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Urška Starc Peceny, Tomi Ilijaš Matevž Straus Digital Innovation of Cultural Heritage

initiator of Tourism 4.0 Partnership
Figure 1 Potential for Technological Innovation in the Value Chain of Cultural Heritage (adapted from De Voldere et al.,
2017).

unlock the innovation potential in the tourism sec- • in the process of the exhibition: using presentation
tor but to affect every field around it by creating an technologies (e.g., VR, AR, holograms, 3D models
ecosystem in which physical and digital space, in- and prints…),
frastructure, people and technology behind it merge • in the process of promotion: presentation tech-
into one seamless experience of many personalised nologies often have more significant promotional
outputs (Peceny, 2019). The knowledge, expectations, potential due to the attractiveness of technologies
and experiences of tourists, defined as Tourist 4.0, are and digital storytelling,
utilised to build new services and products to raise • in the processes of re-use (tourist attractions, cre-
the satisfaction of all stakeholders’ experiences in ative industries, re-pro-ductions (e.g., souvenirs),
the tourism ecosystem, which is done with the help educational programmes, community building
of the key enabling technologies from Industry 4.0, activities…): using presentation and interaction
such as the Internet of Things, Big Data, Blockchain, technologies (e.g. 3D printing and reconstruction,
Artificial Intelligence, Virtual Reality and Augment- AR, VR, MR, mobile apps, personal assistants…).
ed Reality. Within the value chain of cultural heritage
(De Voldere et al., 2017), several fields of disruption Thus, the use of intelligent technology applications
that digital technologies are potentially creating can presents an opportunity for the heritage sector and
be identified: cultural tourism – not only concerning digitalisation
in the process of research: using technologies for for archiving, documentation, analysis, and presenta-
detailed inspection (e.g., LiDAR, laser scanning, pho- tion, but primarily for the development of new points
togrammetry) and analyses of digitised material (e.g., of interest, heritage-inspired digital branding and
digital archives and digital copy collections, such as marketing, and post-tourism creative narratives, as
Europe-wide Europeana and 3D-Stock.eu for 3D well as for management, monitoring, and citizen par-
models of cultural heritage), ticipation. Although heritage institutions have always

118 | Proceedings of the 7th UNESCO UNITWIN Conference