Empowering cultural heritage professionals: designing interactive exhibitions with authoring tools

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Museum Management and Curatorship
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Empowering cultural heritage professionals:
designing interactive exhibitions with authoring
tools
Vanessa Cesário, João Freitas & Pedro Campos
To cite this article: Vanessa Cesário, João Freitas & Pedro Campos (2023): Empowering
cultural heritage professionals: designing interactive exhibitions with authoring tools, Museum
Management and Curatorship, DOI: 10.1080/09647775.2023.2209896
To link to this article: https://doi.org/10.1080/09647775.2023.2209896
© 2023 The Author(s). Published by Informa
UK Limited, trading as Taylor & Francis
Group
Published online: 29 May 2023.
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RESEARCH ARTICLE
Empowering cultural heritage professionals: designing
interactive exhibitions with authoring tools
Vanessa Cesário
a
, João Freitas
b
and Pedro Campos
a,b,c
a
Interactive Technologies Institute (ITI/LARSys), Lisbon, Portugal;
b
University of Madeira, Funchal, Portugal;
c
WowSystems Informática Lda, Funchal, Portugal
ABSTRACT
This paper advocates for the involvement of Cultural Heritage
Professionals (CHPs) such as curators, staff, and volunteers, in the
design process for creating engaging museum exhibitions. The paper
presents two prototypes: a desktop system that assists CHPs in
creating interactive tools easily and intuitively, and a mobile
application that allows museum visitors to enjoy interactive
experiences created by museum curators. The system supports CHPs
in creating interactive exhibitions that engage museum visitors by
making the process easier, efficient, and effective. The paper
discusses four case studies involving three museums in Madeira,
Portugal,with9curatorsand59visitorsparticipating;andit
concludes by emphasizing the importance of involving CHPs in
creating interactive museum exhibitions and providing guidance on
using authoring tools. This approach can improve museum
management and curatorship practices, leading to engaging exhibits,
better learning outcomes, reduced costs, and innovation for visitors.
ARTICLE HISTORY
Received 10 March 2023
Accepted 30 April 2023
KEYWORDS
Cultural heritage; interactive
tools; authoring tools;
museum visitors; curators;
cultural heritage
professionals
Introduction
Despite the rapid advancement of technology in the museum sector, there has been a
significant lack of involvement of Cultural Heritage Professionals (CHPs) in the design
process of these interactive exhibitions (Ciolfiand Petrelli 2015). CHPs are responsible
for shaping experiences within cultural heritage spaces and should be involved in the
ideation of interactive tools as active players in the development of the technology
design process (Ciolfiand Petrelli 2016). Their expertise and knowledge of the artifacts
and exhibitions make them essential contributors to the creation of interactive experi-
ences that are informative, immersive and engaging for the visitors. Moreover, involving
CHPs in the design process ensures that the exhibitions remain faithful to the original
intention of the museum, which is to preserve and communicate cultural heritage to
the public (Sayre and Wetterlund 2008). If the development process is outsourced to
other entities without the involvement of CHPs, it may lead to misinterpretations, inac-
curacies or distortions of the intended meaning of the exhibitions, which can impact
the visitor’s understanding and engagement with the content (Cesário, Coelho, and
© 2023 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group
This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License
(http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any
medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. The terms on which
this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.
CONTACT Vanessa Cesário vanessa.cesario@tecnico.ulisboa.pt
MUSEUM MANAGEMENT AND CURATORSHIP
https://doi.org/10.1080/09647775.2023.2209896

Nisi 2018). Additionally, CHPs spend a considerable amount of time in the museum and
develop detailed knowledge of the exhibits, making them the ideal experts to identify
potential challenges and opportunities for the use of technology in the museum space.
Therefore, the involvement of CHPs, especially museum curators, in the design process
of interactive museum exhibitions is vital to ensure the authenticity, accuracy, and
engagement of the resulting interactive visitor experience. Moreover, as visitors
become increasingly active participants in museums, museums must embrace new tech-
nologies that promote dialogic interactivity (Witcomb 2003) and encourage visitors to
actively seek knowledge (Mancini and Carreras 2010). This requires involving CHPs in
the conception of interactive tools and experiences to ensure that exhibitions are success-
ful in engaging visitors.
This paper aims to contribute to the growing body of literature that seeks to involve
CHPs in the design of interactive museum exhibitions by presenting a system (EasyAR-
Creator) for supporting CHPs in creating engaging exhibitions, and a mobile application
(EasyARViewer) that allows visitors to enjoy the interactive experiences created by the
museum. The EasyARCreator is designed to be accessible to curators with little or no pro-
gramming experience, making it easy for them to create engaging interactive exhibitions
that showcase the museum’s cultural heritage. The EasyARViewer is designed to provide
visitors with a personalized experience that caters to their interests and preferences,
enhancing their overall experience and encouraging them to learn more about the
museum’s cultural heritage. This contribution seeks to address the need for CHPs to be
involved in the design process of interactive museum exhibitions by providing CHPs
with the necessary tools and guidance to create interactive exhibitions and use of author-
ing tools. Providing guidance for CHPs to create interactive exhibitions and to use author-
ing tools can be very beneficial for museum management and curatorship practice as
museums can (i) encourage their curators to create exhibits that are more engaging
and interactive; (ii) help their curators create exhibits that are more effective at teaching
visitors about the exhibit’s topic, (iii) help their curators create interactive exhibits without
needing to hire outside contractors or invest in expensive software, (iv) can foster inno-
vation in their exhibits. This can help museums stay relevant and attract new visitors.
The use of mobile technology in museums
The use of technology in museums has been evolving over the years, with audio guides
being one of the earliest forms of interactive technology introduced in the 1950s (Tallon
and Walker 2008). The traditional audio guide has since evolved, with visitors now being
able to access information by scanning numeric codes placed on artworks (Acoustiguide
Group 2014). However, today’s museums have expanded their interactive offerings by
incorporating new and engaging technologies, challenging old paradigms of audio and
human guides. Furthermore, visitors are now seeking more active involvement, seeking
knowledge rather than receiving passive information (Mancini and Carreras 2010).
Interactive multimedia applications for smartphones, augmented reality (AR), and
virtual reality (VR) experiences are becoming popular tools for museum tours, replacing
traditional audio guides, and personal devices are becoming smaller, cheaper, and
more powerful (Damala et al. 2016; Hatpaz 2016; Merritt 2016). Mobile guides have the
added benefit of providing educational, engaging, and memorable experiences by
2V. CESÁRIO ET AL.

enabling visitors to learn new concepts and interact with exhibits using multiple senses
(Bailey-Ross et al. 2016). Mobile guides can be tailored to different exhibitions and cat-
egories of visitors and can access unlimited amounts of information from the internet,
expanding exhibits beyond the museum’s walls. Studies have shown that mobile
devices increase visitor engagement with exhibitions, with students interacting for
longer periods than those without mobile (Sung et al. 2010). Furthermore, a study by
Vavoula et al. (Vavoula et al. 2009) has shown that children who use mobile technology
during a museum visit are more motivated to ask relevant questions and actively
engage with the environment. In conclusion, mobile guides are becoming increasingly
important in museums and provide opportunities for visitors to engage in interactive,
educational, and memorable experiences. However, to build immersive experiences
that convey value, it is essential to understand the CHP’s main difficulties and interests.
Tools for creating interactive exhibitions should be designed in a way that allows curators
to implement and test different solutions quickly to adapt to their target audience. The
focus of the testing of the two prototypes –EasyARCreator and EasyARViewer –is to
equip CHPs, especially museum curators, with the ability to build interactive exhibitions
independently, without the need for specialized technical personnel.
Involving cultural heritage professionals in the creation of digital and
interactive exhibitions
Museum and cultural heritage research has primarily focused on the engagement of the
visitor experience of interactive exhibitions and how this can be supported and enhanced,
rather than on the design process and practices of CHPs who create the interactive exhi-
bitions. However, Hornecker and colleagues (Hornecker et al. 2013) investigated two
aspects of CHPs work practices regarding interactive exhibits: their attitudes and perspec-
tives, in particular, their values, goals, and aspirations to create exhibitions, and their
current resources and methods to create and implement interactive digital exhibitions.
This study found that CHPs showed a strong interest in incorporating digital interactive
exhibits into their museum exhibitions. For smaller museums, the desire to include
digital exhibits was driven by the perceived visitor expectation of being up-to-date, as
digital technology can make visitors more aware of their surroundings by communicating
otherwise invisible material. The involvement of CHPs in the ideation and creation of
digital and interactive exhibitions is vital to the success of museum experiences and col-
lections. It is essential to close the gap in the know-how of CHPs in the development of
interactive exhibitions, their design motivations, and their attitudes towards technology.
Tools and platforms to create digital and interactive exhibitions
The emergence of interactive systems for museums has led to the development of tools
that enable CHPs to have some control over the development of interactive exhibitions.
Patrelli et al. proposed an approach in 2013 that gives CHPs the ability to create, maintain
and alter exhibitions, which aim to bring materiality and physical interaction to the visi-
tors’experience while expressing the cultural institution’s values (Petrelli et al. 2013).
White et al. also presented a system through which museums and CHPs can create,
manage, and present both content and context for virtual exhibitions (White et al.
MUSEUM MANAGEMENT AND CURATORSHIP 3

2004). This system provides software and tools that can digitize artifacts and create virtual
interactive exhibitions online and on-site using kiosks and markers (Sylaiou et al. 2008;
White et al. 2004). In the field of virtual reality, a system called ‘VIRTUE’allows curators
to configure virtual museum exhibitions using 2D content and 3D artifacts (Giangreco
et al. 2019). This system presents two perspectives: the curator’s perspective, which func-
tions as a content management system, and the visitor’s perspective, where they can navi-
gate virtual rooms, inspecting the different artifacts and content displayed. In addition to
these systems, recent studies have introduced other tools that enable CHPs to create
interactive exhibitions independently. For example, the ‘Curator’is a cross-platform tool
that allows CHPs to build collections of information and display that information using
an interactive tabletop (Sprengart, Collins, and Kay 2009). Stratton et al. presented a
slightly different approach by introducing software called ‘Quando,’which allows the cre-
ation of a visual programming based on blocks (Stratton, Bates, and Dearden 2017). Fur-
thermore, the design of toolkits is no longer solely done by researchers. Commercial tools,
such as ‘OpenExhibits,’have emerged to create interactive, multi-touch, and multi-user
tables by non-specialized personnel (‘Open Exhibits | Multitouch, Multiuser Software for
Museums’n.d.). Other tools, such as those created by some companies (‘Genially, the Plat-
form for Interactive Animated Content’n.d.;‘Home’n.d.;‘Metaverse Studio’n.d.;‘Word-
wall - Create Better Lessons Quicker’n.d.), enable users, such as curators, to create
content in the format of augmented and virtual reality. The ability to allow CHPs, specifi-
cally curators, to create and edit digital content has become increasingly important and is
currently a very relevant topic of study (Ohlei et al. 2018). However, the need for advanced
technical knowledge creates barriers that prevent curators from building interactive exhi-
bitions on their own. Therefore, the creation of a platform that allows curators to indepen-
dently build, maintain, test, and modify interactive exhibitions will fill a practical gap by
enabling curators to quickly create and configure cross-reality environments (Bellucci
et al. 2017). Furthermore, the use of mobile applications and other digital tools has the
potential to democratize the creation of exhibitions, empowering CHPs to curate and
present their own content in new and innovative ways. This can lead to a greater sense
of ownership and pride in the cultural heritage sector, as well as greater engagement
and participation from the public.
Challenges faced by cultural heritage professionals in designing interactive
exhibitions
The challenges faced by CHPs in creating interactive exhibitions are multifaceted, ranging
from technical difficulties to budget constraints and maintenance issues. Hornecker and
colleagues (Hornecker et al. 2013) and Maye et al. (Maye et al. 2014) highlight the need to
understand the attitudes and approaches of CHPs in the design of interactive exhibitions.
Hornecker and colleagues found that while many CHPs express interest in creating and
testing interactive prototypes, some lack the technical expertise needed to imagine
what they can achieve with interactive exhibitions. Maye et al. similarly reported on
gaps in the know-how of CHPs in building interactive exhibitions, indicating that more
research is needed to understand the design processes and practices used by these pro-
fessionals (Hornecker et al. 2013; Maye et al. 2014). Furthermore, Cesário et al. (Cesário,
Coelho, and Nisi 2018;2019) detected difficulties in the ability of CHPs to put themselves
4V. CESÁRIO ET AL.

in the visitors’shoes, resulting in some reported usability problems in the developed pro-
totypes. Lack of budget, time, and human resources were also mentioned as major
obstacles (Allen and Gutwill 2004; Bitgood 1991; Cosley et al. 2008; Gammon 1999; Hor-
necker et al. 2013; Parry 2013; Thomas and Mintz 1998). Additionally, many CHPs prefer to
use content management platforms such as WordPress as they offer greater authorship
and control over the final product (Maye et al. 2014). Personalization is also an important
aspect for CHPs, as they seek to use technology to achieve specific ends and offer different
methods of interaction to cater to diverse visitor preferences (Maye et al. 2014). Visual rec-
ognition technology has also been identified as a desirable tool for CHPs, as it can provide
information about artifacts without distracting the public (Wein 2014). Although some lit-
erature addresses technophobia in cultural institutions (Dragicevic and Bagarić2019;
Greenberg 1996), this topic is becoming less relevant as technology becomes more preva-
lent in our daily lives. However, it is still important to approach this aspect carefully in
order to gain support from curators. To do so, it is suggested that technology be used
as a complement rather than a replacement for traditional museum experiences. Persona-
lization and editing of content are key interests for CHPs, as they allow for a greater
degree of control and the possibility of tailoring exhibitions to specific audiences. It is
therefore crucial to consider these aspects when developing tools to support curators
in the design of interactive exhibitions.
Materials and methods
The methodology used in this study aimed to assess the success of interactive exhibits in
museums by understanding the opinions of both curators and visitors. Two user groups
were formed –curators and visitors, and the entire system for creating and visualizing
interactive exhibits was tested. The study evaluated the ease of use of the system for cura-
tors and how it motivated them to create interactive exhibits more frequently. This evalu-
ation aimed to understand how the exhibits developed by curators using the system can
influence visitors’interest. It was also important to evaluate visitors’interest in the exhibits
to gain insight into their engagement. If the developed solution does not generate visi-
tors’interest, having a simple and intuitive system will not be a relevant factor. A straight-
forward and user-friendly system will be ineffective if it does not produce content that
visitors find engaging.
A user-friendly platform for creating and experiencing interactive
exhibitions
We propose the testing of a dual prototype that has a user-friendly platform which allows
curators to easily create and manage interactive exhibitions and allows museum visitors to
experience them in an innovative and engaging way. The EasyMuseumARCreator is a
desktop content management which allows curators to easily create, maintain, test, and
modify interactive exhibitions. Each interactive content is associated with a QR code that
can be interpreted by a mobile application, called EasyMuseumARViewer, allowing
museum visitors to view the content in AR format. The decisionto use a desktop and smart-
phone platform was based on the curators’preference for editing content (Cesário, Coelho,
and Nisi 2018) on a larger screen and the high prevalence of smartphones among the
MUSEUM MANAGEMENT AND CURATORSHIP 5

population. We chose QR codes for their ease of use and unique activation of contents,
allowing technology to act as a complement to the exhibition. AR was considered a
good solution since it has been frequently used in cultural institutions and has demon-
strated good results (Cesário and Nisi 2022;2023; Cesário, Olim, and Nisi 2020;Cesário,Pet-
relli, and Nisi 2020; Cesário et al. 2019). This dual prototype contributes to the advancement
of museology, making it easier for curators to create interactive content, and improving the
visitor experience in museums. Each of these systems is detailed in the section below.
EasyMuseumARCreator
The EasyMuseumARCreator (Figure 1) enables curators to input content without extensive
technical knowledge: the platform must be user-friendly with a low learning curve for ease
of use. It allows curators to perform basic operations to meet identified needs such as
adding, editing, and disabling content. Curators can associate multiple types of content
with a marker, including text, images, videos, and 3D objects, leaving the possibility of
adding new types of content in the future if necessary. The platform also enables curators
to select a language (within a pre-established number of options) for which they want to
translate a particular content. Obtaining the QR code of a particular interactive content
is easily done within the platform: the platform provides the QR code to the curator in
an image file already sized for printing, removing any additional effort outside of the plat-
form. When content is no longer needed or deemed dispensable, it can be permanently
deleted. Curators can also temporarily disable previously created content when designing
changes to it, and hide content from visitors whenever they wish. These functionalities
provide curators with flexibility in managing the platform’s content.
EasyMuseumARViewer
To complement the desktop application designed for curators, a mobile application
named EasyMuseumARViewer (Figure 2) was developed to allow museum visitors to
view the content introduced by curators. This mobile application offers a more immersive
experience to the visitors and is available in several pre-established languages to ensure
that language is not a barrier for visitors who want to use the application. To meet the
Figure 1. Screenshots of the EasyMuseumARCreator: The left screenshot showcases the interface for
adding new contents, while the right screenshot demonstrates the intuitive content management
system. Together, these elements allow curators to create an interactive experience for their audience
with ease.
6V. CESÁRIO ET AL.

identified needs, the application includes a short set of necessary functionalities, such as
support for different languages, AR content visualization capability, the capability to
‘unlock’content through the scan of a specific marker, and capability to interact with
the elements introduced by the curators. The application adjusts to the visitor’s language
so that the content displayed is also in their language. Visitors are able to activate the
content through markers, which provides them with the freedom to decide whether or
not to have an immersive experience, making interactive content a complement rather
than a substitute for museum artifacts. To ensure an easy and intuitive experience for visi-
tors, the application provides various types of interaction with the user, such as rotation
and touch. This mobile prototype is kept as simple as possible so as not to overshadow
the natural beauty of the museum, as excessive use of technology can lead users to prior-
itize technology over the museum, which is not desirable.
Sample
To conduct the tests, three museums were approached in Madeira Island: the Museum of
Natural History of Funchal, Museum ‘A Cidade do Açúcar,’and Museum of Quinta das Cruzes.
Nine curators, aged between 22 and 58 years, were interviewed during the entire process.
Figure 2. Screenshots of the EasyMuseumARViewer: The left image highlights the user experience of
pointing to the QR code in the museum, triggering the display of interactive contents on the visitor’s
device. Meanwhile, the right screenshot showcases the interactive content that visitors can explore.
This mobile application allows visitors to delve deeper into the exhibit and gain a deeper understand-
ing of the captivating history and natural wonders on display.
MUSEUM MANAGEMENT AND CURATORSHIP 7

The curators’names were replaced by anonymous identifiers (C1-C9) to maintain their
anonymity, as well as their profession/specialty as curator, length of service, age, and
gender. Information was also collected on the visitors who visited the Museum of
Natural History of Funchal, represented by identifiers (V1-V59), including their name, pro-
fession, gender, age, and country of origin. To test whether the contents created by cura-
tors using the developed system would increase visitors’interest, a series of interventions
were carried out. One of the curators from the Museum of Natural History of Funchal
created interactive content that could be viewed by 59 visitors of the same museum,
ranging in age from 12 to 70 years old. The developed solution’sinfluence on visitors’
interest was tested through these interventions.
Evaluation with cultural heritage professionals
The study aimed to understand whether the developed system allowed curators to create
interactive content easily and intuitively and to determine their opinion of the system’s
usability and their motivation to use it in the future. The procedure for each intervention
included showing an interactive content previously built to each curator to understand
the visitor’s perspective. Then, a brief explanation of the entire desktop platform was
given, and the curator was asked to perform a series of tasks using both the mobile
and desktop platforms. After the manipulation of both platforms, a questionnaire –
System Usability Scale (Affairs 2013)–and a semi-structured interview were conducted
to gather feedback and to understand how using the system influenced their motivation
and state of mind for creating future interactive exhibitions. Difficulties encountered
during the manipulation of the system were recorded to identify possible issues with
the interface. Informed consent forms were filled out by all curator participants, and
interviews were recorded to obtain a digital record of everything that was discussed.
To ensure fairness, each intervention with each curator was carried out separately for
each curator (Figure 3).
Results: feedback from the cultural heritage professionals
The results obtained from the testing carried out with nine curators from three different
museums in Funchal indicated that the system was simple, intuitive, and easy to use. All
Figure 3. A glimpse into the hands-on testing of the desktop application, EasyMuseumARCreator, by a
group of dedicated curators of the Museum of Natural History of Funchal. The participants in the
images are seen putting the app through its paces, exploring its various features and functionalities.
8V. CESÁRIO ET AL.

curators were able to complete the proposed tasks, with 8 of the 9 curators having prac-
tically no doubts during the completion of the tasks. One curator (C7) had more doubts
than the others, but these were mainly related to aspects that they wanted to confirm
before performing certain tasks. All curators mentioned during the semi-structured inter-
views that they enjoyed the ease of use of the system, found it simple and intuitive, and
had an interest in using it in the future, which is a strong indication that the system could
have good adhesion if implemented. The System Usability Scale showed that the average
score for the 9 curators was 89.722, indicating a grade of ‘B’and a best imaginable classifi-
cation. The results suggest that the developed system is simple, intuitive, and easy to use,
which increases the motivation of curators to carry out interactive exhibitions in museums
more frequently.
Evaluation with museum visitors
The testing of the mobile prototype was conducted with four artifacts, and the two main
objectives were to understand how much time visitors spent contemplating the different
museum artifacts varied with the use of the mobile and to understand how the interactive
exhibitions created by one of the curators affected visitor engagement, learning, experi-
ence quality, and connection with the museum. To achieve this, the Museum Experience
Scale (Othman, Petrie, and Power 2011) and visitor retention index were used (Bollo 2005;
Hammady and Ma 2021). The Museum Experience Scale aimed to provide a general
notion of how the interactive exhibitions influenced visitor engagement, learning, experi-
ence quality, and connection. The visitor retention index was used to carry out a more
quantitative analysis of visitors’level of interest. For each visitor, permission was
requested to participate in the study, and to record the details of their experience
through photos and audio (Figure 4).
Results: feedback from the museum visitors
The obtained results suggest that the developed system has a positive impact on visitor
experience. The components that received the highest scores were visitor engagement
and visitor learning, indicating that visitors were actively engaged and gained knowledge
while interacting with the exhibits. The retention index for objects when using AR was
approximately three times higher compared to when it was not used, indicating that
the system successfully increased visitor interest. Visitors preferred video content, and
Figure 4. A glimpse into the engagement of visitors to the Natural History Museum of Funchal as they
test the mobile app, EasyMuseumARViewer. The participants in the images are seen interacting with
the app and immersing themselves in the rich history and fascinating natural wonders of the exhibit.
MUSEUM MANAGEMENT AND CURATORSHIP 9

the mobile application was generally perceived as easy to use. However, some visitors
suggested improvements such as enhancing the presentation of text content and allow-
ing content be fixed in place. Furthermore, some visitors experienced initial difficulties in
handling the application, which highlights the need for further usability testing. Overall,
the results suggest that the developed mobile app has the potential to enhance visitor
engagement and interest, and can be used to view interactive exhibitions in museums.
Implications for the museum management and curatorship practice
With guidance on how to create interactive exhibits, museums can encourage their CHPs
to craft exhibits that truly engage visitors, leaving a lasting impression that will encourage
them to return in the future. By using authoring tools, CHPs can create interactive exhibits
more efficiently and at a lower cost. This is an especially important consideration in
today’s economy where many museums have had to tighten their budgets. Additionally,
with the help of authoring tools, CHPs can develop innovative exhibits that set them apart
from other institutions. This, in turn, can help museums attract new visitors and stay rel-
evant in an increasingly crowded field.
Designing effective interactive exhibitions is a complex process that requires a
nuanced understanding of the attitudes and approaches of CHPs. To achieve this, it
is essential to conduct user research to identify the knowledge gaps, barriers, motiv-
ations, and objectives that CHPs face when creating interactive exhibitions. This can
be done through surveys, interviews, and usability testing. One important step in
designing effective interactive exhibitions is to provide technical support to CHPs
who lack technical expertise, which may involve offering training and tutorials to
help them learn how to use authoring tools and platforms. Personalization options
can enhance the effectiveness of interactive exhibitions by allowing CHPs to tailor
the exhibitions to specificaudiences.Offering flexible options that allow CHPs to
experiment with different approaches to designing interactive exhibitions is crucial:
this could involve the ability to add and remove modules or switch between authoring
platforms. When creating interactive exhibits, CHPs should use authoring tools that are
user-friendly and intuitive to create content efficiently and with less frustration. Con-
ducting research is essential to understand the design processes and practices used
by CHPs when building interactive exhibitions. Additionally, designing tools and
authoring platforms that address the challenges faced by CHPs requires a deep under-
standing of the issues they face, such as technical difficulties, budget constraints,
maintenance issues, and lack of human resources. To ensure a great visitor experience,
the exhibitions should be designed to offer flexibility and personalization options, and
the technology used in exhibitions should integrate seamlessly with the visitors’exist-
ing technology, such as mobile devices or social media platforms. The use of AR can
increase visitor interest and retention, suggesting that museums can consider incor-
porating AR in their interactive exhibitions to enhance the overall visitor experience.
Overall, a balance between interactive technology and traditional modes of engage-
ment is necessary to create successful interactive exhibitions that cater to the needs
of CHPs and visitors.
Mobile experiences should contain multimedia content, interactive elements, and rel-
evant information about the exhibit. Clear instructions should be provided to visitors,
10 V. CESÁRIO ET AL.

considering varying levels of technical expertise, along with resources and support to
facilitate the use of the mobile application. When designing exhibits, CHPs should bear
in mind that visitors prefer video and multimedia elements to other forms of content.
Therefore, incorporating high-quality multimedia content, such as videos, animations,
and interactive elements, is crucial in improving visitors’understanding of the exhibit.
Multimedia content provides an excellent way to tell a story and provide context for
the exhibit. CHPs must be thoughtful about how multimedia content can be used to
enhance visitors’understanding of the exhibit and provide a more immersive experience.
By using multimedia content in a strategic and deliberate way, CHPs can make the exhibit
more compelling and memorable. Our studies have highlighted the importance of incor-
porating interactive exhibits that engage visitors and provide knowledge. The visitor
engagement and visitor leanring components have received high scores, suggesting
that visitors were actively engaged and gained knowledge while interacting with the exhi-
bits. Museum management and curatorship should consider incorporating interactive
exhibits into their exhibition design to create a more immersive and educational experi-
ence for visitors.
Prior to developing interactive exhibitions, CHPs must have a thorough understanding
of visitors’perspectives and their likely interaction with the exhibits. User testing with a
small group of individuals can help CHPs design exhibits that cater to a specific demo-
graphic. During user testing, scenarios can be used to guide visitors through the exhibi-
tion, enabling them to comprehend the exhibit’s purpose and providing context for
interactive features. To enhance the exhibition’s engagement and effectiveness, CHPs
must integrate feedback collected during user testing. They should keep track of visitor
engagement data, such as time spent at the exhibit, interaction with the exhibit, and feed-
back on the exhibit’s content. CHPs can employ various methods, such as surveys, inter-
views, and observations, to collect feedback. Identifying challenges that visitors face when
using interactive exhibits and issues with the interface is crucial. CHPs must provide
opportunities for improvement by addressing any areas that require modification. Data
analysis can be used to identify potential solutions, such as redesigning the experience,
providing additional instructions, or modifying the exhibit’s content. Finally, CHPs must
use the feedback collected to improve future exhibits continually. By continuously gath-
ering feedback and making improvements, CHPs can create more engaging and effective
exhibits for visitors.
The guidance for creating interactive exhibits and using authoring tools in museums is
innovative for several reasons. Firstly, it highlights the importance of user testing and
feedback to create exhibits that meet the needs of visitors and provide a positive experi-
ence. Secondly, the guidance encourages the use of multimedia content and mobile
applications to cater to diverse interests and learning styles while maintaining the core
mission of the museum. Additionally, the guidance emphasizes the need for providing
museum staffwith necessary tools and ongoing research to identify areas for improve-
ment. By adopting the recommendations proposed in this study, museums can create
more engaging and educational exhibitions that provide a unique and immersive experi-
ence for visitors while reducing development time and costs. Therefore, it is rec-
ommended that museums adopt the user-centered approach to exhibit design,
leverage new technologies and authoring tools, and prioritize ongoing learning and
improvement in their work.
MUSEUM MANAGEMENT AND CURATORSHIP 11

Conclusion
Providing guidance for CHPs (curators, staff, volunteers) to create interactive exhibitions
and use authoring tools can be a game-changer for museum management and curator-
ship practice in today’s competitive museum landscape. CHPs can create interactive exhi-
bits more efficiently and at a lower cost by using authoring tools. This is an especially
important consideration in today’s economy where many museums have had to
tighten their budgets. Additionally, authoring tools can help CHPs develop innovative
exhibits that set them apart from other institutions. This, in turn, can help museums
attract new visitors and stay relevant in an increasingly crowded field. In summary, pro-
viding guidance for CHPs to create interactive exhibitions and use authoring tools is an
important step towards improving museum management and curatorship practice. By
doing so, museums can create more engaging exhibits, improve learning outcomes,
reduce costs, and promote innovation. These benefits are not only good for the
museums themselves, but also for the visitors who will enjoy a richer and more rewarding
museum experience.
Disclosure statement
No potential conflict of interest was reported by the author(s).
Funding
This project has received funding from the ARDITI’s postdoctoral scholarship M1420-09-5369-FSE-
000002; and from the Portuguese Recovery and Resilience Program (PRR), IAPMEI/ANI/FCT under
Agenda C645022399-00000057 (eGamesLab).
Geolocation information
This study was conducted in Madeira Island, Portugal.
Notes on contributors
Vanessa Cesário, a PhD holder in Digital Media, is a postdoctoral researcher in the Interactive Tech-
nologies Institute (ITI/LARSyS) and a passionate Professor at IST, University of Lisbon, who teaches
‘Technology and Society’: her goal is to provide students with an understanding of the ethical impli-
cations that arise from the development and use of information technology products and services.
Vanessa’s research uses participatory design to create immersive and engaging experiences in cul-
tural heritage sites. She combines game design and storytelling to break down barriers and make
heritage accessible to all. Participatory design is uncovering new ways to engage people with cul-
tural heritage, promoting empathy, understanding, and preservation. These experiences are deliv-
ered through virtual reality, interactive exhibits, or mobile apps, encouraging active participation in
preserving history and traditions. Vanessa’s work has been published in international journals and
conferences in Human-Computer Interaction (HCI), Museum Management, and Interaction Design.
João Freitas is a recent graduate of Computer Engineering who has been working for the past year
on developing a mobile application that assists curators in creating interactive experiences in
museums. His dedication to merging technology with the cultural heritage sector has led him to
explore ways in which HCI can be applied to enhance visitor engagement.
12 V. CESÁRIO ET AL.

Pedro Campos is an Associate Professor of HCI at the University of Madeira, Portugal, and Senior
Researcher of the Interactive Technologies Institute (ITI/LARSyS). He is also Associate Researcher
at the Visualization and Intelligent Multimodal Interfaces Group at INESC-ID Lisbon. He is currently
Chair of IFIP’s Technical Committee 13.6 on Human Work Interaction Design, National Representa-
tive for the TC13 and serves the editorial board and program committee of several HCI journals and
conferences. Pedro has authored more than 100 scientific publications in the field.
ORCID
Vanessa Cesário http://orcid.org/0000-0002-0938-9476
Pedro Campos http://orcid.org/0000-0001-7706-5038
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