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Co-Editors

• Dr. Cihan Cobanoglu, University of South Florida, USA • Dr. Seden Dogan, Ondokuz Mayis University, Turkey • Dr. Katerina Berezina, University of Mississippi, USA • Dr. Galen Collins, Northern Arizona University, USA

Editorial Assistants

• Luana Nanu, Auburn University, USA • Khuraman Shahtakhtinskaya, University of South Florida, USA

ADVANCES IN HOSPITALITY AND TOURISM INFORMATION TECHNOLOGY For all chapters, please visit: https://www.m3center.org/ahtit ISBN 978-1-7321275-8-6 © University of South Florida M3 Publishing 2021 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

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Chapter

Contributions of Information and Communication Technologies to Cultural Tourism Experiences: Toward a Smart

Destination

Alexandra Georgescu Paquin CETT University of Barcelona

Ainhoa Carballido Risco CETT University of Barcelona

SUMMARY

Cultural tourism is a growing sector in which technologies play an important role. Location-based technology, or augmented, virtual and mixed reality, amongst many others, open up new possibilities for managers and at the same time enhance cultural tourism experience in all its stages. In this context, cities, and destinations in particular, need to innovate in order to assure a sustainable and competitive offer that benefits to both tourists and residents by facilitating their daily life through smart initiatives. The purpose of this conceptual chapter is to analyze how the creation of cultural tourism experience with information and communication technologies (ICTs) can contribute to the concept of Smart Destination. Multiple micro-case studies are conducted based on a literature review of best practices from scientific articles on smart technologies and cultural tourism. Three main smart axes are developed, where technology contributes in a transversal way: innovation, sustainability, and accessibility. This chapter provides a theoretical framework based on a smart vision of cultural tourism. It will help students, academics, and practitioners to consider ICT in its interrelation with different important current issues in cultural tourism. It supports the reflection on sustainable tourism in the context of Smart Destinations through innovation.

Recommended Citation: Georgescu Paquin, A. & Carballido Risco, A. (2021). Contributions of information and communication technologies to cultural tourism experiences: Toward a smart destination. In C. Cobanoglu, S. Dogan, K. Berezina, & G. Collins (Eds.), Advances in Hospitality and Tourism Information Technology (pp. 1–24). USF M3 Publishing. https://www.doi.org/10.5038/9781732127586

Georgescu Paquin and Risco: Contributions of Information and Communication Technologies to Cultural Tourism Experiences

https://www.doi.org/10.5038/9781732127586

Learning Objectives

After completing this chapter, the student will be able to:

• Understand the different dimensions and layers of a smart destination, with a special focus on the cultural context.

• Reflect on the diverse uses of Information and Communication Technologies (ICT) in cultural tourism experiences.

• Acquire the keys for the creation of cultural tourism experiences in a sustainable and innovative way.



Introduction

Cultural tourism is a sector that is now considered a strong component of smart city strategies (Angelidou et al., 2017). The notion of heritage has evolved considerably through the years; from a contemplative vision limited to tangible assets, such as monuments, it has been broadened, following geographical, typological, and chronological extensions (Choay, 2007). Therefore, the new cultural practices associated with the emerging typologies have led to a diversification of cultural tourism, attracting a wider public. Culture and heritage are indubitably strong values of a destination, particularly with the use of creativity and innovation as attractions (Georgescu Paquin, 2019). In this context, cities, and destinations in particular, need to innovate in order to ensure a sustainable and competitive offer that is efficient in attracting tourists, while facilitating local citizens’ daily life routine by adopting smart initiatives (Neuhofer et al., 2012). The combination of culture and technology is currently a fundamental part of tourist destination strategies, as “cultural capital in a city acts also as a magnet for tourism, a trend that is intensified through the use of digital technology” (Kourtit, 2019, p. 154).

Technologies in the field of cultural and heritage tourism are significant in both applied projects and academic research on current and future trends in cultural tourism (Richards, 2018). Emerging technologies, such as 3D printing and scanning technologies, beacons for location intelligence, virtual reality, wearable technology, tangible user interfaces (Vaz et al., 2017), among others, are integrating museums and cultural landscapes, opening up new possibilities for managers, as well as enhancing the cultural tourism experience in all its stages (Buonincontri & Marasco, 2017).

The development of information and communication technologies (ICTs) has created a new scenario for the tourism industry, with an integrated vision to improve the quality of life of residents and visitors and transform communities into a smart destination (Ivars-Baidal et al., 2017). This concept arises from the idea behind a smart city, which Giffinger et al. (2007) define as a territory developed with a long-term vision. According to the authors, it is composed of six dimensions (economy, governance, environment, people, mobility, and living). These, in turn, unfold as factors that promote self-determination, independence, and awareness of the local community, providing its members with activities, services, and resources to enhance their quality of life.

In the tourism paradigm, a smart destination is considered a changing ecosystem, with the daily inclusion of ICTs that contribute to market fluctuations, actors’ evolution, and changes in the involved dimensions. These changes generate the need for personalization and adaptation to the targets’ expectations (Buhalis & Costa, 2006). In the smart context, not only does technology help in tourism management, but it also changes the tourism experience by facilitating a user-centered approach (Femenia-Serra & Neuhofer, 2018), as well as the tourist’s relation to the destination. At the same time, “the smart experience component specifically focuses on technology-mediated tourism experiences and their enhancement through personalization, context-awareness, and real-


time monitoring” (Buhalis & Amaranggana, 2015, cited in Gretzel, Sigala, Xiang, & Koo, 2015, p. 181).

This chapter aims to outline a global framework for considering ICTs in cultural heritage as among the fundamental elements required for the construction of a smart destination. To achieve this objective, section 2 provides the keys concepts about a smart destination, its evolution, and its components. The third part describes three of the main smart components of the cultural tourism experience: innovation, sustainability, and accessibility.

Smart Destination: Improving the Tourism Experience

In the beginning of the 21st century, diverse concepts and terminologies arose to define new or changing territorial models that were developed as a result of the human need to relocate to urban environments, leaving the rural areas and integrating ICTs as essential parts of daily life.

Those concepts were the seeds of what is now known as “smart” in their application to a territory. This notion is not limited to the way that technology affects the area but is key to creating city models consisting of sustainable, accessible, inclusive, and connected components, among others.

Figure 1. Source: Adobe Stock.

Experiences are also essential parts of the smart model, since “experiences are transforming as (a) consumers now play an active part in co-creating their own experiences and (b) technology is increasingly mediating experiences” (Neuhofer et al., 2012, p. 36). However, this applicability is a pending issue for research in terms of rural territories, cultural destinations, and developing countries (Femenia-Serra & Neuhofer, 2018).

In this sense, cultural tourism becomes a relevant field to explore and exploit, especially when researchers think about the improvement of visitors’ experiences using the technologies on heritage sites or attractions. Cultural tourism also contributes to the destination development and attractiveness (Buonincontri & Marasco, 2017), while adding value to the territory. ICT can contribute to differentiating one destination from another by the type of experiences that it provides



to visitors, with its cultural resources, such as museums, theaters, monuments, art galleries, cultural festivals and events, as well as archeological, historical, and religious sites (Okumus et al., 2012).

Cultural tourism can also emerge as a factor of economic growth in smart territories, especially in rural areas and urban peripheries. For example, it has achieved success in the European Union (EU)-funded SmartCulTour project that aims to redefine the cultural tourism concept through strategies that engage stakeholders in co-creating smart cultural tourism practices. This kind of project also contributes to the science community with theory development and empirical validation of best practices, due to the living laboratory work that has been developed to co-create a sustainable cultural tourism experience in the smart context (European Commission, 2020).

The Smart Concept and Theoretical Bases

The smart concept has emerged in response to the transformation in daily life, a change that started with digitization, especially in all fields related to interpersonal communication, whether in the citizens’ personal lives or their professional environments. ICTs have changed the way that humans communicate, work, and live.

The smart concept is part of a paradigm change from a traditional model to a digitalized one, providing high adaptive capacity. Currently, it is easy to understand this kind of progress, just by observing the growth and development of smartphones—devices that started with the functionality of making calls but now represent a complete computer that fits in the palm of the hand. This is an example of how the cellular device has changed from a telephone to a smartphone, adding hundreds of new possibilities to the same kind of product, thus making humans’ daily lives easier.

Nam & Pardo (2011) argue that the understanding of smartness and its application to a territory or the tourism sector depends on the field of study. In this sense, it can be explained from several perspectives, such as the following:

• Marketing - the smart concept is associated with the way that the user interacts with the field of application. Thus, a smart destination should adapt to the citizens’ and the visitors’ needs in order to personalize and improve their experiences.

• Technology - the smartness applied to a city model should be the tool to integrate people with the environment.

• Government and regulation agencies - The smart model should be an opportunity to create new policies, strategies, and action plans to improve sustainable development, increase economic growth, and secure a better quality of life for a community.

Likewise, there are different smart areas to consider, apart from the model’s application to a territory. In this sense, some examples could be cited, such as smart buildings, smart heritage, smart tourism, or the two concepts that explain the evolution of the smart model application to a territory, that is, smart city and smart destination.


From Smart City to Smart Destination

This section aims to explain the evolution of the smart concept’s application to a territory as a management model. It is worth mentioning that there is no relevant difference between a city and a tourism destination when the smart model is applied.

Figure 2. Smart City

Source: Adobe Stock.

The unique difference between them is the tourism activity practice and therefore the inclusion of the different actors related to it, on one hand, and the territorial or geographical division itself, on the other hand. (While a city is defined by its administrative attributes and geographical limitations, a tourism destination could encompass more than a city or a town and include a whole region or refer to an attraction, for example, The Grand Canyon). For this reason, the smart model could be applied in both cases, but in the case of a smart destination, the focus is on the tourism ecosystem, in addition to the smart city characteristics.

History and Evolution

The smart concept has been in existence for no more than 20 years, and its definition has changed drastically, especially in its applications to a territory or the tourism industry. In the beginning, some authors, such as Caragliu et al. (2012), or Wang et al. (2013) among others, defined the concept by focusing on technical aspects and territory management. However, over the last five years, terms related to social issues, tourism, and sustainability have been in the limelight.

The timeline in Figure 3 makes it easy to understand the smart concept evolution in terms of its application to cities and tourism (both destinations and the industry):



Figure 3. Smart Evolution Timeline Source. Authors’ own elaboration

As shown in the timeline, it is worth highlighting some authors’ contributions to understand the smart concept evolution and its application to a territory and tourism management. In 2007, Dr. Rudolf Giffinger, a professor and an expert in analytical research on urban and regional development, along with his co-authors, described a smart city as developed with a long-term view, including six dimensions and internal factors that promote its citizens’ independence, self-determination, and awareness (Giffinger et al., 2007). This started the debate about the meaning and the composition of a smart city. After their definition, other authors have contributed to the study field with their own perspectives.

One of the most relevant contributions comes from Nam & Pardo (2011), who consider a smart city as a territory that promotes the efficient use of available resources, as well as accessibility and inclusivity, integrating information technology (IT) to increase the quality of life of its residents, in short, to attain sustainable development. Their definition has given rise to the smart destination model as the evolution or advancement from a traditional tourism management model to a new one, born from the combination of ICTs and the experience tourism, which is also supported by some authors, including Hunter et al. (2015) and Xiang et al. (2015).

That definition has also led to the discussion about the “Smart Destinations, which are special cases of smart cities: they apply smart city principles to urban or rural areas and not only consider residents but also tourists in their efforts to support mobility, resource availability and allocation, sustainability and quality of life/visits” (Gretzel, Sigala, Xiang, & Koo, 2015, p. 2). The models of smart management are now focused on sustainability and experience improvement with the use of technologies because the evolution of the smart concept points to the rise of the smart destination


as a solution to the necessity for the increase in quality and competitiveness of the tourism destination. This challenge is also added: the innovation and the experience management, all with the use of technology, not as the final goal but a tool or a vehicle to become a more sustainable, more efficient, and more competitive territory (Carballido Risco & Guevara Plaza, 2020).

In this context, the use of user-friendly ICT solutions, such as virtual and mobile applications, could engage visitors in enhancing their experiences. Briciu, Briciu, & Kavoura (2020) postulate that the “organizations that employ and reinforce the use of ICT can be competitive and empower value creation by bringing their customers and potential users closer to them” (p. 5324).

As mentioned, the progression of the smart concept starts with the ideal of a city developed with a long-term view and based on the use of technology to improve the citizens’ quality of life. In the beginning, the concept puts at the center of the definition the integration of ICT into the daily lives of residents. It then moves on to the importance of using technology as a vehicle for the destination to become a more sustainable territory in all its fields, keeping in mind the improvement of visitors’ experiences without damaging the locals’ quality of life.

Main Axes and Dimensions of the Smart Model

As a management tool, a smart model in the business administration field refers to an “integrated set of processes and tools that a company uses to develop its strategy, translate it into operational actions, and monitor and improve the effectiveness of both” (Kaplan & Norton, 2008, p. 1). In tourism management, a management model could be considered a tool to handle all the actors involved in a destination (Gonzalez & Rivas, 2008, cited in García Reinoso, 2017), as well as a database of variables that allows tourism entities to create guidelines for tourism destination management, or the representation of an ideal to follow, in terms of showing the tourism structure’s features, exploring and explaining its mechanism and processes, as well as the interrelation among its components (Pearce, 2014).

In the application of the management model to a territory or a tourism activity, it is worth highlighting the relevance of exposing a system that guarantees sustainable development. This can only be possible if the model includes a planning process with the starting point of a diagnosis and finally giving a strategic plan to apply in the different actors of the territory (Naranjo et al., 2019).

In this context, the smart model consists of different factors that involve several fields of tourism, including the territory, and the people living there or enjoying it (residents and visitors). It is composed of dimensions or layers, understood as categories or divisions of the elements included in a territory, for example, its economy. The model also comprises central axes that represent transversal factors that have impacts on all of its dimensions or layers and therefore its factors. It can be stated that all the dimensions or layers and central axes are intertwined and not regarded as isolated parameters, considering that “positive contributions of smart systems, however, depend



on a holistic approach to technology, rather than isolated technology applications at a destination or attraction level” (Trinchini & Spyriadis, 2018, p. 455).

Dimensions and Layers

As mentioned, the smart model’s dimensions or layers represent categories or divisions of the elements included in a territory. As a management system, it can also be applied to all public or private companies in the tourism sector. Therefore, the management models related to the smart concept start with the six-dimension model of Giffinger et al. (2007), who describe the elements that should be present in a smart city. Represented in Figure 4, this model is based on all the factors with which the city’s residents interact; it also presents the specific actors involved in the territory, such as the public entities, the business network, and the environment.

Figure 4. Smart Model Management I: Six Dimensions

Source. Authors’ own elaboration, adapted from Giffinger et al. (2007).

Far from rejecting Giffinger and colleagues’ (2007) six-dimension model, Nam & Pardo (2011) developed a synthesized model with three dimensions—technological, social, and community—based on factors similar to those of Giffinger and colleagues’ model. This time, technology took on a special role, emerging from the center of the model as an essential component of becoming a smart city.

Subsequently, the six-dimension model was rescued again, this time by Cohen (2012), with his smart city wheel, shown in figure 5, in which he presented six dimensions and some indicators. It was not as specific as Giffinger and colleagues’ model but represented the beginning of the indicators’ evolution in terms of the application of smart management models to a territory.


Figure 5. Smart Model Management II: Smart City Wheel

Source. Authors’ own elaboration, adapted from Cohen (2012).

Finally, from 2015 to the present, some authors have placed the improvement of residents’ quality of life in the center of a smart management model, using the combination of several elements that allow it (Boes et al., 2015; Rodríguez Bolívar, 2015). In these terms, the Valencian Institute of Tourism Technologies (Invat·tur, 2015) has proposed a model based on governance, technology (ICT), innovation, and sustainability, in which five areas are represented as the five dimensions of the smart city, that is, economy, quality of life, citizenship, environment, and mobility, as shown in figure 6.



Figure 6. Smart Model Management III: Smart City Reference Model

Source. Authors’ own elaboration, adapted from Dirks & Keeling (2009); Giffinger et al. (2007); Invat·tur (2015); Telefónica (2011).

All of those models are based on the application of the smart concept to a territory but do not consider the tourism activity in the formula. Carballido Risco & Guevara Plaza (2020) have developed research about the application of the smart model to territories and tourism activities. They have presented a model for a management system focused on different layers and includes the dimensions and the transversal axes of a smart destination and therefore of smart tourism. Represented in Figure 7, this model considers a territory’s environment and resources (tangible and intangible), the business network and public entities, the social layer (locals and visitors), and the basic and complementary services. Moreover, it is supported by a smart model’s main axes—sustainability, technology, governance, and innovation—which are present in all the layers of the model because without them, a smart model could not be considered.


Figure 7. Smart Model Management IV: Smart Tourism Management Model

Source. Carballido Risco & Guevara Plaza (2020).

As it is exposed in the smart tourism management model based on layers and central axes, cultural heritage is an essential part of the tourism industry, not just as a kind of tourism attraction, but as a tool to enhance the identity of the destination “through the implementation of smart technologies, knowledge, and social inclusion” (Vattano, 2014, s.p.).

Main Axes

There is a consensus on four central axes as pillars of the smart model: a) technology, b) sustainability, c) governance, and d) innovation. However, all these axes must be applied in a transversal and interconnected way in order to contribute to the “smartness” of a destination; none of them is smart per se if not interrelated with the others.

a) Technology explains the smart concept and its application to tourism, not as a goal, but as a tool that contributes to the process to achieve more sustainable development, improve the people’s experiences, and promote key points, such as accessibility and inclusivity. This is fundamental in differentiating the use of technology between being a mere gadget and being a means to achieve a more global objective from a smart perspective. It is worth mentioning that Lamsfus et al. (2015) stress the role of intelligent systems in travel and tourism as the basis for the evolution of a certain destination into a smart destination. These represent next-generation information systems, as well as recommender systems, context-aware systems, autonomous agent searching, as well as mining web resources and ambient intelligence (Buonincontri & Marasco, 2017).

A relevant set of technologies is available in a smart destination and plays a key role in each dimension and axis mentioned above, such as sensors, Big Data, open data, the Internet of Things (IoT), Radio Frequency Identification (RFID), and Near Field Communication (NFC), among



others (Dwivedi et al., 2017; Gretzel, Werthner, Koo, & Lamsfus, 2015; Hashem et al., 2016). These are fundamental technologies in a smart destination since they allow the creation of different layers of information that connect the real world to the digital one. Neuhofer et al. (2015) consider them pillars that are able to add information, allow ubiquitous mobile connectedness, and provide real-time synchronized data. These ubiquitous technologies, which can be extended to Quick Response codes (QR) (which are undergoing a revival, following the new limitations imposed by the COVID-19 crisis on heritage institutions) and mixed reality, offer new opportunities for management, promotion, and mediation of heritage.

It is thus important to discern between the technologies that allow a user–environment interaction and those focused on processes, explained as follows:

• Technologies for interaction comprise those that offer the user the possibility to interact with the environment, increasing user experience, for example, artificial intelligence (AI), virtual reality (VR), and augmented reality (AR), among others. It can be stated that in cultural tourism, the interactions are oriented toward mediation purposes, focusing on interactivity as a key component to enhance visitors’ experience. It places users at the center of the experience, which converts them from passive contemplators to protagonists.

• Technologies for processes constitute the combination of different technologies that allow the connection of several devices or machines, besides the processing of a huge volume of data, for example, the IoT or Big Data. They are important for better management or for conservation purposes, as well as for facilitating mobility and entrance logistics in monuments or heritage places, undoubtedly essential factors in the cultural tourism field.

b) Sustainability is another essential axis for a smart destination—whose main objective is to become a more sustainable territory using the technology as the vehicle to attain it.

The awareness of the environment and of the protection of its resources has advanced another step with the concept of sustainability or sustainable development, which arises from Our Common Future (also known as the Brundtland Report), written in 1987 by the World Commission on Environment and Development (Aguado Puig, 2018, pp. 57-71). The World Commission on Environment and Development establishes three objectives to achieve sustainable development, noted in the Brundtland Report (Brundtland, 1987):

• To evaluate the critical issues related to the development and the environment, and frame realistic proposals thereon.

• To propose new ways of international cooperation capable of influence in the politics formulation about development and environment issues, with the aim of reaching the required changes.


• To promote proper levels of awareness and commitment of individuals, organizations, companies, institutions, and governments.

Those objectives, among other aims, feed the need to establish norms and examine all the planned actions regarding sustainable development on a global scale. This report was the forerunner of a series of several summits and committees intended to address sustainability issues. One of the most known is the Rio de Janeiro Earth Summit or Rio Summit in 1992. This United Nations Conference on Environment and Development reports many results about strategic plans to approach the sustainable development issues. The most relevant one is Agenda 21, which represents the main tool for planning sustainable development actions at both global and local levels in which culture is the fourth pillar of sustainable development (Nurse, 2006).

From the emergence of Agenda 21, several territories started the sustainability race to achieve the established development objectives. To achieve these objectives, the United Nations and some authors laid down the division of three dimensions of sustainability: economic, social, and ecological or environmental dimensions (e.g., Artaraz Miñón, 2001).

In 2015, the United Nations Global Assembly went one step forward and created a new agenda for sustainable development, this time with the premise, “Transform our World: Agenda 2030 for Sustainable Development”, setting 17 goals and 169 milestones, rather than the old division of three dimensions of sustainability (Diaz-Barrado, 2016).

These 17 sustainable development goals are strongly associated with all the factors for a smart destination, representing all the dimensions or layers and its main axes (Figure 8).

Figure 8. Sustainable Development Goals Source. United Nations (2020).

c) The third central axis is governance. Acting as a regulator element, with policies that promote sustainability and innovation, it includes digital transformation in the public and the private



business network in order to adapt to new trends and improve accessibility and inclusiveness for all humans. It also aims to foster people’s awareness, tolerance, and respect, not just in terms of social issues, but also considering the impacts of residents and visitors on the environment. In this sense, the governance axis becomes essential when the focus is on cultural tourism since the participation of visitors is a key point to enhance their experiences.

It is also relevant in terms of processes, especially when governance works together with technology. One example of this kind of transversal action is shown in the study, “Forecasting museum visitor behaviors using deep learning” (Wu, 2019), in which Big Data are used to determine the volume of visitors, or more precisely, their behaviors.

d) Lastly, innovation completes the four central axes that support the smart model. Similar to technology, innovation acts as an essential pillar in the search for good practices, extolling creativity, entrepreneurship, and intra-entrepreneurship as differentiating factors involved in a smart destination, a smart city, or smart tourism.

There are a lot of different perceptions of this concept, but the UN World Tourism Organization (2017) prefers the simpler and more direct definition by Dvir & Pasher (2004, p. 16): “the process of turning knowledge and ideas into value.” However, if an invention can stay at the level of a prototype, innovation has to be a “market-based application of new processes, products or forms of organization,” with the potential to be commercialized (Peters & Pikkemaat, 2006, p. 2). In the field of cultural tourism, the main innovations were rather based on ICT products, such as smart cards or mobile applications (Garau, 2017), but these are now extended to new mediation experiences based on mixed reality (MR) or technologies that revolve around interactivity and personalization of the experiences.

Once the four consensual axes of a smart destination have been observed, another one is emerging as fundamental and more so in the cultural tourism context, that is, accessibility. In fact, as Femenia-Serra & Neuhofer (2018) point out, Spain based its new tourism model that would set the framework for a smart tourism destination on three concepts (along with technology): innovation, sustainability, and accessibility (Segittur, 2015). These three fields of application are particularly relevant in the cultural tourism sector because they also represent values and orientations for cultural institutions. They are not mutually exclusive, as they enrich each other through the use of technology. The following section details these three components in the smart heritage tourism context.

Smart Heritage and Tourism

Smart heritage is a concept that is evolving mostly around different projects and public initiatives, such as Smart Heritage City (SHCity, an Interreg Sudoe project, 2016–2018), the Smart Heritage Project (financed by the Interreg Adrion Programme, 2014–2020), the Organization of Cultural Heritage and Tourism for Real-Time Smart Accessibility (Or.C.He.S.T.R.A. national project,


2013–2015), and the Indian National Trust for Art and Cultural Heritage (INTACH) Heritage Academy that proposes to develop a Smart Heritage Strategic Plan (SHSP) for every smart city.

Since the mid-2000s, the rapid evolution of ICT has triggered a considerable change toward cultural experiences, “rapidly moving from an old vision, providing tourists with static information consisting of a large amount of ‘cultural signs” (Amato et al., 2017, p. 2). The tendency is now toward co-creation experiences, where the tourist plays an active role (such as in creative tourism), which links cultural tourism closer to the experience economy (Pine & Gilmore, 1998). In this sense, it corresponds to how the smart tourism ecosystem (STE) uses technology: “a tourism system that takes advantage of smart technology in creating, managing and delivering intelligent touristic services/experiences and is characterized by intensive information sharing and value co-creation” (Gretzel, Werthner, Koo, & Lamsfus, 2015, p. 560). This definition marks a difference from e-tourism, which has also developed plenty of opportunities in the field of digital marketing through the use of ICT. As mentioned, these intelligent touristic services and experiences are mostly supported by three factors in which technology is present: innovation, sustainability, and accessibility.

Innovation

Technology is of utmost importance in innovation as it can provide new dynamic solutions to problems related to a quick-changing world: “[ICTs] are changing people’s enjoyment of museums and other forms of culture and art collections by creating new cultural experiences for end-users and enhancing their emotional and evocative side” (Giaccone & Bonacini, 2019, p. 342). Nomad museography, with the use of apps and wearable devices, such as smart glasses, smart wristbands, smart gloves, and smart watches (Buonincontri & Marasco, 2017), facilitates the encounter with a cultural element and grants more autonomy to the user. Innovation is fundamental for tourism competitiveness, whether in its application in products and services or in processes. In cultural tourism, a turning point in the development of technologies has been the use of MR (provided by AR or VR) that changes the time–space relation between the visitor and a site, as well as interactivity that reinforces engagement and deepens the experience.

Mixed Reality to Transcend the Physical World

The term mixed reality refers to the merger of a digitally reconstructed reality with the physical reality that surrounds humans, where the user can interact with this combined world. Milgram & Kishino (1994) first acknowledged a “virtual continuum” between the “real environment” and the “virtual” one. In that continuum (Figure 9), MR encompasses augmented reality (or AR, which corresponds to the superimposition of a virtual layer on the physical reality), to augmented virtuality, which refers to the addition of real objects to virtual ones. AR, where human perception of the physical world is expanded and comprehension of a tangible element is facilitated by the use of the complementary elements added to it, and VR, where the environment is totally computer



generated (and usually immersive through the use of a head-mounted display, such as Oculus Rift), are probably the most used in museums and heritage sites.

Figure 9. Simplified Version of a Virtuality Continuum Source. Adapted from Milgram & Kishino (1994).

However, MR does not only enhance the physical world through a digital layer added to it (as AR could do) but goes further by blending the two layers into one recreated reality through the use of holographic or other immersive devices. Thus, using a single technology makes it possible to cover various forms of AR and AV (Kassahun Bekele et al., 2018), where objects and humans interact in that mediated space. Smart tourism applications increasingly feature MR (Buonincontri & Marasco, 2017), which is currently adopted by some cultural institutions. As opposed to VR, which totally immerses the visitor into another reality and thus isolates the individual in a single experience, MR leaves an open space in the physical world that allows visitors to interact and share their experiences while living it.

Figure 10. Difference of Perceptions Among Augmented, Virtual and Mixed Realities. Source. Authors’ own elaboration

The augmentation of reality is particularly relevant for enhancing incomplete archaeological assets to virtually restore them, include a physical context that helps in understanding them, or show elements that are inaccessible to the visitor for conservation purposes. With MR, heritage is desacralized in a way by the proximity it provides and the transformation it allows. It “leaves the strict notions of petrified cultural heritage and emerges in a contextualized world of informative intangible and tangible sensation” (Ioannides et al., 2017, p. vi).

Hololens is an innovative technology that provides MR experiences through a Head Mounted Device (HMD) interface. It has been used in different contexts, where a monument model has


taken a virtual full-scale format with different layers of information or access to impossible locations has been provided. For example, in 2018–2019, The Musée des Plans-Reliefs in Paris hosted an MR exhibition called The Mont Saint-Michel – Digital Perspectives around the 1709 Mont-Saint Michel model to explore this French icon through holographic enhancement (Trouillot, 2019). Some of its features are enhanced as well, such as the evolution of its modifications with the orientation of a voice-over presentation for space–time travel. Another MR exhibition was hosted in the oldest Zen temple in Kyoto, in collaboration with the National Museum, in 2018 (Hakuhodo, 2018). It enhanced a 400-year-old sacred artwork through a 3D guide, personified by the Zen monk Asano-san, and the use of other digitized artifacts and special effects to contextualize the artwork. In the MuseumEye project, a virtual holographic guide provides a personalized informative tour, where the device behavior is adapted to the visitor in the spatial holographic images of 120,000 pharaonic antiques from the Egyptian Museum in Cairo (Hammady et al., 2020). In the LBJ Presidential Library in Austin, Texas, a project used MR technology to let the visitors virtually open windows on visual and audio archives that are usually unavailable for conservation purposes (Cortina productions, 2017).

These examples remain scarce in the cultural sector, but this technology promises to provide a new narrative, richer and more complex, in which the visitor plays an active part, due to the user interaction with the virtual features.

Enhancing the Experience Through Interactivity

Interactivity has been at the center of a new kind of museology based on experiments, mostly adopted by science museums, of which Exploratorium in San Francisco was a pioneer in the 1920s. However, now that technology is omnipresent in every sphere of people’s lives, cultural institutions, particularly museums, have to be part of this reality by adapting their promotion strategies and the ways that they present their collections to attract visitors, keep their interest, and make them want to return or recommend the experience.

The term interactivity is almost overused because of its appeal when selling or presenting a tourism product, and it encompasses a wide range of situations. Basically, any communication situation involves interactivity with or without technology. However, the digital world opens new possibilities, for example, through the use of bots. The bots are being implemented in an increasing number of museums to provide information to visitors online or in situ. With machine learning, bots (Charr, 2019) can impersonate a dinosaur, such as in the Field Museum, or a historical figure, such as Anne Frank, and orient the visitor on informative data or cultural content. AI also helps visitors explore museum collections in a dynamic and innovative way. For example, the Metropolitan Museum of Art in New York City offers a search engine powered by a cognitive search where the artworks can be sorted out through tags (Surapaneni et al., 2020). The Prado Museum in Spain (2019) created a dynamic timeline with Semantic Web technology. On one hand, it offers a collection-augmented reading through natural-language understanding (NLU); on the



other hand, it uses Linked Open Data for the timeline, where the user can superimpose different layers of comprehension of an artwork.

In the context of smart cultural tourist experiences and with mediation tools, interactivity could also be defined by its asynchronous non-linear structure, where the participant is at the center of the experience and in a way, constructs the narrative by the choices made; for every action, there will be a reaction (Santacana i Mestre & Martín Piñol, 2010). This can involve a device with an interface, such as a phone, an interactive kiosk, or a multi-touch screen. While the first two are criticizable for the way that they isolate the user in a single experience, the latter is preferable because it allows multiple users to interact with the device and among themselves. In this way, they contribute to the social experience of visiting a museum by fostering interaction among the visitors (Vaz et al., 2017). These devices are usually embedded in a table or in a screen on a wall, such as in the Multi-touch Gallery One in the Cleveland Museum of Art (USA). It also exists in the format of a sphere, a device called the Puffersphere, which features both inflatable or hardball touch-on screens that can be paired with a separate touchscreen that is interactive to expose storytelling based on data, motion, video, and code (Murphy, 2018).

However, other experiences have removed this physical barrier in order to directly connect the visitor to the cultural element. This is the case in the ArtLens Exhibition, an experimental gallery of the Cleveland Museum of Art (2020), in which interactive devices respond mostly to body movement through the use of sensors and eye trackers. With “Gaze Tracker,” where visitors sit in front of an ADA-compliant (Americans with Disabilities Act) monitor before looking at a work of art, the technology reveals how the visitors’ eyes move across it and thus speaks about its own process of interpretation. In another interactive device, visitors can interact playfully with works of art by striking a pose to imitate it, which fosters their analytical observation.

Projections also constitute an innovative solution to engage visitors through interactivity (Georgescu Paquin, 2020). Since 2014, the Moment Factory studios (2020) have implemented innovative immersive experiences in various cultural landscapes through projection mappings, lights, and interactive devices. Lumina is a series of enchanted night walks that provides a new narrative on the location by transporting visitors to a magical environment. These kinds of experiences use emotions at the center of their storytelling. Such interactive collective experiences encourage social cohesion and avoid the visitor’s isolation with a device in order to make him/her enjoy and interact with the surroundings.

Another way to engage with the surroundings is gamification, which is valued by the users, such as in the Edinburgh World Heritage City App, where the maps and the information are complemented by interactive features, such as competitive games, or by a space to add comments and photos, as well as send postcards. A similar approach has been followed in the city of Ljubljana, with its Nexto App for experiencing the local culture, which is included in the European Commission’s (2020) Compendium of Best Practices. 2019 & 2020 European Capital of Smart


Tourism Competitions’ as an example. More than an audio guide, it is presented as a storytelling app that allows the user to scan objects and interact in games with the help of VR.

Finally, the use of social media is inevitable for creating a collective experience. The award-winning site VanGo Yourself (s.d.), where people are asked to recreate a work of Van Gogh with different levels of difficulties, inspired many other museums to create challenges based on their collection during the COVID-19 confinement. Social media are precious allies for museums and cultural institutions to extend their presence to the digital sphere. In short, interactivity is proven to be key in all stages of cultural tourism, particularly for mediation.

Sustainability in the Cultural Tourism Context

As mentioned, sustainability, which is a multi-layered concept, is also a transversal axis to which technology can contribute. In the context of cultural tourism, sustainable growth (Pereira & Martins, 2018) can be obtained with technological tools to control visitors’ flows and avoid massification damage impacts. However, two other types of sustainability are especially relevant with regard to heritage, the first being related to the symbolic value of heritage, that is, social and cultural sustainability. Heritage is a cultural good (tangible or intangible) that has been collectively selected for its symbolic values and criteria in order to be conserved, enhanced, and transmitted to future generations. Therefore, ICTs can provide innovative support for its cultural and social sustainability. The second type of sustainability refers to its physical preservation through the use of smart building tools, particularly the sensors to monitor the state of humidity, temperature, and so on.

Social and Cultural Sustainability: Transmission of Tradition and Memory

One of the fundamental steps in the heritage process is its transmission in order to be enhanced and thus, fully recognized and valued. The way that it is exhibited and interpreted will help communities gain a better understanding of this heritage and thus contribute to its preservation. Two types of heritage can be enhanced by ICTs: intangible (or immaterial) and tangible (or material).

Intangible cultural heritage (ICH) is a relatively new institutionalized concept that has been officially recognized by UNESCO for less than 20 years, with the Convention for the Safeguarding of Intangible Cultural Heritage (UN Educational, Scientific and Cultural Organisation (UNESCO), 2003). It refers to the know-how and the traditions that practitioners have to teach in order to safeguard them. In this context, the role of technology can be perceived as double-edged. “Although modern technologies are often identified as a threat to traditional expressions, it is these very technological innovations that frequently play a key part in the preservation and dissemination of ICH” (Alivizatou-Barakou et al., 2017, p. 130). In fact, as the number of



practitioners of several ICH units diminishes, leading to the risk of losing the know-how, technology is proven to be effective in recording and collecting its expression, as well as its transmission, for example, through “facial expression analysis and modelling, vocal tract sensing and modelling, body motion and gesture recognition, semantic multimedia analysis, 3D visualisation and text to song” (Alivizatou-Barakou et al., 2017, p. 130).

In the cultural tourism context, there are two methods of collection and transmission: using the knowledge and the assets of the community as a whole or recording individual testimonies to transmit them in museums or cultural centers. Through crowd content and open-access policies, communities also play an active role in the process of collecting, safeguarding, and transmitting heritage in a way that can be useful in the tourism sector. ICH-Scotland Wiki, a website created by Museums Galleries Scotland (MSG, 2020), a non-governmental organization accredited by UNESCO, aims at providing a dynamic record of Scotland’s ICH practices, as well as promoting general awareness of ICH in Scotland, with the open format of a wiki available to the public for consultation and elaboration. It thus contributes to the knowledge of the identity of that territory and could serve as a basis for the elaboration of products. The other method has been used by the University of Southern California Shoah Foundation, which created a project in association with the Illinois Holocaust Museum and Education Center (2020) in order to collect and transmit the memories of the Holocaust survivors. For the past several years, they have recorded their testimonies in an interactive format, answering approximately 1,000 possible questions about their lives. These testimonies can be replicated and transmitted in front of an audience through the use of holograms, where people can interact with them, which creates a great impact on their comprehension of history through empathy.

Technology also enables future visitors to make their first contact with present-day customs of other cultures to understand and respect them better. Serious games are solutions that facilitate empathy through role-playing. The ICURA project, a concept of a 3D adventure serious game (Froschauer et al., 2010), is believed to provide an opportunity to learn more about Japanese culture and etiquette. The player, who has the role of an Austrian tourist in Japan, is a user of the Couchsurfing Network and wants to learn about Japanese culture, habits, and some language basics. This game therefore provides good support for real pre-trip planning.

Tangible heritage also benefits from technology for educational purposes, thus enhancing social and cultural sustainability. For example, the crowd-sourcing photogrammetric platform, Sketchfab, is a depository of 3D-scanned assets that can contribute to their conservation or dissemination. Europeana is a platform that gathers documents from thousands of European archives, libraries, and museums to share cultural heritage for enjoyment, education, and research. The open-access documents allow schools to use them, as well as to create apps that could be implemented in the tourism sector. More recently, the current European project Time Machine (2020) is an ambitious network of researchers from all over the world, tasked to build a vast


database, this time using AI and Big Data mining, to extract, analyze, and map 2,000 years of European history based on the collections of archives, libraries, and museums.

Smart Heritage Buildings and Historic Centers

To assure sustainability with heritage in the cultural tourism context, it is also important to prevent damage to heritage buildings and manage and monitor them through smart solutions. This focus on sustainability is therefore based on the process and services, where AI (e.g., with Semantic Web technology) can play a useful role (Anatoly et al., 2019). Moreover, in addition to building or asset conservation, the IoT can have a positive impact on the comfort of the visitor in a museum room (Siountri et al., 2018).

This technology is not new; in 2011, New York’s Metropolitan Museum of Art was an early adopter of wireless sensor technology to monitor humidity and temperature in order to react in real time against their fluctuations (Klein et al., 2017). Other technologies, such as deep learning, are used to propose models, for example, to detect, segment, and measure the damage on historic glazed tiles of the Palace Museum in China (Wang et al., 2020). Similar to this proposal, many prototypes are being studied and published, but the actual implementation remains a challenge in this sector, mostly due to the lack of funding or experts.

Several projects in Europe, such as the above mentioned (where tangible heritage suffers from tourism massification and is affected by environmental factors) focus on finding innovative and non-invasive solutions for better preservation and thus, better presentation of heritage. They are oriented toward finding solutions for adapting planning policies and helping in decision making in relation to the management and the conservation of heritage, where tourism can play a key role in its dynamization. Art-Risk (AI applied for preventive conservation of heritage buildings) is developing a new method of vulnerability and risk analysis with a new predictive model based on fuzzy logic to assess Spanish monuments. Another project, Smart Heritage City (SHCity), aims at transforming historic cities into smart historic centers using Avila, Spain, as a pilot. Among the different objectives of the project, tourism is intertwined with the issues linked with the management, damage prevention, and monitoring of heritage. The final goal is to create a unique tool of open data to manage historic urban centers and help authorities in the decision-making process. To achieve this goal, the solution is to display a network of sensors to control and respond to the risk elements that affect the buildings and their immediate surroundings, as well as the energy consumption and visitor flows.

Finally, citizens can also be involved in initiatives that are oriented toward heritage prevention and conservation so that they promote conscientiousness and collective responsibility. On one hand, institutions might create tools to avoid vandalism. For example, an app called Autography was created in 2016 by Opera de Santa Maria del Fiore di Firenze in Italy, as an effort to prevent degradation (through vandalism) in a fun and creative way (Munro, 2016). The app, as well as digital tablet stations in the Giotto’s Bell Tower, lets people leave their mark “virtually” on the



monument and convert it into a vintage postcard. On the other hand, crowdsourcing, especially with photogrammetry, is recognized as an important participatory tool for restoring buildings after disasters (Pezzica et al., 2019). Events, such as the fire that destroyed part of Notre-Dame Cathedral in Paris in 2019, confirmed the relevance of this method in building a 3D database of cultural assets so that “the tourists and inhabitants can contribute in the preservation process of cultural assets increasing the resilience of cities” (D’Angelo et al., 2018, s.p.).

Accessibility

Accessibility is a term that could refer either to a physical, mobility-related access to locations or to an inclusive vision of “Tourism for All – promoting universal accessibility,” the theme of the 2016 World Tourism Day. In the first approach, accessibility would be related to the maximization of the possibilities to arrive at a place. Location-based services, recommender systems, and context-aware systems are some of the solutions that cultural tourism can exploit in a location such as a historical center or can use to provide a personalized itinerary in a cultural institution. The second approach, which is gaining more importance and priority in the tourism sector, is fundamental for a sustainable and smart vision of a destination. Technological advances open possibilities to transmit heritage with all the senses or with a universal language. In both aspects, technology helps as a facilitator of the encounter between heritage and the visitor, optimizing its route or providing experiences that include all the collectives that could be at risk of exclusion or have disabilities.

Mobility and Personalization

Knowing how to arrive at a location in the best way possible and avoid the queues at the attraction can upgrade the quality of a trip. Technology can support tourists in their choices, as well as help monitor and manage tourist fluxes in real time at crucial points. For example, in 2016 there was a pilot project at the Basilica de la Sagrada Familia in Barcelona, Spain, which receives over three million visitors annually and uses Big Data to analyze visitors´ mobility patterns through their mobile phone data (d.LAB, s.d.). In the second phase of the study, IoT devices, such as Wi-Fi sensors, Global System for Mobile communication (GSM) sensors, and 3D sensors, will help define the visitors’ mobility, profiles, and behaviors in a better way in order to know how they move and disperse in the districts, where they are from, as well as their demographics, and finally, the dates and durations of their visits. The Office Galleries in Florence also tested an algorithm that was created in 2018 by a group of researchers from L’Aquila University in order to manage the queues of the 3.4 million annual visitors through the use of Big Data (Redazione BitMat, 2019). With the beta version, all kinds of data were compiled, such as the weather, the user profiles, the medium length of a visit, the number of visits, and other parameters, oriented toward the visitors who did not make reservations beforehand in order to avoid waiting in line.

The aforementioned project, SHCity, also developed a cloud platform that facilitates the collection, processing, and management of data on pedestrians to help prevent overcrowded spaces and allow


computer-based decision making. The information can also benefit the tourists and the residents by enhancing conviviality between the two collectives (Zubiaga et al., 2019). A tourist App was created based on the sensors’ networks that also allowed monitoring of the conservation state of the monuments. More than just providing information about the monuments to see and sharing predefined routes, it allows the users to create their own itineraries based on real-time information, taking into account their preferences. They can choose between an optimized circuit that uses an algorithm, which will save them time while visiting the city, and a personalized one, where the users select the monuments based on their itineraries (Amorim et al., 2018). The iBeacon technology (with Bluetooth) is an alternative to the QR code that helps personalize an itinerary according to the visitor’s preferences, either inside (e.g., in museums) or outside, with geolocalization and points of interests that are activated through an app. The 5G technology will provide an opportunity to improve real-time connections on outdoor locations.

Inclusive Experience

“Accessibility is a central element of any responsible and sustainable tourism policy. It is both a human rights imperative and an exceptional business opportunity. Above all we must come to appreciate that Accessible Tourism does not only benefit persons with disabilities or special needs; it benefits us all”

Taleb Rifai, UNWTO Secretary-General

(UN World Tourism Organization (UNWTO), 2016, p. 17)

Cultural institutions are increasingly aware of the importance of offering an inclusive discourse, as well as educational tools, to reach the wider public and respond to the social part of their mission. On one hand, inclusive experiences can refer to social collectives that may be at risk of exclusion, based on their age, social class, gender, or intellectual disabilities. On the other hand, an inclusive tool will take into account sensory disabilities and offer different options for everyone to encounter a work of art or another type of heritage asset.

Fine arts museums might be intimidating for people who consider themselves lacking the key to access this kind of culture; thus, a large part of the population avoids frequenting them. In the Pinacoteca of São Paulo collection, an intelligent audio guide, powered by the cognitive assistant Watson by IBM, uses a cognitive chatbot to answer questions in real time, based on the information from the IBM Bluemix cloud platform (Baeck, 2017). In this way, visitors are not ashamed to ask a guide in front of a group and can engage in a more personal way with the artworks. This idea is also found in the Brooklyn Museum (2017), but instead of using AI, people can ask a connected curator about all their doubts in real time.

The use of technology might seem challenging to reach a more mature tourist profile. A technological gap certainly exists in this range, but it should not be taken as a homogeneous group.



In fact, a study on senior citizens’ use of world heritage apps confirms that for generation W (which refers to this cohort), “ICT are essential tools for senior tourists and positively influence tourists’ final perception of the travel experience” (Ramos-Soler et al., 2019, p. 3203). Since apps are currently used in several spheres of people’s lives, the cited authors recommend the integration of other features in addition to information (e.g., AR, 3D, etc.) even though this segment of the population is not a priori interested in them.

Finally, inclusive solutions with ICTs are also oriented to a public that might have physical disabilities or are intended to enhance other senses than the sight, which is usually the focus. Recreation using works of art through 3D printing is used both for children to interact with them and for visitors with a visual impairment to feel them. Taking a step further, the National Gallery of Prague created the Touching Masterpieces (s.d.) project based on some of the world’s most iconic sculptures. With the technology of Kinect, people could feel (through VR based on the sense of touch, instead of sight) some of the most recognized works of art, such as David’s Michelangelo, Venus de Milo, and Nefertiti’s bust. Sound is also a medium through which works of art or heritage assets can be interpreted. Soundscapes (Vernuccio & Georgescu Paquin, 2020) can be recreated to project a 3D sound environment and transmit storytelling by transporting the visitor to another space or time through this sense.

Inclusion is thus a matter of finding global solutions that reach a larger public. Taking into account marginal collectives as well, creators of mediation tools have to be innovative and different, thus bringing an added value to cultural tourism by its contribution to a smart vision.

Conclusions

This chapter has intended to create a framework to understand the relation between tourism and ICT in the smart city context. According to different perspectives, a smart city represents the progression from a traditional city to a new one that aims to become a more sustainable territory, using ICT as the vehicle to reach it. In this sense, this chapter has discussed the contributions of those technologies in the cultural tourism field based on three main axes: innovation, sustainability, and accessibility.

In the smart heritage context, ICT plays a role in those axes to enhance visitors’ experiences, which can at the same time improve the quality of life of local citizens. Hence, heritage represents an essential element of a smart destination, especially when it is focused on cultural tourism experiences that use ICT to create a link between the tourism resource (tangible or intangible) and the visitor. The sector is seeing a quick progression in the development of new strategies and using the new tools that are available. However, the sometimes scarce economic resources, as well as a lack of formation in innovative ICT in the majority of cultural equipment can limit the application of those strategies or ideas. If the Met Museum of New York was able to partner up with the powerful Microsoft company and Massachusetts Institute of Technology (MIT) to host a hackathon on AI and culture in 2019, this is not the case of smaller institutions. But technology


can be applied to different levels, and the most innovative one does not guarantee its success, unless it has a solid purpose that it serves.

One example of innovation could be MR, which combines the virtual world with the real one, building a new scenario where the user can interact with this combined universe. Interactivity is also a key factor in all the stages of a visit: preparing for it, during the visit by engaging with heritage, and after the visit. The role of ICT in sustainability can support the transmission of memory or know-how, on one hand, and contribute to the physical preservation of heritage, on the other hand. Finally, technology can facilitate accessibility by optimizing and personalizing mobility, as well as open new possibilities for inclusive experiences.

As shown in this chapter, smart heritage is a concept that is still in development. However, it is already part of projects and initiatives that promote more inclusive tourism experiences and generate interest in the different segments of the target, due to the use of ICT. It is worth noting that this kind of technology initiative in culture, especially in museums, remains limited. This is essential in terms of smart model applications, but there is still a long way to go to promote the use of IT in culture, concerning not only the development of technologies that enhance visitors’ experience but also the internal processes of the tourism industry.

In this context, it is important to have initiatives and projects that promote the application of ICT for the development of smart destinations, since it will lead to the creation of new professional profiles and thus employment generation in cities, in addition to supporting better sustainability in the territories and the tourism industry. To make this possible, it will be necessary to obtain greater support from the public and the private business networks to provide resources for its achievement, as well as training for current professionals in the sector.

The latter undoubtedly represents a future line of research, and with it, the authors of this chapter leave an open door for debate, reflection, and discussion.



Key Terms

Cultural Tourism: Tourist activity defined by either the tourist motivation or the attraction visited, linked to culture: museums, heritage sites, festivals, traditions, etc.

Innovation: New ideas or values that turn into processes, products or services with the potential to be commercialized.

Smart Destination: Solution to the necessity for the increase in quality and competitiveness of the tourism destination. This challenge is also added: the innovation and the experience management, all with the use of technology, not as the final goal but a tool or a vehicle to become a more sustainable, more efficient, and more competitive territory

Hololens: Intelligent mixed reality lenses developed and manufactured by Microsoft. HoloLens was the first head-mounted display running the Windows Mixed Reality platform on the Windows 10 computer operating system (Microsoft, 2020)

iBeacon: Location-based technology that broadcasts to nearby portable electronic devices such as smartphones, tablets, watches which perform actions when in proximity to the iBeacon.

Kinect: Motion-sensing device created by Microsoft that recognizes gestures and movements.

NFC: Near Field Communication. Wireless technology that transfers data from a device to another in a close proximity, through Bluetooth for example.

QR Code: Quick Response Code. Barcode that can be scanned by a camera and provide information (visual or textual) on the element that it refers to.

Smart Technology: “Smart technologies are being used in the tourism industry to improve the holiday and accommodation experiences of the guests in the service units such as hotel enterprises, thus increasing the satisfaction. For this reason, it is the aim of this study to examine the smart tourism technologies, the current practices in hotel enterprises and the expected developments in this area in the future.” (Faith, 2019, p. 1)

Smart Tourism: Progression or advance of traditional tourism (Xiang et al., 2015) towards a new social phenomenon that is born from the convergence of Information and Communication Technologies with experience tourism (Hunter et al., 2015).

Smart Tourism Experience “Is a multi-layered type of experience, achievable in ICT based ecosystems with a dynamic interaction among all stakeholders and with a clear innovative spirit. It is a co-created, data-driven experience constructed on contextaware and real-time way.” (Femenia-Serra & Neuhofer, 2018, p. 14).


Sustainability: Key aspects that focus on answering the needs of the present without harming future generations. It can relate to three pillars (social, economical and environmental) or on the 2030 UN 17 Goals of Sustainable Development.



Experts’ insights

Innovation in the Cultural and Creative Industries. Xavier Cubeles & Joan Borràs Nogués. Eurecat, Centre Tecnològic de Catalunya.

The confluence of science, technology and creativity can contribute to a more efficient conversion of knowledge into new products, and to generate better opportunities for companies to be more competitive. This vision is given in a complementary way in two spheres. On the one hand, in the cultural and creative industries themselves, through a greater contribution of scientific and technological knowledge in companies in these sectors (along with creativity) can improve their competitiveness and generate new business opportunities. And the second sphere, in the economy as a whole, creativity is a key factor in innovation that, together with scientific and technological knowledge, provides competitive advantages to other sectors of society.

In essence, there are two types of innovation in the cultural and creative industries (which are interrelated and need to be recognized and combined): the technological and functional innovation (based on changes in the product and process through new scientific and / or technological solutions) as well as soft Innovation (based on aesthetic changes in products that provide emotional and experience differentiation).

Eurecat does not only coordinate the activities developed by the Ris3CAT media community, but it also actively participates in the design of future projects, such as PICAE, ViVIM, The Mironins and Engagement. A short overview of each one of them is provided here below.

The PICAE project (Intelligent Publication of Audiovisual and Editorial Content) will study innovative models of recommendation of audiovisual and editorial content with a double objective: to improve the user experience based on their profile and their environment and, therefore, their satisfaction and loyalty, as well as improving the digital consumption index of this content, based on identifying the products that demand these new forms of consumption and how they should be produced, distributed and promoted to meet the needs of this emerging market.

The ViVIM (Computer Vision for Multi-Platform Immersive Video) project will create a new audiovisual format based on omnidirectional video. This new format will offer end users a consistent audiovisual experience across virtual reality devices, tablets and traditional TV, rather than dividing their attention between them. This new type of content will integrate, and increase, traditional television and the increasingly common second screen (tablets and mobile phones).

The MIRONINS project will develop a platform that allows augmented and interactive reality experiences in order to create a new digital environment within the Joan Miró Foundation, where the Mironins, small drops of paint that live inside Joan Miró's paintings, help children to get into the art world and to develop their artistic abilities while having fun.


https://comunitatmedia.cat/sobre-la-comunitat-ris3cat-media/

The Engagement project will develop technologies that encourage interaction with the public of the content exhibited in museums, enriched by the analysis of data generated by their visits and offering new readings and experiences. The project unfolds the notion of expanded museum, understood as a strategy based on singularizing and personifying the visitor’s experience, multiplying the stories and overflowing the spatial and temporal limits of the museum by creating an ecosystem of digital content at its disposal.

Engaging and Successful Cultural Experiences Through a User-Centered Approach. Eduard Vandellós (CEO) Creactivitat. Disseny i tecnologia

CREACTIVITAT is a digital marketing, web design, and corporative branding company that brings innovative solutions and knowledge to its clients. It is a member of Catalonia Ris3CAT media Community’s executive committee since it leads ZINK.CAT project, which aims at facilitating the integration of new technologies applied to the cultural and experience industries. The MEDIA community is formed by companies and R & D & I agents from Catalonia’s cultural and creative industries. Its objective is to stimulate innovative activity and implement new technologies in a traditionally poorly structured sector regarding technologies, such as the cultural and experience industries. Indeed, we observe that museums’ directors, cultural centers, theaters, sports installations, touristic centers, or even the hotel industry itself believe that, by establishing its business on personal and direct attention with clients, technology could seem an out-of-reach tool that is not applicable in their daily activities.

Experience and Customers’ Loyalty

The transversal vision of the “experience” concept should highlight the tourism sector’s companies’ direct benefits of bringing new technologies to the end-users. On the one hand, there is the experience of cultural, touristic, or sports products’ consumption, where technologies like NFC or RFID provide an immediacy that is difficult to achieve in other ways. On the other hand, there is the knowledge of all the options of profitability improvement that the various technologies offer.

In this changing and fluid context, where a good experience is nothing more than the forerunner for the next one, the user becomes the center (user-centered first). At CREACTIVITAT, we seek the systemic design. Design is not only form and color. Design is the first step to promote better experiences to the end-user. We design experiences, actions, concepts, and new systems to empower the user in the decision-making process.

Building customer loyalty is one of the most complex tasks to face by companies, especially when there is a large and diverse offer. Rather than using the concept of “loyalty” which we find obsolete, CREACTIVITAT focuses on the user's behavior study to improve their experience and maintain high engagement with them.



Risk Is the New Innovation

“Innovation” is an overused term, which reveals a void of initiatives in many digital agencies. After 23 years of experience in the digital field, we prefer to talk about risk instead of innovation. Innovating could mean changing the color of your favorite pullover. Taking a risk would be to go without any pullover. An innovative agency commits to disruptive and socially interesting projects without being obsessed with this label. A strategy for innovation goes by working with a fluid perspective and agile methodologies, without roles nor hierarchy, which could spark interest where the least expected.

How to Generate Engagement

“Inspiration exists, but it has to find you working,” Picasso said. There is no magic recipe; there is work. Generating engagement is to create successful experiences, where the knowledge is acquired through the embodiment of that experience. It could be more or less original; what matters is what is transmitted to the end-user.

Like innovation, creativity can also fall into an overrated status with pretentious proposals. However, the cultural experience is always fulfilling, even when it is negative. Therefore, we have to respect personal tempos without narrowing it to a marketing perspective. The same thing happens when we incorporate technology into the cultural experience. Technology should be a facilitating tool for the experience and as transparent as possible. When we attend a magic show, we all want to know how it was done, but do we really need to know the trick? We don’t think so. New technologies are just another means that allows us to create incredible experiences. Let’s enjoy them.


Discussion Questions

1. In your city, identify 2 initiatives that use ICT in cultural tourism, one that you consider smart and the other not. Justify why.

2. Do you think that innovation is always positive? Argue with examples 3. How can culture contribute to governance in a smart destination? 4. In your opinion, why is cultural tourism important for a destination to be smart? 5. What do you think museums should improve in order to be more smart? Give some

examples. 6. What kind of issues can raise the use of Artificial Intelligent for smart purposes? 7. Discuss interactive experiences with ICT that you encountered and you consider

fundamental for all stages of tourism: pre-visit, during the visit and after the visit. 8. What technology is infra-used in a smart destination, in a cultural context? Give a concrete

example of a possible application. 9. What is the next step to be developed for a destination to improve its smartness in a cultural

context? 10. Is there an application of ICT in smart cultural tourism that you are critical with? why?



References

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