Public debate sometimes pits human mediation against technology. These discussions focus on relevance or quality, but above all on the adjustment of information offered to visitors according to their level of knowledge, age or cultural background. While human mediation enables mediators to tailor their discourse as finely as possible to the profiles of their listeners, it remains limited to their availability in specific time slots. This is why personalized mediation has been developed through digital devices. These include geolocated audioguides, histopads and multimedia applications that enable visitors to select the content that interests them (while making them autonomous during their visit). But these solutions are sometimes criticized for their “thematic or profiled scenarization” according to typical visitor categories, as noted by five museology researchers.
In recent months, new technologies have become widespread, renewing the way museums are used. First and foremost is the incredible leap made by artificial intelligence, which enables images, videos and music to be generated automatically. Such is the case with the artificial intelligence-enhanced photographic devices deployed by the company Bryanthings with whom we offer this article.
What do these new technologies bring? They make it possible to personalize the relationship with visitors beyond mediation, i.e. throughout the entire visit. In this way, they can be used to raise a site’s profile (I), enrich mediation and the visitor experience (II), and increase loyalty and monetization of the after-shop experience (III).
1. Gain brand awareness: analyze visitor data to adapt your communications
In recent years, online ticketing has surpassed physical sales at cultural sites, reaching 58% in 2023, according to the 2024 barometer of museum and heritage site audiences published by GECE. This trend can be explained in part by the fact that most information is now obtained online. Thus, 72% of French people find out about cultural activities via social networks (mainly Facebook and Instagram) or the Internet, a figure that rises to 91% among younger audiences, while only 21% consult cultural venue websites directly.
What do these figures tell us? They show that digital communication has become an essential channel for interacting with (future) audiences. Digital solutions enable us to personalize this special relationship with visitors, in advance of a visit.
Capturing visitor data enables us to clearly identify the different types of audience we need to reach or develop, as well as visitor usage patterns. Several sources are exploited. Social networks provide valuable information such as the age, geographical area and gender of users. The website and content management system (CMS) track the number of visits, the geographical origin of visitors and the type of consultation (mobile or web). Online ticketing provides data on the number and type of visitors. Newsletters, communities of patrons and friends of the museum, and digital guest books are also important sources of data. Numerous companies offer solutions for gathering and analyzing this data, including Arenametrix, Clorian, CM.com, Convious, Guestviews, Omniris Technologies, Ketchum Manufacturing and Smeetz.
Immersive experiences and digital devices, although still little used for this purpose, can playfully collect data on integrated systems (e.g. CRM, newsletters, databases). For example, the AI photobooths offered by Bryanthings enable visitors to provide their e-mail address to receive a personalized photo based on the site’s collections or current exhibition. This method guarantees high reliability of the addresses collected, as visitors are motivated to provide correct information. This type of process, applicable to a variety of digital experiences and devices, not only ensures ongoing communication with visitors after their visit, but also collects valuable data on their profiles in order to adjust a marketing strategy. The data collected in this way enables a site to offer visitors the chance to subscribe to the site’s newsletter, or to receive information as an attachment (in this case, with the photograph).
The availability of visitor data makes it possible to increase brand awareness and personalize cultural marketing by addressing audiences in a targeted and relevant way, at the right time and using the most appropriate communication channel (e-mail, SMS, WhatsApp, chat, social networks, etc.). Cultural institutions deploy a variety of strategies to tailor information, effectively target relevant audiences, guide them in preparing their visit and encourage them to book their tickets. Let’s take two inspiring examples:
- Targeting marketing according to geographic zones and cultural profiles: Fever supports the dissemination of numerous cultural projects thanks to its network of venues and partners deployed in over 170 major cities worldwide, and through meticulous observation of audience behavior on the Web. Close observation of the data collected by Fever via its ticketing service and its active policy on social networks (over 300 million interactions generated on the Web around the catalog of experiences offered by Fever) enables the company to better define the geographical zones to be favored, the types of venues and content to be considered. This was the case, for example, in refining the co-distribution strategy for the exhibition Van Gogh – The Immersive Experience with Exhibition Hub.
- Personalize digital communication via subscription systems (sponsorship, subscribers, friends of the museum, partner promotional offers) : In 2023, the MUCEM adopted a no-commitment monthly subscription solution, offering unlimited access to the collections via a digital platform, similar to streaming services. This initiative, proposed by OpenMusée, was a response to the decline in ticketing and traditional sponsorship, and targets various local communities: families from Marseille, employees from the nearby business district, single visitors (14% of visitors). The subscription, which is entirely paperless and accessible via a mobile application, aims to maintain the link with these subscribers through targeted notifications of museum news. This strategy makes it possible to collect precise data to personalize communications and better understand visitors’ journeys, so as to optimize them both in situ and online.
According to a study by Museum Booster on digital practices in museums, 64% of the 200 establishments surveyed use data from websites, social networks (46%), content management systems (37%) and online surveys (36%) in their marketing strategy. An approach designed to increase authenticity and proximity in communication with visitors. This logic of adapting content has also seen a real boom thanks to the various uses of artificial intelligence in mediation, once the visitor is in the museum.
2. Personalize your visit with artificial intelligence, from adapting content to optimizing the visitor experience
The integration of artificial intelligence (AI) into visitor itineraries is transforming the approach to cultural mediation. Beyond the creation of contemporary digital artworks (see the current exhibition at the Grand Palais Immersif, Artificial Dreams) or experience conversion for new technological formats and spaces, AI is used directly in mediation media to personalize interactions and intensify visitors’ emotions.
Customize mediation tools
The principle of personalization found in geolocalized audioguides, such as those used at the Historial Charles de Gaulleis taken a step further with the help of artificial intelligence. These audioguides adapt content according to visitors’ points of interest and their interactions with mechanical devices.
Artificial intelligence takes personalization to a new level, enabling visitors to adjust their experience to their cultural knowledge and preferences. For example, during the exhibition Van Gogh à Auvers-sur-Oise : Les derniers mois at the Musée d’Orsay, an artificial intelligence kiosk called “Bonjour Vincent” enabled visitors to interact with a 3D avatar of the Dutch artist. The startup Jumbo Mana, responsible for this device with Dr. Wouter van der Veen, developed its project based on the correspondence between Van Gogh and his brother Theodorus, as well as on the painter’s personal readings, giving this museum experiment an aspect of memorial reconstruction of the artist. Visitors were able to ask questions and receive answers tailored to their questions, playfully transcribed and controlled by the algorithm and prompts calibrating the device.
A similar mediation approach has been adopted by the Maritime Museum of La Rochelle for its Climat-Océan exhibition. Here, AI generates real-time images, influenced by visitors’ reactions, to illustrate the impact of climate change. The presence and movements of visitors in the space are captured and directly modify the representation of the effects of climate in a universe of particles. This device, called Climat Dôme and designed by Hovertone, uses scientific data calibrated with artificial intelligence to raise visitors’ awareness of the exhibition’s environmental themes.
This use of AI in mediation raises questions about the reliability and relevance of the information provided. During an evening debate on deontology in cultural institutions, ICOM pointed out that AI depends on the data it receives, and requires in-depth calibration work by technicians and mediators upstream to guarantee the quality of the information(link to the conference). Human control is therefore essential to avoid the risks of excessive use by certain visitors and the discriminatory biases observed in certain AI solutions such as ChatGPT. In this respect, the exhibition“Enter the world of AI“, currently on display at the new Maison Poincaré, clearly illustrates the strengths and limits of this still recent technology.
Intensify the emotions of every visitor
As a complement to cultural mediation, artificial intelligence opens up new possibilities for dynamic, interactive immersion. It not only contextualizes works of art, but also transforms the museum experience into a personalized, interactive adventure, offering each visitor a unique, evolving experience.
Two examples of the use of AI in cultural venues:
- The Musée du Luxembourg has permanently installed a Bryanthings photo booth in its exhibition spaces, offering personalized content tailored to each exhibition. Thanks to AI, this device generates photographs of visitors by recreating a historical period, a pictorial style or a specific universe. For example, during the exhibition on Gertrude Stein and Pablo Picasso, the booth proposed photographic reconstitutions inspired by Picasso’s works, enabling visitors to obtain their own cubist portrait. For the Museum, this device offers a playful and personalized way of enriching visitors’ cultural understanding by inviting them to appropriate the codes of cubism, while providing an interactive and educational experience.
- The ” Sound Odyssey “at Théâtre Antique d’Orange. This tour combines artificial intelligence-generated mapping with 360° sound effects. For 45 minutes, visitors are plunged into the world of Roman mythology, with references to divinities, muses and monsters, as well as a prelude to the birth of the world. Images are projected onto 5,000 m2 of walls, floors and terraces, evolving live as visitors move along, while sound is broadcast through 360° headphones. An experience whose design was considerably accelerated thanks to… artificial intelligence.
The uses of artificial intelligence in mediation are constantly evolving. AI avatars now play the role of influencers on social networks, sharing cultural information and thus extending the visitor experience (in this regard, see the article Anne Kerdi or how AI can enhance the work of humans in Tourism). It offers immense potential for enriching and personalizing visit itineraries, making each interaction unique and tailored to visitors’ needs. These technological advances, while promising, require ethical reflection and rigorous data management to guarantee enriching and safe cultural experiences.
Another facet of the personalization of museum offers and services is revealed in the boutique, where the emphasis is on strengthening the bond with visitors after their visit and exploring new economic monetization strategies.
3. Improve visitor loyalty and monetize souvenirs
Since the 90s, museums have gradually begun to offer boutique spaces within their walls. From simple points of sale, these spaces have become truly scenographic, offering a complementary discovery to the visit, to the point of creating an overall museum experience. This phenomenon has increased under the dual impact of recurring economic crises and the desire of the State and local authorities to optimize their finances (see the organic law on finance laws in 2001 and the General Review of Public Policies in 2007).
The introduction of innovative products in museum stores has opened up new horizons. Technologies now make it possible to activate innovative levers for visitor loyalty and monetization by offering attractive personalized products.
In terms of loyalty, the aim of the souvenir is to enable visitors to leave with a physical product that will remind them of their experience, the place and the collections, while encouraging them to return. This role is traditionally played by a postcard, available in every museum store and generally directly linked to the collections.
New technologies are building on this simple idea, with new offers that are sometimes more attractive and certainly more personalized. In this respect, the example of AskMona ‘s smart magnets speaks for itself. These phygital products, combining physical magnets with QR codes, give visitors access to an instant conversation with a chatbot, extending the visiting experience long after they’ve left the museum (purchase price in-store: between €7 and €10). To achieve this, the magnets feature emblematic figures from museum collections, such as Saint-Exupéry (with Bisca Grands Lacs) or Joan of Arc (at the Historial de Rouen). Visitors can engage in conversation with the chatbot, which provides them with additional information and anecdotes about the figure represented. AskMona claimed sales of over 100,000 magnets last March, proving the success and appeal of this initiative, even if it would be relevant to have usage data to fully assess the impact of these devices and the sustainability of visitor engagement (e.g. duration of chatbot use, number of possible responses, etc.).
In terms of monetization, these new offers enable sites to develop their own in-store resources, which can represent up to 10 to 15% of a site’s operating revenues. New technologies also make it possible to enrich product ranges with original, attractive and personalized products, making them multifunctional tools, serving both loyalty-building via a visit souvenir and monetization strategies.
These new arrangements also introduce different business models inspired by co-production:
- For Bryanthings, the principle is based on revenue-sharing from the sale of photographs, generally between 3 and 5 euros. This approach enables the kiosks to rapidly generate revenue, with retrocession paid to the museum. What’s more, these kiosks can be interfaced with other museum offerings, such as vellum prints or fine art prints, and other needs such as contributions to patronage policies.
- For Museoteca, which offers a print-on-demand service enabling visitors to purchase reproductions of works in the format of their choice using a device installed directly in the museum, the business model is also based on a commission on the pre-tax public sale price of the products sold. In this way, the boutique receives and redistributes a portion of the sales generated.
For sites, the installation of these systems offers two advantages:
- A low economic investment, ranging from zero to a minimal flat fee for the installation of a device.
- A personalized, memorable souvenir, contributing to visitor satisfaction and loyalty.
CONCLUSION – The personalization of the cultural experience, thanks to new technologies such as artificial intelligence, represents a major step forward for cultural sites. Not only do these innovations enrich the visitor experience, they are also transforming business models and visitor loyalty strategies.
It makes offers and services more accessible by adapting them to the specific needs of visitors. However, it is essential to maintain overall coherence, with the overriding objective of opening up the collections and letting the public discover them, rather than compartmentalizing them around specific centers of interest. So, while taking advantage of the benefits of personalization, the challenge for cultural sites will always be to promote a collective experience.
Baudouin DUCHANGE
