Search Results (115)

Digital museums have become an important means of expanding public access to cultural heritage, yet many immersive exhibitions still struggle to convert initial engagement into continuance intention. This study examines how immersive digital museum experiences are cognitively translated into sustained engagement across generations. By integrating the Technology Acceptance Model with immersion theory, this study constructs an analytical framework linking immersive experience, TAM beliefs and continuance intention. Using the China National Silk Museum digital exhibition as a case study, 312 valid responses from Generations X, Y, and Z were analysed using PLS-SEM, MICOM, and PLS-MGA. The full-sample results show that all proposed paths were positive and significant. Telepresence, imagination, and interactivity enhanced perceived ease of use and perceived usefulness, and both TAM beliefs promoted continuance intention. The indirect-effect analysis further confirmed that immersive experience contributed to continuance intention through TAM beliefs. Multigroup analysis revealed that the three cohorts differed mainly in the belief-formation stage, especially in how immersive experience shaped perceived ease of use and perceived usefulness. Generation X was characterised by stronger effects of telepresence on perceived ease of use, interactivity on perceived usefulness, and perceived ease of use on continuance intention. Generation Y was characterised by a stronger usefulness-driven continuance pathway. Generation Z showed the strongest sensitivity to immersive experience, especially in the effects of imagination on perceived usefulness and interactivity on perceived ease of use. These findings identify a cognitive translation mechanism and generational boundary conditions through which immersive digital heritage experiences may support sustained engagement. Full article

Preserving non-renewable geological assets for future generations requires balancing physical geoconservation with engaging public outreach. Digital twins provide an excellent method for protecting delicate geological specimens. Unfortunately, traditional on-site interactive displays rely on expensive, high-maintenance proprietary hardware that small museums can rarely afford. This study introduces GYRO3DSCOPE, a free, multi-tenant Bring Your Own Device (BYOD) platform built to widen public access to digital collections. Scanning a dynamic QR code lets visitors use their own smartphones as remote spatial controllers. This allows them to rotate and manipulate high-fidelity 3D models in real time without downloading or installing local apps. The system is an open-access aggregator, enabling curators to stream site-specific content directly from existing repositories like Sketchfab or 3DBigDataSpace. The platform was evaluated at the Geology Museum of the “Alexandru Ioan Cuza” University of Iași (Romania) during the May 2026 Night of Museums public exhibition. The installation featured a collection of 149 digital twins of rocks, minerals, and fossils. Automated tracking across 276 unique visitor sessions showed excellent engagement, recording an average dwell time of 91.3 s and a user satisfaction score of 4.9 out of 5.0. This approach gives underfunded venues an affordable, scalable tool to encourage public engagement with geosciences and complement the sustainable management of ex situ geoheritage collections without adding maintenance liabilities. Full article

Against the backdrop of the continuing “museum boom” and increasingly diversified cultural demands, many small and medium-sized museums in China face rigid constraints, including insufficient funding, limited collections, and a shortage of professional personnel. Under such conditions, traditional exhibition models often suffer from weak narratives and limited public appeal. Focusing on the Ancient Ferry Site Museum affiliated with Xianyang Museum as the core case, this study adopts a case-study approach supplemented by comparative analysis. Drawing on exhibition texts, social education activities, visitor statistics, and operational data from recent years, it explores the narrative transformation pathways of resource-constrained museums. The findings show that the museum has gradually transformed from object-centered display to cultural storytelling, and from one-way presentation to two-way interaction, through strategies such as highlighting regional culture, refining a core narrative IP, integrating accessible technologies to create immersive experiences, expanding social education functions, and improving management systems. Based on the case analysis, this paper further proposes a “four-dimensional driving” model for narrative innovation in small and medium-sized museums, emphasizing the synergy among narrative positioning, technological experience, social connection, and management innovation. The core purpose of this model is to transform resource limitations into opportunities for distinctive development through in-depth local cultural narratives and creative transformation. Studies indicate that small and medium-sized museums can develop distinctive development models amid resource constraints via localized cultural narration, resource integration and differentiated positioning, thereby expanding their functions of cultural communication and public service. On this basis, this study argues that limited resources do not necessarily hinder museum development; rather, differentiated development can be achieved through local storytelling and resource integration. The research provides theoretical reference and practical implications for the narrative transformation of resource-constrained museums and the enhancement of public cultural services. Full article

Multimodal artificial intelligence-generated content (AIGC) is reshaping museum digital exhibitions through dynamic content generation, contextual storytelling, and interactive feedback. Despite its growing adoption, the impact of AIGC’s experiential attributes on visitors’ digital exhibition experience intention remains underexplored. Drawing on the Technology Acceptance Model (TAM), this study develops an integrative framework incorporating AIGC technology acceptance, perceived immersion, content creativity, interaction quality, cognitive evaluations, and affective responses. Data were collected from 481 visitors with prior digital exhibition experience and analyzed using PLS-SEM. The results indicate that AIGC technology acceptance significantly influences perceived ease of use, perceived usefulness, and digital exhibition experience intention; interaction quality enhances usability and exerts a direct effect on intention; and immersion and content creativity primarily shape intention through perceived enjoyment while also exhibiting direct effects. These findings extend TAM to multimodal AIGC-enabled museum contexts and provide empirical evidence to guide the design of culturally meaningful, interactive, and engaging digital exhibition experiences. Full article

As core architectural environments for cultural heritage preservation and public education, museums are evolving from static exhibition spaces into immersive, multisensory interactive environments. The sensory attributes of the architectural environment—including multimodal information such as light, sound, and touch—exhibit a dynamic coupling with visitors’ emotional states. Responding to visitors’ growing emphasis on emotional enhancement, this study aims to improve the emotional experience of museum tours through multisensory compensation strategies. First, we conducted an experiment at the Shaanxi Archaeology Museum, capturing facial videos of participants during their tours and utilizing a facial expression analysis system for continuous emotion recognition. Subsequently, drawing on theories of multisensory interaction and emotion regulation, we constructed a multisensory emotion regulation model to guide the sensory compensation experiment. Visualization analysis of the results confirmed that multisensory compensation strategies within the architectural environment significantly increased positive emotions (from 48.23% to 60.78%). This study focuses on the mechanisms by which sensory compensation strategies in the architectural environment influence visitors’ emotional experiences, aiming to promote the transformation of cultural heritage spaces from “function-oriented” to “emotion-oriented” environments. Full article

We report a cross-station replication of endogenous circadian rhythms in plant bioelectric voltage, recorded continuously for 42 days at three independent sensor stations within a public science exhibition (Phänomena, Dietikon, Switzerland; March–April 2026). Three primrose (Primula vulgaris) stations were equipped with custom Biolingo bioelectric sensors (ESP32 + AD8232) and recorded autonomously through approximately 21,000 visitor interactions. We extracted DC-invariant spectral features from 5–10 s voltage windows (n = 78,431 quality-filtered files) and fitted two-stage cosinor models with bootstrap 95% confidence intervals. All three stations show a robust 24 h rhythm in the 1–5 Hz band power (bp_1–5), with peak-to-trough amplitudes between 0.35× and 1.19× of mesor (R²_med 0.72–0.87). Acrophase varies across stations from 05:00 to 11:00 local time. Critically, the rhythm survives an overnight-only restriction (18:00–09:00, no visitors) at all three stations, ruling out visitor presence as the rhythm driver. The most visitor-intensive station (faces of museum visitors triggering an emotion-recognition installation) additionally shows a sharp daytime amplitude collapse coincident with the exhibition opening at 09:00, during the hours of sustained visitor presence. This temporal coincidence is consistent with—though not by itself proof of—the cardiovascular-mechanosensory coupling characterized at single-subject resolution in a companion study. We argue that bp_1–5—the spectral band most directly related to plant action-potential activity—carries an endogenous circadian signal in Primula vulgaris and that this station-level signal co-varies with sustained nearby human presence in a manner consistent with frequency-selective mechanosensory coupling, although the observational design cannot establish this mechanism. From a biomimetic perspective, this suggests that the plant’s evolved bioelectric sensing apparatus might be leveraged as a live ambient biosensor for nearby human activity, complementing the more common biomimetic approach of replicating plant sensing in synthetic devices. Full article

Contemporary cultural infrastructure globally faces a critical architectural challenge: balancing the demand for spatial adaptability (e.g., flexible layouts, interactive technologies) with the absolute necessity of inclusive access for diverse demographics. This tension is particularly acute in rapidly urbanizing environments. However, current research lacks integrated methodologies to systematically evaluate these intersecting issues. This paper addresses this gap by developing a systematic, multi-method framework for post-occupancy evaluation (POE). To empirically illustrate and test the applicability of this framework, a comparative multi-case study was conducted in Wuhan, China, focusing on two distinct exhibition hall typologies within the Hubei Science and Technology Museum and the Qintai Art Museum. Grounded in environmental psychology, the methodology systematically triangulates spatial mapping, behavioral observation, and semi-structured interviews. The empirical application reveals that while highly adaptive elements enhance curatorial flexibility, they frequently introduce unintended cognitive barriers that disproportionately exclude vulnerable visitor groups. For the international research community, this study contributes a culturally responsive evaluation protocol, providing researchers with operational tools to systematically decode the socio-spatial frictions between adaptable exhibition design and universal inclusivity. Full article

The aim of this paper is to present a museum exhibition designed to encourage visitors to engage in a dialogue on ancient civilizations, thereby providing a reference pathway for achieving cross-cultural exhibitions through intergovernmental cooperation. The Shanghai Museum’s exhibition ‘ON TOP OF THE PYRAMID: The Civilization of Ancient Egypt’ is analyzed through qualitative analysis, based on data collected from semi-structured interviews, document analysis, visitor feedback, and field surveys. The curatorial strategy and achievements of the exhibition are also discussed, together with the existing challenges and the measures adopted. The results of co-curation are evaluated on an economic level within the framework of international cooperation. Briefly, the article concludes that the exhibition prioritized interactive elements intended to support visitor participation. A neutral and academic narrative is crucial for a co-curated immersive exhibition design. Full article

Engagement is essential in informal learning contexts, as it fosters meaningful learning, personal relevance, and sustained motivation. However, engagement is a complex construct that requires diverse methodological approaches for accurate assessment. This study empirically examines a multi-method approach, combining questionnaires, log file analyses, and observations, in the context of a tablet-based educational program developed for an exhibition on mobility and traffic. A total of 307 tenth-grade students from 21 classes at twelve state high schools participated in self-regulated learning activities during the museum visit. Findings reveal that each method offers distinct insights: questionnaires capture students’ self-reported engagement, log files track behavioral patterns, and observations provide qualitative evidence of interaction quality. Each method provides valuable, specific insights into student engagement. Thus, integrating multiple approaches yields a more comprehensive understanding of engagement. These results underscore the importance of methodological pluralism and critical reflection when interpreting research findings from different methodological sources in informal learning environments. Full article

As heritage museums shift toward more experience-oriented development, fragmented layouts and discontinuous visitor flows can reduce both spatial efficiency and the coherence of on-site experience. This study proposes an immersive experience-centred evaluation framework for exhibition layout in heritage museums, intended to translate experience goals into practical and diagnosable criteria for spatial optimization. An indicator system was refined through two rounds of Delphi consultation with an interdisciplinary expert panel, resulting in a hierarchical framework comprising five dimensions and multiple indicators. To support intervention prioritization in design and operations, weights were derived using the Group Analytic Hierarchy Process (GAHP), with Aggregation of Individual Judgments (AIJs) and consistency checks applied to control group judgement quality. A CV–entropy procedure was further used to support prioritization at the third-indicator level. Importance–Performance Analysis (IPA) was then employed to convert “importance–fit” assessments into an actionable sequence of optimization priorities. The results indicate that narrative and scene design carries the greatest weight (0.2877), followed by circulation and spatial organization (0.2281), sensory experience and atmosphere (0.1981), authenticity and sense of place (0.1644), and interactivity and participation (0.1217), suggesting that a “narrative–circulation–atmosphere” chain forms the core support for immersive layout design. A feasibility application using the Yinxu Museum demonstrates the framework’s value for benchmarking and diagnosis, helping decision-makers enhance visitor experience while respecting conservation constraints and more precisely target spatial investment priorities. Full article

The cyclic adamantane framework possesses unique properties such as bulkiness, symmetry, and high lipophilicity. Research aimed at discovering new pharmaceutical agents within the adamantane series continues. In the present work, a targeted modification was carried out to combine two pharmacophore fragments—adamantane and piperidine—within a single molecule. Based on a series of N-substituted piperidin-4-ones, the corresponding secondary alcohols were obtained by reduction with sodium borohydride in isopropanol and subsequent acylation of these alcohols with adamantane carbonyl chloride yielded the corresponding adamantane-carboxylate esters. The structure of the synthesized compounds was studied by NMR methods, including COSY (¹H-¹H), HMQC (¹H-¹³C) and HMBC (¹H-¹³C) techniques. The values of chemical shifts, multiplicities, and integrated intensities of ¹H and ¹³C signals in one-dimensional NMR spectra were determined. The results of COSY (¹H-¹H), HMQC (¹H-¹³C), and HMBC (¹H-¹³C) revealed homo- and heteronuclear interactions, confirming the structure of the studied compounds. The cytotoxic activities of the synthesized compounds were studied. It was found that the synthesized substituted piperidines bearing an adamantane fragment exhibit in vitro antimicrobial and antifungal activity against museum microbial strains (Escherichia coli ATCC 8739, Staphylococcus aureus ATCC 6538-P, Candida albicans ATCC 10231, Cryptococcus neoformans) and demonstrate significant advantages over the reference drugs used in clinical practice, such as fluconazole and ampicillin. These compounds are therefore recommended for further in-depth studies. Full article

Interactive science galleries have transformed how the public engages with science, shifting from object-centred displays to immersive, design-led experiences. This study situates these changes within broader cultural and economic contexts, exploring how design mediates our understanding of science and reflects neoliberal and experiential values. Using archival research, qualitative interviews with museum professionals, and reflective practice, the research examines the evolution of interactive science spaces at the Science Museum in London—The Children’s Gallery, Launch Pad, and Wonderlab. The findings reveal that exhibition design increasingly prioritises entertainment, immersion, and pleasure, aligning with the rise in the experience economy and the influence of corporate models such as Disneyland. While such strategies enhance visitor engagement and accessibility, they risk simplifying complex scientific narratives and reducing learning to consumption. The study concludes that effective science communication design should balance enjoyment with critical inquiry, using both comfort and discomfort to foster curiosity, reflection, and ethical awareness. By analysing design’s role in shaping the “science experience”, this research contributes to understanding how cultural institutions can create more nuanced, thought-provoking encounters between audiences, knowledge, and space. Full article

Cultural heritage institutions today are experiencing a digital transformation. Virtual Reality (VR), with the promise of immersive and interactive features, has drawn the attention of artists and curators. Some prior museology research has attempted to investigate digital innovations like virtual museums and VR-based exhibits to present the best of museum experiences; however, existing systematic research on the topic of interactive narrative experience with immersive VR technologies is rare. This paper reports on an original research project to understand the emergent issues concerning immersion, interactive and narrative in museum experience design. This research used multiple case studies, Claude Monet: The Water Lily Obsession; We live in the Ocean of Air; Mona Lisa: Beyond the Glass; Curious Alice. In total, 22 semi-structured interviews were conducted with VR experts and museum curators to understand the motivation of the designers and developers. This research hopes to contribute to the digital revolution of museums, providing a foundation for curators and artists who are interested in using VR technologies in exhibitions. Full article

Indoor positioning systems (IPSs) are increasingly applied in indoor settings where satellite-based GNSS signals are unavailable, including museums and other cultural heritage spaces. Within the META-MUSEUM project, we present a pilot study integrating an Ultra-Wideband (UWB) positioning system and an eye-tracking device to monitor and quantify visitor behavior in a real museum environment. The absence of common timestamps between the two systems, and the presence of UWB signal noise, have been the main challenges to address. A cross-correlation–based synchronization method was developed to align the two independent UWB and eye-tracking datasets. Data were collected from 100 visitors, of whom 7 different clusters were considered based on the characteristics of the visitors. The results demonstrate the system’s feasibility and provide two complementary metrics, Normalized Engagement and Collective Engagement, which are used to quantify the duration and spatial distribution of visitor engagement at specific exhibits. This work establishes a scalable multi-sensor foundation by addressing practical deployment challenges under real-world conditions. These findings form the basis for the project’s broader goal of linking spatial visitor behavior with neurophysiological responses, opening new possibilities for improving visitor engagement and supporting interactive cultural heritage experiences. Full article

Virtual museums are increasingly adopted to sustain public engagement with cultural heritage, yet the mechanisms through which virtual exhibition experiences motivate on-site visitation remain underexplored. Drawing on the Stimulus–Organism–Response (SOR) framework and extending the Information Systems Success Model (IS Success Model), this study proposes and tests a psychological pathway linking virtual museum experience quality to offline visiting intention. Using the official website of the Sanxingdui Museum as the empirical context, we surveyed 467 users in China who explored the virtual exhibition but had never visited the museum in person. Virtual exhibition experience quality was operationalised through five dimensions: information quality, system quality, perceived interactivity, perceived authenticity and perceived enjoyment. Perceived cultural value and cultural identity were specified as mediators. Structural equation modelling revealed that higher levels of virtual exhibition experience quality significantly enhanced perceived cultural value and cultural identity. Perceived cultural value, in turn, positively predicted cultural identity, and both constructs were positively associated with intention to visit the physical museum, with a significant sequential mediation from experience quality to offline visiting intention via perceived cultural value and cultural identity. These findings clarify how virtual heritage platforms can foster cognitive appreciation and emotional identification that translate into real-world visitation, offering guidance for designing sustainable digital pathways to long-term engagement with cultural institutions. Full article