergistic effect. As an illustration, individuals have the propensity to disseminate offline information over social media platforms, and the implementation of an open channel strategy facilitates this process [19]. This study aims to apply an IoT-based omni-channel approach to a gallery, with the goal of maximizing the customer experience by integrating the retailer’s online and offline channels and creating synergy between them. The definition of omni-channel and the concept of synergy between channels provided by Verhoef et al. [9] served as the foundational framework for this study.

Omni-channel retailing offers numerous benefits for retailers, including improved customer experience, increased sales, and enhanced e-commerce capabilities. Previous research indicates that retailers can benefit from the synergies between channels by adopting an omni-channel approach. The benefits of such an approach include improvements in customer experience, the creation of a unique brand image, increased sales, enhanced e-commerce capabilities, and a competitive advantage [18]. Additionally, other benefits identified in previous studies include increased customer value, convenience, and loyalty, improved efficiency through channel synergy, greater customer flexibility, increased knowledge of customer databases, economies of scale, differentiated services, reduced channel conflicts, consistent pricing, improved communication within the company, strengthened relationships with customers and companies, and enhanced service quality [20,21].

Omni-channel implementation relies on information systems and retailers use various IoT technologies such as NFC and beacons for cost-effective and efficient communication with customers. The implementation of omni-channel strategies heavily relies on information systems, and retailers have been exploring various technologies to achieve this goal. Retailers have recently begun using NFC as a communication method and a beacon as a service device, among other IoT technologies, due to their low cost and ease of attachment and removal. The beacon module provides crucial information such as UUID, major, minor, and the signal strength indication (RSSI), enabling proximity estimation. By leveraging IoT technologies, retailers can establish omni-channels between their offline businesses and customers, paving the way for new consumer behavior patterns. NFC technology has been increasingly utilized in tours and expositions, as evident in various European venues such as the Museum of London, Centre Pompidou’s Teen Galley in Paris, and the STRP Festival. In Korea, for example, NFC technology has been actively used in museums and expositions as a form of smart tourism since 2011 [22].

IoT-based service delivery is expected to bring many benefits, but it can face many challenges in practice. IoT-based services in hospitals have, for example, improved the quality of medical services and work efficiency by integrating smart devices and technologies. They allow for real-time patient monitoring, process automation, and better workflow, resulting in improved patient care and reduced errors. However, the implementation of IoT-based solutions in hospitals requires careful consideration of various issues related to omni-channel and IT. Piotrowicz and Cuthbertson [18] identified several of these issues, including channel integration, mobile solutions, the role of social media, changing role of physical stores, diverse customer requirements, personalization versus privacy, and supply chain redesign.

2.3. Action Research Approach

Action research differs from usual business case studies in that a researcher is actively involved in initiating planned changes; that is, the researcher intervenes by implementing modifications on settings and observing their effects continuously to discover conditions, factors, and meanings [23]. Baskerville and Wood-Harper [24] asserted that action research is a suitable systems development methodology for information systems research. Through action research, organizations can enhance their productivity, product/service quality, and working conditions, as well as address their problems. In addition, action research requires data collection, analysis, and conceptual and theoretical conclusions based on the findings [25,26,27].

We followed a five-phase, cyclical process, which is an ideal representation of the original action research formulation [28], to develop an “IoT-based Omni-channel System for Fine Art Gallery.” Our research process is depicted in Figure 1. During the diagnosis phase, we identified the primary issues that were the root causes of the gallery’s need for change. In the action planning phase, we outlined the actions the gallery should take to address these primary problems. During the action-taking phase, we actively intervened with stakeholders. At the evaluation phase, the collaborative researchers and practitioners assessed whether the intended effects of the action were achieved and if the problems were relieved. Finally, in the learning specification phase, we gained insights through analyzing practitioner interviews.

Action research has been extensively utilized across various areas to acquire a deeper understanding of complex social environments. The research methodology employed in this study utilizes an iterative strategy, which involves several steps including problem identification, action planning, implementation, assessment, and reflection. In the present study, activities for each stage were categorized into four discrete groups, namely Preparation, Act, Observe, and Reflect. As a result, we followed the action research framework by systematically advancing through these stages, starting from Preparation, and continuing until reflection was considered required iteratively and repeatedly. Although a set timeframe for these stages was not established, the scheduling of the art gallery’s exhibitions had an impact on the timing of activities pertaining to observation and contemplation.

During the preparation phase, we systematically arranged the proposed enhancements for the art gallery by considering the outcomes of previous steps. In collaboration with an expert in IoT technology, we succinctly summarized the cost-benefit analysis for each available option. These findings were subsequently presented to representatives from the art gallery. Following a careful examination and evaluation of the alternatives in the phases of Act and Observe, a prioritization process was undertaken. Based on the determined priorities, an action list was formulated for implementation purposes, and the items of the list were closely monitored by researchers. The next phase, Reflect, was followed by a meticulous appraisal of the outcomes, which then led to brainstorming sessions aimed at identifying areas for improvement and modifications that should be made. This iterative and cyclical process allowed for continuous refinement to achieve optimal results.

2.4. Guiding Hypotheses

When engaging in action research, it is customary to adopt an open-ended inquiry strategy, which facilitates ongoing refinement and knowledge acquisition from the field. In the present study, the aforementioned approach was implemented, and a continuous adaptation of the research process was undertaken, informed by the acquired knowledge and information at each successive stage. The justification for suggesting and executing an omni-channel approach, utilizing IoT and mobile application technologies to accomplish distinct corporate goals, enhances the importance of our investigation. Hence, in order to ensure a thorough comprehension of the subsequent findings of the analysis, it is imperative to acknowledge the initial hypotheses produced by our research team.

To commence, we propose that the integration of IoT technology will enable a more straightforward and pleasurable procedure for gallery visitors to acquire and handle the necessary information. Currently, it is a prevailing practice to obtain information pertaining to artworks using digital media. However, the requirement to physically be present at the gallery to browse and search for this information may potentially diminish the visitor’s overall experience. In contrast, we argue that the IoT has the potential to enhance the viewing experience by establishing a connection between the spectator and the artwork through interactive IoT devices. This connection allows for a seamless integration of information collection and the enjoyment derived from engaging with the artwork. Therefore, as a result of these claims, we have developed a guiding hypothesis for our action research initiatives in the following manner:

Hypothesis 1 (H1).

The utilization of the Internet-of-Things (IoT) has a direct impact on enhancing the overall visitor experience in galleries, while also minimizing the cognitive effort required for acquiring information.

The subject of pre- and post-visit behavior in galleries has garnered considerable interest, comparable in importance to any service or knowledge-related activities taking place within the gallery. The pre-visit interest expressed by gallery customers has the ability to offer significant insights to service providers regarding the artworks or artists that require more attention. Furthermore, it is fascinating to examine the manner in which users share information on various social media platforms after engaging with a work of art. To enable these activities, it is crucial that the utilization of the IoTs inside the gallery setting is effectively coupled with the mobile platform. It is strongly believed that using the capabilities of the mobile channel will greatly enhance operational efficiency for art galleries. As a result, we developed the subsequent guiding hypothesis:

Hypothesis 2 (H2).

The integration of online and offline channels has a positive impact on a gallery’s business strategy to capitalize on customer information before and after a visit.

3. Action Research Process and Findings

3.1. Site

The Fine Art Gallery (a pseudo name, FAG in short) operates both online marketing channels and offline sales channels but lacks an omni-channel system for providing a seamless and unified customer experience. By 2015, FAG faced profound challenges in its efforts to enhance the viewing experience of its customers and increase online channel profitability. FAG decided to adopt IoT technologies to solve the problem and began working on it in early 2015. This study was conducted from April 2015 to December 2016 to build and evaluate an IoT-based omni-channel system. (The decision to use data from 2015–2016 stems from business-related considerations tied to the availability of open data during that specific time frame. To address concerns about potential infringement on collaborating companies’ technological advancements and business models, a five-year embargo period will be implemented before making the data publicly accessible).

The aim of the project was to analyze the impact of each technology and to determine the business value of the omni-channel. The gallery served as a laboratory for testing the application and effects of IoT-based omni-channel services and as a commercial space for art sales. The research project was conducted in collaboration with FAG, where the researchers assumed dual roles as both participants and observers. The project was meticulously planned and executed with the involvement of experts from the company responsible for IoT device development, as well as business consultants and field experts from FAG. To ensure objectivity, an independent researcher was present to observe and document the proceedings, which were later subjected to content analysis. Moreover, formal meetings and informal interviews with relevant stakeholders were incorporated into the analysis. The utilization of a qualitative research approach offered several advantages, including facilitating in-depth exploration and leveraging diverse and comprehensive data sources.

3.2. Diagnosing Step

Through interviews and observations, we identified the challenges faced by the gallery and gained an understanding of customer needs (see

Table 2. Service channel analysis on FAG.

Channel Category	Purpose	Description
Facebook Page/Naver blog/Instagram (Online channel)	Introduction to the arts	- Need to share offline, real-time customer experience. - It is challenging to collect the opinions and preferences of consumers. - Ineffective PR and marketing of gallery - Text-based information is devoid of complexity and interactivity. - Sale increase by attracting online customers to in store. - Stores.
Brochure (offline channel)	Acquire and store information and knowledge about interesting works	- Information collection and storage convenience.
Docent service (offline channel)	Rich explanation of arts and artists	- Voice service required due to lack of personnel.
Guest book (offline channel)	Customer management by collecting information such as name and contact point	- Risk of disclosure of personal information. - Digitalization business process (automation).

). The needs and problems of the gallery and customers are as follows: customers want more comprehensive and convenient information and insights about the artist’s intention and the work’s content, and they find the docent service time to be inconvenient. They also experience inconvenience with using audio guides in a fixed sequence. Customers also take notes on the artist’s name, year, and work title or take photos of the artwork to share on their blog. They would also like to share photos and videos related to the works on social media platforms such as Facebook and Twitter [29].

When I look at a painting, I think about the artist, and I want to ask them about it, and I want to know what else they’ve done, and I wish they had a Facebook or Twitter page, but it’s not easy to find. There’s a lot more I want to know, but there’s always a description of the painting.

A gallery is more than simply a venue to sell paintings for me as an artist; it’s a place to open a window for people to connect with me through my work, and to help people connect with my work on my behalf. There must be a certain level of professionalism. On the other side, I’m curious about how people see my work—I’d like to know the price of the painting, or how a broad variety of people feel about it beyond a few potential customers. This is difficult to anticipate from galleries as we know them today.

Through our interviews, we identified the main factors that artists use to choose a gallery. We would like to present a categorization our findings. The following are the main factors in an artist’s decision to choose a gallery: gallery expertise and planning (36%), exhibit size (12.8%), credit rating (8.5%), gallery representation (6.4%), exhibition location (2.1%), and public relations ability (2.1%). According to [6], artists often feel that their works do not receive adequate media exposure, which places a significant burden on galleries. Additionally, emerging artists seek to understand the prevailing trends in the art market, their own artistic inclinations, and the methods used to evaluate their works. Therefore, galleries are viewed as valuable advisors by new artists. In conclusion, it is imperative for galleries to establish their expertise, planning ability, and brand management strategies to attract and retain talented artists. Our interviews yielded similar results.

3.3. Action Planning Step

Based on the results obtained in the previous step, the research team planned appropriate actions to improve the problem. Through a series of iterative and incremental brainstorming meetings including business consultants, IoT experts, and the research team, a comprehensive compilation of possible business models was generated, duly considering the various restrictions faced by FAG. After consulting with the research team, the selection of 15 service models was made by FAG to improve both the client experience and the overall quality of services provided by the gallery.

First, a mobile application was developed to make it easier for customers to get information through online channels. Customers could access information about the gallery space from their mobile devices, regardless of time and location. By uploading digital content related to the artworks, the gallery’s staff tried to maintain contact with customers before or after their visit to the offline channel, the gallery space. In the offline channel, the gallery space utilized IoT technology to allow customers to interact with the objects, and the data from these interactions were recorded in the mobile app, enabling ‘life logging’ in a virtual space (see,

Table 3. IoT service features integrating an online and an offline channel.

Channel	IoT-Based Omni-Channel Service	Overview and Purpose of Service
Offline	Check-in	Acknowledge the presence of visitors
	E-guest book	Posting about your visit to the gallery online
	Posting Like	Posting a Like to a piece of artwork or information about an author on Facebook.
	Information	Obtained information about an author or work
Mobile (‘Benple G’ app)	Content	Shows information about offline landmarks near your current
	Going	When the button attached to the beacon (Benple G) is pressed, pre-stored interaction information and functions are executed through the app.
	Information	Obtained information about an author or work: - description of the exhibition (image, text and voice) - profile - social media channels
	SNS share	Recorded attendance information on social media
	Gone	Automatically recognize when a visitor has left the gallery
	Map	Shows and guides you to your current location, gallery location, and more
	Activity	Schedule gallery visits, personalize them, and view activity logs

).

3.4. Action Taking Step

The IoT system consisted of NFC tags, beacons, and Internet access buttons. These were placed throughout the gallery to communicate with the app installed on the user’s handheld device. A service management system was also put in place to manage the hardware installed in the facility and the user data collected. The procedure for an omni-channel service is summarized in Figure 2. The user touches the tag with a handheld device. The beacon catches a certain signal and sends and receives information such as ID, specific URL, etc. via the Internet. In addition, the user can connect to the beacon directly with the handheld device. The central element in this context is the beacon, which serves to process the information and has a physical size of approximately 3 cm. It is designed with user-friendly buttons that individuals can press, and it establishes communication with nearby smartphones through the utilization of NFC (Near Field Communication) technology operating at a frequency of 13.56 MHz. The beacon functions on battery power and is readily accessible for purchase in the commercial market as a standard component manufactured by Benple. All related services are delivered to the centralized system as web services. The service app, the beacons installed in gallery room, and database systems are connected to this centralized system and used by administrators to collect and monitor various information for service provision.

Our research team has proposed a collaborative approach with gallery practitioners to develop a user interface that incorporates the perspectives and preferences of users. To illustrate this, Figure 3 showcases the user interface of an omni-channel service designed for galleries, artists, and customers. The user interface divides gallery customers into three distinct stages: pre-visit, visiting, and after visit. During the pre-visit stage, customers can utilize the ‘Benple G’ application to access information about galleries or specific exhibits prior to their visit. If they are interested in showcasing artwork, they have the option to share digital content of the art with their friends on social media platforms. Additionally, customers can also access location information about the gallery, and the application seamlessly integrates with popular navigation apps such as Google Maps or T-Map to facilitate convenient navigation to offline stores. In the visiting stage, customers can leverage IoT technology installed within the physical gallery space to easily obtain detailed information related to both the artwork and store. Furthermore, they have the ability to share interesting art pieces on social media using their personal devices. Lastly, in the after-visit stage, the application offers a life log functionality which enables customers to review their history of visited locations and activities within galleries. The “Going” service provided by Benple G functions as a feature that allows users to curate a list of offline stores they intend to visit in the future, similar to bookmarks. When customers visit these stores from their “Going List”, it is recorded in their “Gone List” as a check-in service. This feature serves multiple purposes, including providing marketing incentives for customers who physically visit offline spaces and attracting new visitors to offline venues that have not yet been checked into. Additionally, it fosters repeat visits by offering differentiated services to customers who have frequented these offline spaces multiple times.

To manage the omni-channel, the administrator specifies the number of hardware devices to be attached to each space, assigns IDs to each device, and determines the services to be provided by each one. Additionally, the platform provides usage data for customers. These data are analyzed by the gallery staff to determine customers’ preferences, opinions, and favored channels and services. The omni-channel platform enables administrators to track user behavior both online and offline, making it possible to manage all channels in an integrated manner. The collected data can be used for personalized services and marketing by combining it with offline purchase data.

3.5. Evaluation Step

In this step, we examine the utility of Near Field Communication (NFC), a key technology in the service scenario, from a theoretical perspective to understand its potential business value. NFC technology is triggered by the physical contact or tapping of two devices. Specifically, NFC is designed to enable communication between devices when they are placed in proximity, typically within a range of 1 cm or 1 inch (in practical terms, this can be extended up to 4 inches). Previous research has demonstrated the diverse applications of NFC technology, such as for home shopping [30,31], medical information management in hospitals [32,33,34], food ordering [35], smart work’s time and attendance management [36], and acquiring and sharing information about specific spaces [22]. The integration of NFC technology into mobile phones can provide benefits and business value for service delivery by leveraging the capabilities of these devices, as demonstrated by the study conducted by [37]. Specifically, the NFC Reader/Writer mode was identified as advantageous due to its versatility, ease of implementation, and ability to increase mobility and reduce physical effort. Overall, in line with the service design in this paper, the findings of [37] highlight the potential of NFC technology to enhance service delivery through its integration with mobile devices.

3.6. Learning Step

Table 4. Q and A quotes in the evaluation stage.

Question	Answer
How are customers using omni-channel services based on NFC, iBeacon, and Internet buttons responding?	Android users found NFC technology to be convenient since it eliminated the need for app installation. Consequently, users were able to obtain information about various artworks without any additional effort. … Since beacon signals are sometimes unstable, customers experienced failures when trying to access information via beacons. This resulted in a significant decrease in the re-use rate of beacons. Alternatively, in cases where an Internet button was used, customers intuitively pushed the buttons, and there was no need for extensive explanation or app installation, thereby making the process user-friendly.
Do customers gain and share information on gallery by clicking the Like button on the Facebook page in the offline space of the gallery?	Initially, customers displayed interest in our service, and upon receiving the desired information about various artworks, they expressed satisfaction with the service. Subsequently, customers expressed a desire to receive periodic information on different exhibits via our Facebook page, resulting in active engagement and frequent use of the Like button.
Do you think you can manage your customers more efficiently than before?	Previously, managing customers and their preferences was a challenge. In response to customers’ needs for information about the artwork exhibited and sold at the gallery, we started providing periodic updates about exhibitions via social media channels. Additionally, we offer a range of educational programs and other resources through the gallery. As a result, there has been an increase in the number of people regularly accessing the SNS to stay up to date with the latest information.
What are the advantages and disadvantages of building an IoT-based omni-channel service?	Many people prefer to enjoy art alone while simultaneously desiring access to a wealth of information. As users become increasingly satisfied with our service, they actively share it via social media, effectively promoting our gallery. However, a disadvantage is that this process requires significant preparation and the creation of digital content prior to the exhibition. Specifically, we must upload images and information about the artwork and artists to the management page of our website and finish voice recording.
What is the artist‘s reaction to the omni-channel service?	The IoT-based omni-channel service has been well received by artists who find it to be a fresh approach that sets us apart from other galleries. The service allows both our customers and the gallery to actively promote digital content through social media channels, resulting in an increase in popularity for our gallery. Additionally, by utilizing digital content related to the art and artists, artists can market themselves more effectively via social media.

summarizes some of the questions and answers we asked gallery managers during the evaluation phase. They said that using IoT technology to integrate traditional online or offline channels, rather than operating them separately, yields better results overall. This assessment is in line with existing research streams. However, they also noted concerns that gallery visitors may feel uncomfortable having to adapt to new technology and that they may feel interrupted when viewing art. Furthermore, it is crucial to consider the potential impact of various radio signals in the surrounding area, as they may introduce frequency interference [38]. Therefore, meticulous attention should be given to the strategic placement of the artwork within the gallery space. The proximity necessary for users to interact with the artwork by pressing a button can vary in complexity and difficulty depending on the specific nature of each gallery piece. In situations where the gallery becomes crowded, there may be challenges in ensuring smooth operation of this interactive solution. Consequently, it is imperative to explore alternative approaches that can effectively complement and enhance this technological solution.

Our research revealed a new preference among users for tapping beacons directly to access information, as opposed to using NFC technology for contactless communication. During interviews, users commonly expressed a desire to physically interact with the artwork and equated using their fingers to operate the buttons on the beacon as a means of showing affection. This sentiment is akin to the practice of placing flowers or gifts around artwork at exhibitions.

Another interesting finding is that there is a cascade of behaviors that lead to engaging with the artwork through physical contact and convincing people of its content through social media. In small galleries, it is often financially difficult to install audio guidance equipment, which means that it is difficult for visitors to post-secondary works on social media based on the content of the artwork because they cannot fully explain the artwork. On the other hand, the information obtained through beacons provides text and images that can be used for secondary works, making it easier for visitors to spread information about the artwork. However, in this process, it was found that the behavior of pressing the push button directly is more relevant than NFC.

3.7. Discussion

Based on our action research, we conducted an assessment revealing significant outcomes for both hypotheses when implementing an omni-channel strategy utilizing IoT and mobile applications. The first hypothesis (H1) posits that IoT can positively influence the viewing experience in an art gallery and enhance information activity. Overall, our findings closely align with H1, although several factors influenced these results. These include the level of crowding within the gallery, customers’ willingness to install and utilize the application, and their perception of its usefulness. Moving on to the second hypothesis (H2), it suggests that adopting an omni-channel approach aids operators in achieving their business objectives. Throughout our research, we observed a widely held belief that digital transformation through omni-channel strategies is not merely a choice but a necessary adaptation for survival. Consequently, determining the precise magnitude of its contribution poses challenges; nonetheless, our study provides overall support for H2. Furthermore, stakeholders expressed the need for additional quantitative data-driven analysis to measure the performance of omni-channel initiatives effectively.

The primary emphasis in existing literature pertaining to the Internet-of-Things has been on investigating the various aspects and characteristics associated with this technology [21,38]. While there are some examples of museums using IoT technologies to explain exhibits or to facilitate visitors [39], it is difficult to say that empirical knowledge has been accumulated in the academic community about the thought processes and outcomes of such technologies. This may make it difficult to identify constraints and make practical suggestions to overcome them to fully utilize the potential of the Internet-of-Things.

In Ke and Jiang [39], the focus was primarily on the advantages and techniques of IoT in cost reduction and environmental management. However, it is important to note that their investigation had a restricted scope, particularly in relation to the customer service component. In contrast, the present study distinguishes itself by examining the utilization of this technology within the context of integrating with a platform business model. The platform of adopting omni-channel strategies may serve as a medium for connecting producers and consumers of artworks, offering a unique perspective on IoT implementation and its implications for enhancing the art industry.

It is our contention that Huang et al. [40] has the potential to effectively employ IoT concepts in the development of educational games aimed at enhancing visitor engagement within the museum setting. While previous endeavors in this regard have demonstrated the capacity to enhance knowledge dissemination within museums, it is important to note that these initiatives do not share the same underlying assumption as our study, namely the presence of artworks, artists, and a continual desire from audiences to actively interact with them.

4. Concluding Remarks

This study utilized an action research method to plan and implement an omni-channel service that integrates the online and offline channels of an art gallery, and subsequently examined the observed results. To explore various design options, we added interaction buttons to the beacons, allowing users to directly communicate information by pressing the buttons, in addition to using NFC technology. Additionally, we developed an experimental app to facilitate the utilization of acquired information and to maintain a service channel before and after interacting with the artwork. Our research revealed that users preferred using the interaction buttons as it allowed for physical interaction with the artwork, highlighting the importance of considering the combination of interaction buttons with beacons in art galleries. This finding suggests that while NFC technology remains a viable option in art galleries and other IoT use cases, there is merit in incorporating interaction buttons into the design of these devices.

Action research is unique in that it allows researchers to participate directly in the experimental environment, enabling them to observe the behaviors and perceptions of both business practitioners and customers. This approach enhances the theoretical acceptability of the findings. Our research revealed the importance of providing additional cues to encourage visitors to interact with the artwork, with the IoTs being capable of proactively engaging with visitors. For instance, with the use of artificial intelligence, artwork could actively recognize viewers and prompt interaction, leading to greater information dissemination through social media and increased marketing opportunities for galleries. Our study’s focus on physical interactivity presents a new perspective on existing research, which has traditionally emphasized the use of NFC-based IoT technologies. In our study, we discovered that it is crucial for business professionals to consider the ways in which customers can engage with tangible devices when implementing IoT technologies to integrate online and offline channels. This finding implies that adopting an omni-channel approach can prove beneficial when design initiatives are focused not only on acquiring and utilizing information, but also on enhancing customer experience, engagement, and interaction.

It should be noted that this study, like all research, has its limitations. The methodology we adopted has its natural limitations. Despite the potential advantages, action research has been underutilized [41]. Action research presents a unique advantage over other research approaches by directly addressing real-world issues and addressing them at their core. However, it is important to consider alternatives, such as the grounded theory approach, which can handle substantive theories at a more abstract level. In the context of IoT application in business environments, an empirical and statistical approach through the analysis of common cases may be appropriate. Nevertheless, it is also important to develop an information rich case and extract their significance, as demonstrated in this study. To address the limitation and establish common practices, subsequent research efforts are needed. The existing body of research pertaining to the efficacy of incorporating online- and offline channels into IoT environments predominantly centers around user-centric viewpoints. Nevertheless, it is evident that there is a discernible dearth of practical theoretical frameworks and empirical substantiation pertaining to the design and functioning of channels from the perspective of service providers. Hence, it is crucial to remedy this lacuna in study through more inquiry and examination.

The widespread adoption of social media platforms has unquestionably broadened the potential for the creation and dissemination of artistic works, including paintings and movies. Nevertheless, it is crucial to recognize that conventional approaches to artistic manifestation, which value genuineness and straightforward correspondence, can equally derive advantages from improvements in information technology. The primary objective of this research is to derive actionable knowledge to improve art information distribution infrastructure helped by emerging technology frameworks. The ramifications of the study’s findings have the potential to be relevant for business practitioners who are interested in diversifying their exhibition venues. Furthermore, this underscores the necessity for additional research on governmental measures that promote the development of emerging artists. It also calls for an examination of the possibilities offered by online platforms in fulfilling the informational and communication requirements of art aficionados and supporters.