Search Results (82)

Virtual reality (VR) is transforming heritage tourism, yet understanding how specific technological attributes drive on-site visitation remains critical for destination marketers and policymakers. Grounded in the Stimulus–Organism–Response (SOR) model, this study investigates how VR vividness and interactivity (stimuli) influence perceived usefulness, immersion, ease of use, enjoyment, and certainty (organisms), ultimately shaping users’ on-site visitation intentions and behavioral involvement (responses) regarding Macao’s cultural heritage sites. Analyzing data from 230 users recruited via snowball sampling, the results indicate that the Ruins of St. Paul’s VR experience was the most popular (n = 113), followed by the Macao Museum (n = 95) and the Guia Fortress (n = 75). Structural equation modeling demonstrates that VR vividness and interactivity significantly influence user perceptions, which in turn impact on-site visitation intentions and behavioral involvement, with the sole exception of perceived enjoyment. These findings suggest that the “sense of presence” generated by VR significantly shapes on-site visitation intentions through internal cognitive (perceived usefulness, certainty) and combined cognitive–emotional (perceived immersion) organismic states. Conversely, perceived enjoyment has an insignificant effect on responses, while perceived ease of use, surprisingly, exerts a significant negative impact. The research offers actionable insights for developing immersive digital tools that bridge virtual engagement with tangible cultural heritage tourism in Macao. Full article

This paper examines two Australian women art collectors of contemporary art, Sydney-based Gene Sherman, and Melbourne-based Naomi Milgrom, each of whom is subject to case study analysis, interrogating their role and participation in arts-related scenarios, to highlight collector behaviour and discern legacy building strategies and mechanisms. Using observations from these trajectories and case study scholarship of historically significant women collectors as a category of evidence, in addition to theoretical concepts to frame the analysis, I argue that women collectors hold inherent ambitions to construct a legacy. By employing strategic mechanisms in the form of publishing and archiving protocols, collaborative exhibitions with museums and institutions, and philanthropic initiatives, women collectors advance legacy building. Further, women collectors develop innovative and unorthodox programs incorporating multi-disciplinary approaches to facilitate legacy. Finally, I assert that women collectors leverage their positions, connections, and collections to support these legacy-building aspirations. Through a consideration of the women collectors’ active engagement with the art market, together with a comparative analysis of historical collector behaviour present within the relevant literature, this study has revealed several key findings. Collector behaviours discerned in the case studies comprise clearly articulated and intentional legacy building, sustained archival practices to preserve histories, innovation, collaboration with actors to facilitate legacy, and assertive leveraging of position, status and collections to strengthen legacy objectives. Full article

It is difficult to capture the realities of the illicit antiquities market because of the lack of accessible, unsiloed data from underground trade networks. Despite existing literature on social network analyses and machine-learning experiments with antiquities data, there is a gap in simple open-source methodologies accessible to the non-academic public. By using a provenance-based analysis, we present a case study of the Italian antiquities trafficking networks that more fully captures their complexity. This study culls provenance data from repatriated antiquities gathered in the Museum of Looted Antiquities’ dataset to create a network visualization for analysis. Using open-source provenance and repatriation data from 1950 to July 2025, we built a dataset of 233 repatriation events with 15.858 objects to produce a network that reveals central actors, roles, and locations while staying within ethical privacy limits. This study captures large portions of the trafficking network by using accessible data and produces a reproducible, ethically framed workflow. Full article

Authenticity verification for thangka artworks remains challenging in the market, as traditional physical authentication methods offer limited reliability, while modern spectroscopic and chemical testing technologies are costly and unsuitable for large-scale application. Although deep learning methods can achieve efficient authentication through image features, they rely on centralized databases to store feature information, making them susceptible to tampering risks and undermining the credibility of authentication results. To address these issues, this study proposes a digital authentication method for thangka paintings that integrates blockchain technology. This approach stores image features in the InterPlanetary File System (IPFS) and records their hash values on the blockchain, ensuring the immutability and verifiable evidence of feature data. Simultaneously, it employs convolutional neural networks for feature extraction and similarity analysis of thangka images, constructing an integrated platform system encompassing storage, authentication, and traceability. This enhances the reliability and automation of authentication outcomes. The platform further supports full-process traceability of thangka storage and authentication operations, providing a viable pathway for establishing a scientific and reliable digital authentication system for thangkas. Experimental evaluation on a dataset of 2847 thangka images demonstrates 99.2% authentication accuracy, with a precision of 98.7% and an F1-score of 99.1%, while end-to-end authentication latency averages 1247 ms, validating the system’s effectiveness for practical museum and market deployment scenarios. Full article

This article investigates the phenomenon of numismatic forgery legitimisation and its impact on the fields of numismatics, archaeology, history and law. Forgery legitimisation is a broad phenomenon that encompasses both physical forgery and the presentation of fake artifacts as genuine in research literature, auction catalogues, and other contexts. Using the qualitative case-study methodology, the authors propose an analytical framework for suspected forgery legitimisation that incorporates a novel classification of forms and types of forgery, as well as socio-legal mens rea elements. The framework also accounts for factors contributing to the legitimisation of forgeries, including lack of competence, low competition in coin catalogue publication, tradition, closed numismatic communities, and insufficient academic and legal attention. Using this framework, the authors examine two cases of legitimisation of fake coins in medieval Polish–Lithuanian numismatics. The analysis shows how repetition across sources can legitimise fake artifacts, complicating later correction and corrupting heritage research, history and museum science, as well as market integrity. The proposed analytical framework can be useful for investigating other dubious artifacts and for developing analysis methods for forgery legitimisation cases. Full article

Creating a digital 3D model of museum artefacts has been a common practice for many years. Such models can be used for archiving, research, and marketing purposes, as well as to counteract various types of exclusion. A digital copy created using professional 3D scanners using 3D structured-light scanning (3D SLS) or terrestrial laser scanning technology requires expensive equipment, specialised software for postprocessing, and a trained team. The introduction of mobile phones with Light Detection and Ranging (LiDAR) sensors and the development of appropriate open-access software have enabled the use of phones to generate digital 3D models. This study compares the quality of 3D models created with 3D SLS and mobile LiDAR technologies using three identical small museum artefacts from the Silk Road area of the Samarkand State University museum in Uzbekistan. They were digitised in 2017 and 2025. The results indicate that digital 3D models generated with an iPhone 16 PRO MAX device using Scaniverse LiDAR software are incomplete and thus less versatile. Therefore, they cannot serve as archival models. Their accuracy and quality (mesh density, size, and texture quality), as well as the speed of generating 3D models, make them ideal for marketing purposes and digital tourism. Full article

The George Washington University holds a collection of African objects donated by a private collector in the 1970s, many of which are culturally misattributed. Among the objects are two large wooden posts cataloged as “house posts” from Côte d’Ivoire. These posts exhibit two distinct sections, each resembling material culture used in ceremonial traditions, but together have not been identified in existing museum collections or scholarly sources. This paper documents the findings of an investigation into the provenance and the cultural context of these posts through the analysis of the objects’ materiality, stylistic characteristics, and possible market production to determine a framework for their ethical handling and restitution. What do the combined objects reveal about the interconnectedness of Western market demands and the creation of African tourist art from the 1970s? And what are the implications of these unique forms of African material culture in the conversation on museum reforms and ethical display? The research points to the blurred boundaries between authentic ritual objects and the fabrication of “authenticity” for Western consumption. The goal of this paper is to reveal the possible connections between carvers producing objects for the tourist market within the social and cultural environment of the Senufo workshop system. The paper argues that the objects in the George Washington University collection were adapted for a Western market and audience. Through a comparative analysis of cultural ideographs from surrounding cultures in the area, records of workshops and economic production, the paper concludes that the objects were not produced for sacred use but more likely for commercial purposes, and that their cultural value is not diminished. Instead, they represent another form of expression developed by carvers who adapted Indigenous forms to satisfy Western market demands. Full article

This paper assesses the use of ‘plastic age’ and ‘glass age’ terms, using a bibliometric approach to identify their proponents, purposes, and connections to debates in Anthropocene and heritage studies. This study explores how glass and plastic have been portrayed as age-defining materials and how this concept relates with what is expected to be preserved for future generations. Are these materials so ubiquitous that they become invisible? If visible, are they considered waste or heritage? Both materials appear in the Anthropocene discussion as stratigraphic indicators. The term ‘glass age’ is related with the marketing of glass (not only new glass formulations and new products, but also as an alternative to other more polluting materials), and the term ‘plastic age’ appears to be related to the multitude of plastics in our everyday lives and all the problems associated with their disposal. Although there are few examples of bibliometric research on glass and plastic as heritage, there is currently great investment in the study of glass and plastic from the perspective of conservation viability; this perspective needs to be promoted so that these materials can be included in heritage policies and museum collections as a reflection of today’s society. Full article

The accelerated development of smart devices and the increased demand for technological services have given rise to new services with great potential for development in the market. Applications for museums are no exception, and more and more institutions are including such solutions in the cultural industry. However, there is still much to be developed, given the difficulties that people with disabilities have in accessing them. In this work were studied the characteristics that the future application (App) of the Helga de Alvear Museum in Cáceres should have so that it can be used satisfactorily by the maximum number of visitors, regardless of their sensory, intellectual, or motor capacity. Kansei Engineering has identified the emotions and sensations that favour the interaction of users with the application and which have been converted into functionalities and design requirements in order to present a graphic proposal and structure for the App. The appearance and functioning of this App are presented visually, supported by an initial theoretical and research part that has helped to identify the rest of the specific objectives. Some specifications to take into account are functional, non-functional, programming, sequence diagrams, and basic interface requirements. This application has two generic and five specific itineraries to solve the disabilities mentioned in this paper, making it accessible to the different groups. The importance of obtaining an equivalence between the essential requirements of the standard and the basic design specifications that should regulate the work process resides not only in having a direct equivalence but also in obtaining guidelines for other designers who want to face extensive regulation and need help to interpret it and be able to make decisions straightforwardly. Full article

Museums contribute significantly to the cultural and economic development of destinations, yet university museums remain underexplored, especially in developing economies. This study examines how experiential attractiveness (EA), attitude toward the museum (ATM), and self-concept connection (SCC) influence visitor experience (VE) and location loyalty (LL). Using data from 1400 visitors to university museums in Puebla, Mexico, Partial Least Squares Structural Equation Modeling (PLS-SEM) was applied to test the proposed relationships. All hypotheses were supported, with the strongest effects observed from EA to SCC and from SCC to VE, indicating that attractive and engaging experiences strengthen visitors’ self-connection and lead to greater satisfaction during the overall museum visit. The validated model demonstrates consistent relationships among constructs and contributes to understanding how attractiveness and self-connection shape behavioral intentions in the university museum context. These findings highlight the importance of experiential marketing and emotional engagement strategies, while future research should explore additional attitudinal and technological factors that enhance visitor loyalty. Full article

Museums widely regard cultural and creative products as both a major revenue stream and a means of revitalizing in-house cultural resources. However, traditional decision-making systems for Museum Cultural Creative Products (MCCP) design largely depend on subjective judgments, leading to inefficiency, resource waste, and weak market performance. To address these challenges and support sustainable design decision-making, this study proposes an integrated “KANO–AHP–DEMATEL–VIKOR” framework that combines qualitative and quantitative methods. First, consumer requirements are elicited through questionnaire-based interviews and literature review; the KANO model identifies key user needs, AHP determines their relative weights, and DEMATEL analyzes causal relationships among criteria. By integrating these results, the VIKOR method evaluates and ranks alternative designs, forming a comprehensive multi-criteria optimization process. To validate the framework, an empirical case of the Palace Museum’s refrigerator magnets is conducted, comparing computed rankings with actual sales data to verify predictive validity. The small discrepancy between the two indicates that the model effectively forecasts consumer acceptance across design alternatives. The major innovation of this research lies in its cross-method integration that bridges user perception analysis with quantitative sustainability evaluation, offering a replicable tool for early-stage decision-making of museum creative products. Accordingly, the framework enhances design efficiency, reduces evaluation subjectivity, and contributes to the economic and environmental sustainability of Museum Cultural Creative Products. Full article

Boyacá, a department in the Colombian Andes, is recognized for its rich natural, cultural, and historical heritage, positioning it as an emerging tourism destination with strong potential for sustainable development. Its portfolio encompasses ecological, cultural, adventure, and rural modalities that contribute to local economies and community well-being. This study employs a mixed-methods design combining documentary analysis with fifty semi-structured interviews conducted across five provinces, engaging stakeholders such as hotel managers, travel agencies, restaurateurs, agroecological farmers, museum directors, café entrepreneurs, and ecotourism operators. The findings reveal that innovation, particularly through infrastructure, modernization, digital adoption, and service professionalization—is critical to strengthening competitiveness. However, persistent challenges include stakeholder fragmentation and the absence of a coordinated promotional strategy, both of which limit visibility and shared value generation. To address these challenges, the study proposes integrated innovation pathways, including thematic circuits (heritage, independence, and coffee routes), personalized tourism experiences, and the use of digital and experiential marketing tools. These approaches highlight the need for collaborative governance involving public, private, and community actors. The article contributes empirical evidence to the debate on tourism innovation and sustainability in emerging regions, underscoring Boyacá’s paradox: global recognition coexists with fragmented governance. It argues that innovation-driven strategies, aligned with sustainability principles, are essential for consolidating Boyacá as a competitive and regenerative tourism destination. Full article

This paper charts AI’s transformative path toward advancing sustainability within art museums, introducing a Human–AI compass as a conceptual framework for navigating its integration. It advocates for human-centric AI that optimizes operations, modernizes collection management, and deepens visitor engagement—anchored in meaningful human–technology synergy and thoughtful human oversight. Drawing on extensive literature review and real-world museum case studies, the paper explores AI’s multifaceted impact across three domains. Firstly, it examines how AI improves operations, from audience forecasting and resource optimization to refining marketing, supporting conservation, and reshaping curatorial practices. Secondly, it investigates AI’s influence on digital collection management, highlighting its ability to improve organization, searchability, analysis, and interpretation through automated metadata and advanced pattern recognition. Thirdly, the study analyzes how AI elevates the visitor experience via chatbots, audio guides, and interactive applications, leveraging personalization, recommendation systems, and co-creation opportunities. Crucially, this exploration acknowledges AI’s complex challenges—technical-operational, ethical-governance, socioeconomic-cultural, and environmental—underscoring the indispensable role of human judgment in steering its implementation. The Human-AI compass offers a balanced, strategic approach for aligning innovation with human values, ethical principles, museum mission, and sustainability. The study provides valuable insights for researchers, practitioners and policymakers, enriching the broader discourse on AI’s growing role in the art and cultural sector. Full article

The aim of this study is to examine the role and importance of certain promotional policies in supporting the image of Greek public museums with direct consequences on their visibility and attractiveness at national and global levels. It also examines whether the implementation of these policies is directly related to both the dynamics of the museums and the geographical location in which they are located. In particular, emphasis was given to the comparative analysis of the degree of adoption of promotion policies between museums located in the major urban centers of Greece (Athens and Thessaloniki) and those located in the Greek periphery. For these purposes, questionnaires were handed out to museum directors and managers in Greece (national and regional). In a total of 173 public museums and archeological sites (also having a museum) across the country, 114 questionnaires were sent out, covering 66% of the surveyed reference population. A hundred (100) valid questionnaires were collected (response rate: 88%), covering 58% of the public museums in Greece and, in particular, 25 museums and archeological sites of national importance and 75 of regional/local importance. Data were analyzed by using Exploratory and Confirmatory Factor Analyses, Structural Equation Modeling techniques, and parametric tests (T-tests). The results highlight the importance of external orientation, strategic digital engagement, and visibility through networks over traditional marketing tactics. Furthermore, the findings reveal that museums in urban areas consistently demonstrate higher levels of awareness as well as greater adoption of modern and extroverted marketing strategies, indicating that they can be key drivers of urban tourism development, reshaping the way cities develop. Full article

This article examines the significant contributions of Helga de Alvear as a gallerist, collector, and patron, a pivotal figure in the evolution of the Spanish and international contemporary art market. Her legacy is particularly notable through the establishment of the Helga de Alvear Museum in the city of Cáceres, intended to share her vast collection of over 3000 works and foster exhibition, research, conservation, and education. The study analyzes her art collection, highlighting its substantial international minimalist art component, contextualizing its development with her personal and professional journey. Furthermore, it explores the institutionalization of her legacy, from the Helga de Alvear Foundation to the creation and evolution of the museum, its innovative architecture and museography, and its impact on Cáceres’s urban landscape. Full article