In 2022, there were many challenges for heritage innovation: environmental, societal and territorial… At the start of the new year, it’s time to take stock of the major challenges facing us in 2023!
In short, the challenges we have identified for 2022 and our ambitions for 2023:
- Innovation in heritage is at the heart of every region. In France, the richness and diversity of our heritage encourages a multiplicity of approaches to innovation, whether shared or networked, which are unfortunately not sufficiently promoted on a national level.
- Innovation models are rich and varied. Over the past year, we’ve been keen to highlight this diversity of approaches at various events. Now more than ever, a detailed diagnosis and evaluation is needed to select the most virtuous innovation models (scientifically, socially, environmentally, and quite simply in terms of use).
- An unwavering commitment, far greater than the initial idea, is needed to bring innovation to life. Whatever the manifestations of this innovation, the challenges seem to lie less in the design of these projects than in the issues of operation, distribution and sustainability.
1. INNOVATION IN HERITAGE IS AT THE HEART OF TERRITORIES.
In France, the richness and diversity of our heritage encourages a multiplicity of approaches to innovation, whether shared or networked. In 2022, we carried out a diagnostic of all digital and immersive cultural projects (augmented reality, virtual reality and mapping) implemented in Région Grand Est. Over sixty projects were identified, with more than 7 large-scale events centered around mapping and supported by local authorities (such as Regalia in Reims, the Fête des images in Épinal or Constellations in Metz, etc.).
Cultural venues are not to be outdone, with a number of particularly noteworthy projects, such as the VR experiences offered by the Mémorial de Verdun, 5e lieu, the Maison Robert Schuman and the Bibliothèque Humaniste de Sélestat.
This boom in projects is also supported by an entrepreneurial and creative ecosystem that is particularly well-developed in the region:
- Numerous technology companies (Virtual Journey, Brave New Media, etc.),
- Audiovisual production agencies (such as Seppia or Monolithe Studio),
- Internationally renowned artists and companies (like AV Extended).
This dynamism also benefits from the active cultural policies of the Region and its various local authorities, which regularly launch calls for projects, organize events and network the various players involved.
Such dynamism is also present in other regions. The proof is in the form of the heritage interpretation trail project we’ve been working on for the past 2 years in the Creuse region, in conjunction with DRAC Nouvelle-Aquitaine. The design of this signage and digital trail has mobilized many local players: Archeovision (for the 3d modeling), le 400 (a fablab) as well as various universities and schools (Lycée Raymond Loewy, the universities of La Rochelle and Limoges).
More than ever anchored at the very heart of local communities, these two examples demonstrate a particularly wide variety of innovative approaches to transforming usage, networking and technology.
2. INNOVATION MODELS ARE RICH AND VARIED.
Over the past year, we have made a point of highlighting this diversity of approaches through various events. In October, at the invitation of the Val d’Oise department, we organized an event at the Abbaye de Maubuisson, demonstrating the variety of approaches that can be used tomake a cultural site more attractive and its visitor experience unforgettable.
In terms of attractiveness, a number of levers have been put forward:
- Networking with the example of a Club of 9 cultural and tourist venues between Oise and Val d’Oise to develop joint events,
- Development of accommodation and catering activities linked to cultural sites via Atout France’s Reinventing Heritage program ,
- Setting up ambitious shows such as those proposed by Polaris Production,
- Creation of innovative territorial programs with the Louvre Lens Valley.
- Optimization of the visit itinerary with immersive artistic creations such as those imagined at the Château de Beaugency , or multi-sensory proposals such as those envisaged by Iris & Morphée.
This variety of approaches was also highlighted at NUMIX LAB, a French-language event dedicated to innovation. As part of an itinerant tour between France, Luxembourg and Germany, participating creative studios, local authorities and cultural venues were able to visit and meet numerous projects for the (re)valorization of heritage sites: Niagara Falls hydroelectric plant, Salines d’Arc-et-Senans, Esch – European Capital of Culture or La Rotonde in Luxembourg.
These different venues highlighted the various forms of revitalization that can be envisaged to enhance a region’s various heritages: intangible, industrial, historical, etc.
3. AN UNWAVERING COMMITMENT, FAR GREATER THAN THE INITIAL IDEA, IS NEEDED TO BRING INNOVATION TO LIFE.
Whatever the manifestations of this innovation, the challenges seem to lie less in the design of these projects than in the issues of operation, distribution and sustainability. It is in this sense that we have carried out a number of missions to make innovation central to the strategy of cultural establishments (as was the case for the Pôle d’interprétation de la préhistoire in the Dordogne, or in our support for the redesign of the Musée Dechelette‘s scientific and cultural project).
These issues of sustainability are of paramount importance, whatever the digital format envisaged. The in-depth work we have carried out with Museovation, and in collaboration with various cultural venues, to draw up a guide to online visits for the French Ministry of Culture, demonstrates this. From a global point of view, such remote mediation formats can only be relevant if they are integrated into a cultural establishment’s overall offerings.
On the other hand, this sustainability can only be envisaged with the will to maintain and energize the use of digital devices over the long term. In this respect, thinking about giving new lives to these devices to reach and diversify new audiences could be a solution. This is how we have supported, and will continue to support, numerous cultural institutions in their strategy of distributing immersive digital experiences or exhibitions ex situ. This was the case with Paris museums, where we supported and accompanied the distribution of an ex situ VR experience in other venues. We returned to these issues of production, operation and distribution at the Journées du management culturel in November.
Last but not least, there have been many contributions and events focusing on environmental and social sustainability. We have made a modest contribution by producing articles linked to Museum Connections, and in 2023 we hope to see these issues fully integrated into every stage of our support services.
2023 promises to be full of challenges to enhance local initiatives and identify new approaches to innovation that are more sustainable both from an environmental point of view and in terms of uses and practices.
Antoine ROLAND
