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These cultural organizations are facing the constant challenge of budget limitations, decreasing staff and increasing demands, which explain why museum directors are paying greater attention to visitor changing needs and expectations (Komarac, Ozretic-Dosen, & Skare, 2017; Ober-Heilig, Bekmeier-Feuerhahn, & Sikkenga, 2014). Despite the fact that some of the “museum superstars” are raising their bugdets due to the increase of visitor arrivals, most of the museum attendance indicators denote a decrease in visitor numbers (Mencarelli, Marteaux, & Pulh, 2010). Due to this financial situation and trying to guarantee the preservation of heritage assets, museums have become institutions of leisure and knowledge. The convergence of these two goals, educating and entertaining, has been named edutainment, which is the new main objective of museums. The tsunami of advances in Information and Communication Technologies (ICTs) has revolutionized the way visitors plan, enjoy, perceive, and share their experiences (Yoo & Gretzel, 2017). The speedy growth of technology has also affected museum management and thus the museum industry development. These cultural institutions are attempting to cope with the needs of tomorrow’s muse- umgoers. As a consequence, these have recently emerged as the labs of the future culture, where all kind of hightech experiments are tested in order to offer differ- ent edutainment options that compete with multimedia entertainment platforms such as Netflix. Hence, 2016 was also known as “the #museumdata year” (Center for the Future of Museums, 2015). In the so-called experience economy, museums are adopting all these initiatives so as to improve their service differentiation. Robots, Artificial Intelligence and Service Automation in Travel, Tourism and Hospitality, 239–253 Copyright © 2019 by Emerald Publishing Limited All rights of reproduction in any form reserved doi:10.1108/978-1-78756-687-320191018 http://doi.org/10.1108/978-1-78756-687-320191018 240    Nuria Recuero Virto and Maria Francisca Blasco López Technological solutions have significantly changed museum service design and delivery. Websites were just the beginning of the Robots, Artificial Intelligence, Ser- vice Automation (RAISA) revolution. Internet also brought other digital innova- tions that democratized culture, such as museum virtual tours and Google Arts & Culture. Bring Your Own Device (BYOD) gadgets across beacons, Near Field Communication (NFC) tags, Quick Response (QR) codes, bots, apps, wearables, and Internet of Things (IoT) devices have been developed to track in real-time visitors’ needs and behaviors that improve visitors’ experiences (Recuero, Blasco, & García de Madariaga, 2016). “Technology-empowered experiences” are an opportunity to museums as these institutions seek interactive, embodying and immersive tools that satisfy a wider range of audiences (Hede, Garma, Josiassen, & Thyne, 2014; Wilson- Barnao, 2017). Museums are now facing how to implement RAISA in museums so as to provoke memorable experiences. Robots are starting to be used in some museums, as tour guides, to detect emotions, develop art critics, and permit dis- able people visit the museum (Fukunaga, Hiruma, Komiya, & Iba, 2012). Visitors desire to use hightech devices as this practice completely transforms the museum services into a real opportunity of enjoying the entire “visitor journey map,” from its first stage of considering visiting the museum to the moment of ending the visit, sharing experience and feedback. Given the significant impacts of ICTs, technological innovations not only have offered museums creative ways to engage visitors, but also new tools to improve the preservation, restoration, rehabilitation, reconstruction, curation, interpretation, collection, and exhibit presentation of heritage assets (Budge & Burness, 2017). Heritage professionals discovered that hightech can be employed to preserve and restore artworks across nanotechnology, high-definition infrared, and 360° one- click panoramic cameras (Lega, d’Antonio, & Napoli, 2010; NanoRestArt, 2015). Nowadays, drones are overflying deserts and jungles looking for archaeological Fig. 1.  The Use of Drones to Record Endangered Archaeological Sites in Peru. Source: © Luis Jaime Castillo Butters (used with permission). Robots, Artificial Intelligence and Service Automation in Museums    241 treasures (see Fig. 1) by mapping, recording, and capturing undocumented infor- mation more efficiently than by using only satellite technology as these are able to prospect geophysical inaccessible landscapes (Stek, 2016). Thus, museums are constantly looking for a balance between their need of increasing visitor arrivals and their preservation objectives. However, the regular adoption of RAISA in museums is still in its infancy (Ivanov, Webster, & Berezina, 2017). In this chapter, we argue that technological innovations are one of the key drivers and determining factors in guaranteeing visitor arrivals and heritage preservation. Hence, the main objective of the chapter is to consider and outline the contribution of RAISA in the museum sector. The specific goals of the chapter are to (1) briefly expose a chronological framework of museums’ orientations; (2) explore the influence of RAISA in museums’ services design; (3) acknowledge RAISA implementations in preservation management; and (4) summarize the skills set required in the emerging RAISA millennium. A Chronological Framework of Museums’ Orientations: From Preservation-oriented to Technology Driven Museums have always been perceived as “repositories of information and objects” and their staff as conservers, researchers, and educators. Historically, these institutions were object-focused. This stage can be considered as preservation- oriented. In this regard, many managers considered themselves as “guardians of the national heritage” (Garrod & Fyall, 2000), which has caused great debate among the museum profession. Unfortunately, funding sources became to be limited at the same time competition for increasing visitor arrivals as a way to ensure economic benefits was intensifying. As a consequence, these institutions were forced to shift their focus from “preserving and studying heritage assets” to “offering services and attending visitors” (Komarac et al., 2017). Although this way of thinking rose almost with the inauguration of many museums, manag- ers are still facing the need to reconcile curatorial and commercial imperatives that guarantee museums’ sustainability (Evans & Rentschler, 2012; Recuero et al., 2017). Visitor-orientation stage has been already conceptualized in three periods that define museum marketing (Gilmore & Rentschler, 2002): ⦁⦁ Foundation (1975–1983). Studies main concerns were visitor education, pre- paring museum professionals to acknowledge the relevance of visitor studies and some studies analyze the economic influence of heritage on the society. ⦁⦁ Professionalization (1988–1993). Some museums started to include marketing departments and started to consider entrepreneurial options. ⦁⦁ Entrepreneurial (1994–present). Now, museums diversify revenue sources and are constantly proposing collaborative marketing models. For almost 20 years, these institutions have been data-directed by using all the communication tools offered by websites (Capriotti, Carretón, & Castillo, 2016). Since the 1990s, museum website have modified the traditional service delivery from 242    Nuria Recuero Virto and Maria Francisca Blasco López simple shop windows of prices, location and opening hours to vibrant catalogs that even allow the online visit to the museum spaces (Padilla-Melendez & del Águila- Obra, 2013). However, the adoption of innovative advances is an approach that entails all the organization and changes all the previous work structure. The consolidation of the use of websites across the emergence of blogs, social media, photo sharing, and virtual tours has consolidated co-creation and participa- tory experiences (Recuero et al., 2016; Russo, 2011). The big challenge for museums has been social media because it has really meant a modification in their customer service. In the data-directed period, special attention was focused on visitor surveys and it began to be analyzed the impact of museums’ success on Internet (Villaesp- esa, 2016). Museums are currently combining physical and electronic spaces so as to maximize audiences’ experiences (Choi & Kim, 2016). Museums started to announce BYOD programs inside the museum and promote the use of their apps, online pay- ment, reservation systems, QR codes, beacons, NFC tags, and social media. For example, pokéstops have been placed inside museums that have allowed visitors not only explore museums, but also interact and even play in-house. The presence of Internet in museums is of increasing relevance in the current period that can be deemed as technology driven. Nowadays with the advent of hightech innovations, visitors are demanding embodying, multisensory, and participa- tory experiences. The rise of wearables, Augmented Reality (AR), Virtual Reality (VR), robot guides, AI, machine learning, service automation, and IoTs are just the beginning of the RAISA millennium the museum sector is facing (Kabassi, 2016). Moreover, the user experience (UX) concept has adopted numerous mean- ings that are all related to the emotions that emerge from the use of these gadgets. Implementations of AI are also taking place at museums to modify the tradi- tional exhibition design, by offering more personalized options to visitors (such as identifying themselves with a museum painting). Besides, RAISA has also been implemented in heritage management. AI software products are used to detect the authentication of paintings (Wu, 2016). Machine learning and deep neural networks are classifying periods in art history. Pioneering museums that are experimenting with RAISA devices perform this technology-driven stage. Never- theless, there are still museums not prepared to enter the experience economy of the twenty-first century due to the dilemmas about the way in which a marketing approach should be adopted (Komarac et al., 2017). RAISA in Service Design: Participatory and Multisensory Experiences Many museums have taken down the “do not touch” signs to allow visitors not only to touch artifacts, but also interact with them, which has created a friendly atmosphere. These heritage assets are providing a more open access to their collec- tions across technology. In this regard, five revealing advices have been suggested (Chan & Cope, 2015; Jung & Dieck, 2017): (1) allow museumgoers to play; (2) design interactive experiences that involve multi-players; (3) implement a BYOD Robots, Artificial Intelligence and Service Automation in Museums    243 programing that makes visitors want to have a “look up” experience and only use their devices to take photos; (4) offer technology services as an option and allow users co-create; and (5) work in conjunction with your digital resources; recom- mend a pre-, during, and post-digital visit. Museums are perfect arenas to perform stimuli that make visitors get immersed in a unique experience. The new hybrid experiences, based on education and entertain- ment, that museums offer can be regarded as the cornerstone of visitor satisfaction where emotions are considered key drivers (Evans & Rentschler, 2012; Ober-Heilig et al. 2014). Therefore, museums challenge visitors to understand, acknowledge, and appreciate ideas that are unknown to them by providing a wide range of activi- ties and services that offer a better understanding of the information, as well as the global experience visitors are looking for that include leisure, culture, education, and social interaction (Kemp, 2017). Museums services have been redesigned to provoke memorable experiences in such an extent that visitors will want to repeat their visit (Del Chiappa, Andreu, & Gallarza, 2014). Nowadays, new performances are held in museums, such as the opera “Scary Beauty” celebrated at the National Museum of Emerging Science and Innovation (Tokyo), which is conducted and sung by an android equipped with artificial intelligence (Kono, 2018). Internet has changed the way museums communicate with their audiences, evolving them in a continued dialog that has established a more user-centered, participatory, intensive, collaborative, and engaging relationship that has allowed them have a greater sense of ownership (Karaman et al., 2014; Kemp, 2017). Museums have had to change their communication strategies, and handle bidi- rectional conversations that allow the co-creation of museum services. Apart from human-guided tours and audio tours, museums are offering online and virtual tours so users can improve their knowledge before or after their visit; and multimedia tours that allow visitors to get involved in an edutainment experience. Besides, these two types of tours provide of useful data to museums (how visitors move around museum spaces, time spent in each artwork, etc.) (Budge & Burness, 2017). Specifically, multimedia tours across digital touchpoints are offering museum data patterns that are improving investment optimization (Dexibit, 2017). The National Army Museum in London is implementing Tide – a system to deal with visitor data generated through the point of sale, ticketing, online sales, and customer membership interactions, which feeds all this information into a customer relationship management system. This Tide platform will help the museum improve the personalization of the “visitors’ journey map” experience. However, museums still can improve visitor satisfaction by allowing IoT systems manage the complex relationship between visitors’ preferences of the objects exposed and with the information knowledge system that belongs to museum staff (Solima, Della Peruta, & Maggionni, 2016). Moreover, all kinds of museums, big, medium or small, are now implementing QR codes, RFID systems, beacons, among others, which permit museum employees track their visitors and offer them discounts, encourage more interaction, and, hence, boost their engagement. Many museums have entered the Google Arts & Culture sphere (or similar, such as DynaMus) making artworks and world heritage sites freely accessible in 244    Nuria Recuero Virto and Maria Francisca Blasco López 360-degree digital and panoramic tours by using street view technology (Wilson- Barnao, 2017). For instance, Google Street View mapped the ancient city of Petra to offer users a virtual tour narrated by Queen Rania Al-Abdullah of Jordan. Likewise, social media are used as means to promote museum activities and interact with visitors (Budge, 2017). Many museums have stopped forbidding selfies, as users in social media share these photos worldwide (Luna-Cortés, 2017). Many of these institutions have promoted this practice in a global Twitter event or, for example, as previously mentioned, pokéstops have been placed inside museums. Moreover, this selfie panorama has risen “the made for Instagram museums” (Pardes, 2017), with examples such as the Museum of Ice Cream. Besides, some museums are launching chatbots by means of social media, such as the Facebook House Museums of Milan chatbot that promotes visits across a game, or the Anne Frank House Facebook chatbot that provides users of information. Recently, robots have appeared in the museum panorama and most of them were designed to act as virtual guides like CiceRobot, which was tested in the Archaeological Museum of Agrigento (Chella & Macaluso, 2009), with some exceptions (Fukunaga et al., 2012). Kodomoroid and Otonaroid, in Tokyo’s National Museum of Emerging Science and Innovation, are humanoids that interact with visitors and collect information so the robotic conversations can be improved in the near future. Pepper, a prototype to detect visitors’ emotions in museums, was recently launched and presented in exhibitions at London’s Science Museum or the Museum of Science and Industry in Manchester. Berenson (see Fig. 2) is the first robot able to develop art critics. Telepresence machines permit disable people explore these places. Today, we are at a turning point in the museum sector. AI, machine learning, and deep neural networks are modifying museums’ service design, by providing the opportunity to design more enjoyable visits. Betaface API matches people’s faces with their ancient sculpture counterparts. Recognition has showed up as a new conception for exhibitions combining AI. Some years ago, Google Arts & Culture also permitted users to explore artworks by period of time, color, artists, collections, etc.; but, now, Google is launching some trials, such as the machine learning experiments “X degrees of separation,” “t-SNE map,” and “tags,” the chrome experiment “curator table,” the captive portal “XY-FI” and the 3D “free fall.” “X degrees of separation,” a machine learning application, permits users to explore two artworks by offering them a visual pathway of the different artworks that connect them. “XY-FI” is a step forward to the advancement of BYOD procedures as it allows visitors use their smartphones as a remote control that can interact with the surrounding environment, by connecting their smartphone to a local Wi-Fi network. Museums have to endorse a broader variety of experiential values and hightech applications, as it serves as a basis for competitive branding. Museum leaders are facing the difficulty of how to promote more delightful experiences without jeopardizing museum artworks. Hence, developing a “visitor journey map” that comprises some digital technologies and RAISA implementations can offer countless and positive opportunities to museums. In this regard, Fig. 3 proposes different RAISA implementations for each of the “visitor journey map” stages. Robots, Artificial Intelligence and Service Automation in Museums    245 Fig. 2.  Berenson. Source: © Musée Du Quai Branly Jacques Chirac, photo Cyril Zannettacci (used with permission). Fig. 3.  RAISA Examples in the Design of the Museum “Visitor Journey Map” Experience. Source: Authors’ own elaboration. 246    Nuria Recuero Virto and Maria Francisca Blasco López RAISA Approach to Preservation Management Museums are moving into a new era, where the use of emerging ICTs systems extends far beyond arenas of edutainment. Researchers have long identified modern technologies as key enabling tools not only for preservation, but also for restoration, reconstruction, rehabilitation, curation, and interpretation (NMC Horizon Report, 2015). The use of up-to-date technologies to manage artworks is a top priority for museum professionals as it ensures the preservation of these resources, and, at the same time, guarantees the quality of visitors’ experience. Robots have landed to improve outdoor and indoor preservation techniques. An application of robotics to clean the glass roof of Louvre pyramid was developed (Kochan, 2005) and a Sky Cleaner robot was designed for the Shanghai Science and Technology Museum (Zhang, Zhang, Wang, Liu, & Zong, 2007). Also, indoor environments of museums require of special attention as these are affected by a notable flow of people. These can have an impact on the health of persons and the preservation of artworks and the building structures. In this regard, there are new approaches for air quality monitoring regarding the detection of dust by means of pattern recognition and machine learning (Proietti, Panella, Leccese, & Svezia, 2015). Also, new technical equipment has emerged to control climate conditions (Schito & Testi, 2017). In 1999, the Minneapolis Institute of Arts offered an online exhibition that allowed users follow the restoration of a seventeenth-century painting in real time (Minneapolis Institute of Art [MIA], 1999). Museums are offering count- less learning interactive tools (discovering artworks with X-ray lens, designing their own personalized collections, receiving customized recommendations, and playing 3D games, among others) that encourage visits (Chong & Smith, 2017; Hsu & Liang, 2017). Mapping and digitizing heritage findings are important tasks to make heritage accessible to the public and preserve cultural heritage. In this regard, the Rijksmuseum of Amsterdam is expecting to have all one millions objects of its collection digitalized (from Delft pottery to masterpieces of Ver- meer) by 2020. There is a new Open Access policy which is making many muse- ums digitalize all their artworks. The Prado Museum became the first museum in the world to offer 14 of its masterpieces in high-resolution on Google Earth. The digitalization of artworks provides users the opportunity to explore details that are invisible in a museum visit. Besides, many researchers are studying how to advance technologies for the preservation of the cultural heritage that have been ruined by natural disasters (Spyrakos, Maniatakis, & Taflampas, 2016). Hagia Sophia Museum has been scanned with ground penetrating radar so as to prevent future damages caused by expected earthquakes (Yalçiner, Kurban, & Altunel, 2017). Nanotechnology has been applied to restore artworks, for example, to repair L’Atelier of Pablo Picasso (NanoRestArt, 2015). Likewise, the authentication of paintings that used to be based on infrared spectroscopy, radiometric dating, and gas chromatography techniques now are implementing AI. Machine learning algo- rithms are now able to paint in the style of Rembrandt (The Next Rembrandt, 2017). Moreover, AI artists have now appeared. However, technology advances are Robots, Artificial Intelligence and Service Automation in Museums    247 being compared to human artistic capacities. E-David is a one-arm robot with five paintbrushes capable of knowing where to lighten or darken the masterpiece it is painting. Thus, the technology challenge has arrived not only for museum profes- sionals, curators, and preservers, but also for artists that now have to learn how to improve their artworks with AI tools. However, the preservation of heritage assets is indispensable to guarantee the sustainability of museums. Hence, as Fig. 4 presents RAISA applications are been very useful for indoor and outdoor preservation. Fig. 4.  RAISA Approach to Preservation Management of Heritage Resources. Source: Authors’ own elaboration. 248    Nuria Recuero Virto and Maria Francisca Blasco López Museums as Labs of the Future Culture: Skillset for the RAISA Millennium Since many years ago, there have been pioneering efforts to adopt mixed reality (a concept that entails AR, VR, 360-degree videos, and holograms) to the museum context. The implementation of trendy technologies in museums is not recent. In 1976, the Museum of Holography was opened in New York, devoted to present visions of the future. At the early days of the adoption of ICTs, museum manag- ers had to face that visitors were not familiar with new technology and had to react to visitor needs (Shepard, 1976). All these changes have modified the skills required for museum staff. Apart from a custodial and technological expertise and know how to encourage visitors’ arrivals, museum staff has to understand how to promote the generation of funds (sponsorships, memberships, among other partnerships). However, a certain number of museum employees still fear that a service orientation approach will go against preservation and interpretation objectives (Brida, Meleddu, & Pulina, 2016). There are many museum experts that consider education to be the raison d’être of the entire museum service experience (Komarac et al., 2017). But, visitors’ satisfaction entails many different aspects such as lighting, atmosphere, staff attitudes, promotion, volunteers, etc. (Del Chiappa et al., 2014; Goulding, 2000) that enrich the global experience (Kemp, 2017). Museum experts are constantly exploring emerging jobs and learning opportunities related to exhibition design, visitor services, and preservation management (across new advances in big data, IoT, machine learning, predictive modeling, tour guided robots, AI, facial recognition, etc.); at the same time, they are taking into account the changing needs and expectations of each of the segments that visits a museum (Gilmore & Rentschler, 2002; Martella, Miraglia, Frost, Cattani, & van Steen, 2016). Indeed, all these groundbreaking innovations are affecting all industries. The gig economy has revolutionized the labor market. Designing museums’ service offer has become a very complex task. Now, employees do not only have to consider demographic or geographical segmentation; they have to take into account that users do not have the same needs when they are inside the museum that when they are outside (Haworth & Williams, 2012; Pérez-Sanagustín, Parra, Verdugo, & García-Galleguillos, 2016). Moreover, visitors are digital users that demand a 24 × 7 assistance during their “visitor journey map.” In this process, museum goers request high-quality content and personalized information that makes their experiences more immersive and participative (Dieck, Jung, & Han, 2016). Millions of temporary workers, freelancers, knowmads, digital nomads, and golden workers are shaping the future of work. Nowadays, we have countless communication platforms (such as the telepresence robot BeamPro, Slack, and Google Hangouts, among other systems) that are facilitating remote work. Besides, the first prototypes of supersonic aircraft have appeared, which means we will be able to go from New York to London in two hours (The Times, 2018). In this respect, museums will receive visitors that will require short, personalized, and memorable experiences. Likewise, museum staff members will have to broaden Robots, Artificial Intelligence and Service Automation in Museums    249 their actual framework, for instance, of possible sponsors, as proximity to the museum walls will stop being a problem. Hence, the future problems in relation to the shortages of talent will not be an issue. In this context, museum leaders are hiring professionals and establishing strategic alliances with other organizations from other areas of expertise outside of the museum’s traditional purview. By way of illustration, since many years ago 12 large art museums of the United States have digital departments (with different names) that house a number of diverse digital-related functions (Tallon, 2017). However, as aforementioned, digital (and RAISA) technologies are impacting all departments. In other words, digital functions are not limited to the responsibilities of a unique department. Although there are specific departments for digital and RAISA applications, the implementation of these advances must be understood as a shared responsibility. The required skills we will need in five years’ time will be affected by service automation, and it is very probable that these will be disrupted by other emerging ICTs. For instance, MOD is a futuristic Australian museum of discovery that includes a filmmaker, coder, neuroscientist, and user design specialist as it aims facilitating immersive and interactive experiences (The Conversation, 2018). We all are long-life learners, which is underlined by the countless workshops, courses, and conferences to fill the gap in creating new digital and RAISA profiles. RAISA lacks of our contextual awareness. New technologies dot not have the capacity of a human-level communication and collaboration. Furthermore, no matter what technology museums adopt that the core of the experience will always remain the same and rely on inspiring delightful and memorable emotions (Del Chiappa et al., 2014) that only humans are capable of identifying (Knight, 2017). The post- digital world we are all facing will continue shifting employees’ roles, and in the case of museums, it will continue promoting their potential role as social change agents (Stein, 2012). Conclusion This chapter has illustrated the different RAISA implementations in the museum sector. It has meant to shed the light on this topic through a number of theoretical and practical contributions. First, this chapter has aimed filling the gap of studies concerning RAISA adoption in the museum sector and thereby contributes to the understanding of the different technologies that have been used inside and outside the museum walls. Second, the literature review has acknowledged the ways in which ICTs are been adopted in museums and their different functions. It has contributed not only to museum management literature, but also to tourism destination management studies. Third, it has described a museum timeline to explain the current technological-driven phase. This chronological outline has proposed a framework that pinpoints how the need of fulfilling visitors’ needs has shaped the different museum orientation phases. This has contributed to the understanding of the importance museum marketing strategies. Fourth, this chapter has discussed the different opportunities of RAISA in service design and in preservation management, listing trends and a number of remarkable examples 250    Nuria Recuero Virto and Maria Francisca Blasco López that have been implemented by scholars and professionals. It has contributed to the museum management literature, by offering an actualized literature review on both issues. Fifth, this chapter has summarized the different historical roles of museum professionals, and highlighted how they have had to shift from previous assumptions to adopt new practices. It has offered a useful review of the different roles of museum managers. The literature review has raised important questions about the knowledge and information these devices offer concerning visitors’ behavior. This chapter has identified that the examination of visitors’ perceptions or UXin relation to RAISA implementations in museums are scarce in literature. Furthermore, studies regarding museums’ websites on visitors’ intentions are still in its infancy. Specifically, up-to-date, no research has examined the links between users’ satisfaction and their museum-visiting intentions. Moreover, a conceptual model for the museum global experience has not yet been defined. This model would encompass the outside and in-house visitors’ experience by considering the different museum traditional services and hightech options discussed in this chapter. Besides, there is also a growing need for research that analyzes museum managers’ attitudes toward adoption new hightech solutions. From the managerial perspective, the findings of this research are relevant for museum managers, policymakers, hightech professionals, and, in general, tourism planners. First, it has contributed to the understanding of how techno- logical innovations have disrupted the museum sector so as to improve visitors’ satisfaction and heritage preservation. It has offered a detailed description of the influence of RAISA on service design and preservation management, which has been complemented with countless examples. Second, this chapter adds value by extending the understanding of the edutainment experience across the “visitor journey map.” It has offered very useful contributions of the different technolo- gies museum staff has to consider when designing outside and in-house services that improve both UX and visitors’ satisfaction. Third, the chapter has explained how the emergence of gig economy has transformed the labor market. Addition- ally, it has emphasized that museum staff is now not limited to the historians, curators, etc. Nowadays, museum managers are hiring professionals from other areas of knowledge. In this regard, this chapter has further called for innovation in thinking creative ways of how to design edutainment services. This requires the constant update of employees’ skills. The biggest challenge to the holy grail of RAISA disruption is not hightech, it is cultural. References Brida, J. G., Meleddu, M., & Pulina, M. (2016). 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View publication stats https://www.researchgate.net/publication/336530985 Chapter 12: Robots, Artificial Intelligence, and Service Automation to the Core: Remastering Experiences at Museums Introduction A Chronological Framework of Museums’ Orientations: From Preservation-oriented to Technology Driven RAISA in Service Design: Participatory and Multisensory Experiences RAISA Approach to Preservation Management Museums as Labs of the Future Culture: Skillset for the RAISA Millennium Conclusion References