Music cultural heritage, as an important component of cultural heritage, possesses significant cultural value and inheritance significance. With the development of society and the passage of time, these precious traditional music cultural heritages inevitably face the dilemma of gradual depletion or even disappearance. In the digital age, effectively protecting and inheriting these music cultural heritages has become an urgent problem to be addressed. Therefore, this paper proposes an application method based on digital twin technology, exploring how to protect and inherit music cultural heritages through digital twin technology. By leveraging digital twin technology, a virtual museum dedicated to showcasing the richness and historical connotations of music cultures is created, preserving and simulating the soundscapes of historical music eras. Through the integration of audio archives, 3D modeling, and interactive displays, users can immerse themselves in the experience of historical music in the digital space. This paper evaluates the feasibility and cultural preservation value of this digital music history museum through the creation of music digital twin technology instances and user survey feedback, and discusses the prospects of digital twins in the field of music cultural heritage.

The study presents the evaluation of integrating Extended Reality applications in situ to foster visitors' experience at the Tomato Industrial Museum "D. Nomikos". This paper firstly provides an outline of the methodological, technological, and museological approaches undertaken to integrate XR in a quest to enhance visitors’ meaningful engagement with the industrial heritage-related exhibition. Storytelling and narration are key elements of the museums’ museological design [1] through audio tours and interactive AR-based visualization of the machinery’s role as well as internal function. This paper presents and discusses the evaluation findings. We adopted the User Experience Questionnaire method as the main vehicle for gathering quantitative data and analyzing the results with the use of corresponding metrics and benchmarks embedded in this evaluation tool. Moreover, we conducted semi-structured interviews and combined the qualitative data accrued in the form of accounts, suggestions, and remarks to reach more rich and dependable conclusions. This paper aims to offer both an instance of practice to the research community and a broader discussion of the challenges and prospects connected to the quest of employing emerging technologies and assessing their impact on visitors’ museum experience.

School-museum relations have gained considerable attention in the academic literature in recent decades. However, there still needs to be more research on their role in enhancing science education. This work reports the outcomes of the recovery, study, and valorization of the 18th-century geo-mineralogical collection belonging to the Collegio Nazareno, now housed at the Istituto San Giuseppe Calasanzio in Rome. The project consisted of four phases: 1) the securing of more than 1720 specimens; 2) their cataloging using the Italian national catalographic standards for the mineralogical and petrological heritage; 3) the establishment of new exhibit and storage areas; 4) the development of a self-instructive exhibition itinerary. The project, which was participated by the students enrolled in the fourth and fifth high school classes, revealed fascinating and unique specimens such as the ones collected by prominent Italian naturalists –e.g., Scipione Breislak (1750–1826) and Carlo Giuseppe Gismondi (1762–1824) – or those comprising the mineralogical collection donated by the Holy Roman Emperor Joseph II (1741–1740) to the Mineralogical Cabinet of the Collegio Nazareno in 1785. This work thus offers significant insights into the importance of natural history school museums as useful (and oft-forgotten) learning tools in science education.

The documentation and management of the cultural heritage of the COVID-19 pandemic as well as the heritage digital age are emerging discourses in cultural heritage management. The enthusiastic uptake of a generative artificial intelligence application (ChatGPT) by the general public and academics alike has provided an opportunity to explore i) whether, and to what extent, generative AI can conceptualize an emergent, not well-described field of cultural heritage (the heritage of COVID-19, ii), whether it can design an exhibition on the topic and iii) whether it can identify sites associated with the pandemic that may be(come) significant heritage. Drawing on an extended ‘conversation’ with ChatGPT, this paper shows that generative AI is capable of not only developing a concept for an exhibition of the heritage of COVID-19 but also that it can provide a defensible array of exhibition topics as well as a relevant selection of exhibition objects. ChatGPT is also capable of making suggestions on the selection of cultural heritage sites associated with the pandemic, but these lack specificity. The discrepancy between ChatGPT’s responses to the exhibition concept and its responses regarding potential heritage sites suggests differential selection and access to data that were used to train the model, with a seemingly heavy reliance on Wikipedia. The ‘conversation’ has shown that ChatGPT can serve as a brainstorming tool, but that a curator’s considered interpretation of the responses is still essential.

In the paper, we explore the notion of global digital citizenship, particularly with respect to museums and cultural heritage organizations. In this perspectives study, we explore current examples of how museums can adapt to the tenets of global digital citizenship necessary to navigate and participate in increasingly interconnected digital worlds and culture, and to collectively address global challenges.

This paper looks at key elements of global culture that are driving a new paradigm shift in museums causing them to question their raison d'être, their design and physical space, recognizing the need to accommodate visitor interaction and participation, and to reprioritize institutional outcomes and goals reexamining their priorities. As heritage sharing in online spaces reaches across national, political, and social boundaries on platforms and networks, this has been driven by museum engagement with Internet life during the pandemic. Museum relationships and interactions with communities both local and global, continue to challenge core values and precepts, leading to radical changes in how museums define their roles and responsibilities. In this new cultural landscape, museums are responding to human digital identity in a tidal wave of human interactions on the Internet, from social media to online sharing of images and videos. This is revealing shared perspectives on cultural conflict as being tied to freedom of expression of one’s heritage embedded in digital identity.

Museums increasingly recognize the need to address advances in digital culture which impact the expectations and needs of their audiences. Museum collections of real objects need to be presented both on their own premises and digitally online, especially as social media becomes more and more influential in people’s everyday lives. We investigate these challenges magnified by advances in digital and computational media and culture looking particularly at recent and relevant reports on changes in the ways museums interact with the public. We find that the Covid-19 pandemic has accelerated many of the changes driving museum transformation. We believe that museums must be more prepared than ever to adapt to unabated technological advances set in the midst of cultural and social revolution, now intrinsic to the digital landscape in which museums are inevitably connected and participating across the global digital ecosystem where they inevitably find themselves entrenched.

Background: The saga of repatriating cultural artefacts continues as western museums face increasing pressure from claimants. Western museums that have been involved in the display of historical artefacts, most of which were acquired during the colonial period, have come under huge criticism. A heated discussion of late has been the legitimacy of retaining artefacts in western museums. This study aimed at investigating the ongoing debate regarding the restitution of artefacts. Objective: To investigate the arguments for and against the repatriation of artefacts in relation to diplomatic exchange, preservation, legitimacy and usefulness. Methods: Records will be searched in electronic databases including the University of Manchester Library for Social Anthropology, Scorpus and Project MUSE. Search terms will include "return of artefacts", “return of historical objects”, “return of cultural objects”, “western museums”, “restitution of artefacts”, “repatriation of artefacts”, “restitution of historical objects”, repatriation of historical objects”, “restitution of cultural objects”, “repatriation of cultural objects”, "material culture", "return of antiquities”, restitution of antiquities” and “repatriation of antiquities”. Coding and analysis will be done in SWIFT-Review. The deductive and inductive approaches will be used in synthesising results. Both tabular and graphical methods will be used to present results. Ethics and Results: This study did not need any ethical approval. Results on study characteristics, quality and risk of bias assessments as well as the synthesis of arguments for and against the restitution of artefacts will be presented. The review results will be reported according to appropriate guidelines and disseminated through publication in a relevant journal and presented to stakeholders where necessary. Conclusions: This review will be based on current protocols for systematic review and qualitative evidence synthesis. The study will be the first review that seeks to pull together claims for and against the return of cultural artefacts. The conclusions that will be drawn and recommendations will provide the basis for further research into the debate and the way forward. This study will also help identify the existing gaps regarding the subject matter.

Tiny by physical size, the State of Israel retains some of the world’s most important cultural treasures, along with many other great cultural institutions. Archeological treasures have yielded much information as far as biblical history and have been well adapted to a Zionist narrative by both the Jewish press and international news organizations, such as the New York Times whose archives are replete with reports of Jewish history being dug up by the Jewish people. Once the State of Israel gained independence in 1948, the course was set for the development of historical museums whose discourse would reflect the most significant events in Jewish history, most especially the Holocaust and the state of constant warfare that continues to imbue the cultural consciousness of its citizens. In this paper we outline, through categorization, the various historical museums, which are currently operating. Furthermore, this article hopes to shed some light upon the cultural sensibilities conveyed through these institutions.