Generation Z and technologies on museums – Its influence on perceptions about Quality, Arousal and E-WOM Intentions

Os museus são instituições educacionais que nutrem e mantêm o patrimônio cultural da humanidade, desempenhando papéis vitais no desenvolvimento econômico, atraindo turistas locais e estrangeiros. No entanto, o futuro dos museus como destino pode ser significativamente afetado por novas tecnologias. Isso é particularmente relevante, considerando a educação e as expectativas da Geração Z. De fato, sua satisfação pode resultar em recomendações da E-WOM, aumentando a visitação. Os museus podem aumentar a percepção da qualidade, a excitação e a intenção de recomendação, aumentando o uso da TI, o que pode mudar a experiência do visitante. Testamos o relacionamento entre as intenções de recomendar, a excitação e a percepção de qualidade com a tecnologia usada. Os resultados mostram uma forte correlação entre percepções de qualidade e excitação (0,68) e entre excitação e intenção de recomendação (0,87) quando um nível mais alto de uso de TI foi apresentado. Apesar dos níveis de tecnologia permitirem uma carga emocional mais alta e maiores intenções de recomendação do e-WOM, os problemas operacionais continuam sendo importantes. Em vez de apenas aumentar os gastos em tecnologia, é necessário se concentrar em treinamento e organização interna. Além disso, as tecnologias podem ajudar não apenas a tornar o conteúdo mais atraente, mas também mais compreensível.


INTRODUCTION
Museums have a huge cultural significance as part of the cultural heritage of a community, city, or country. They are safekeepers of art and legacy, as much as educational institutions are. Also, they play vital roles in economic development by attracting both local and foreign tourists. Some of them are considered "super-museums", worldwide famous, admired and capable to attract touristic demand by itself (Frey, 1998). However, the future of museums as a destination can be significantly affected by new technologies. Recently, the operation of museums has already changed. Information technology has been part of changes to scenarios and has presented a challenge to curatorship. Such technology has included portable devices, personal guiders, panels, animations, virtual reality, films, and projections on a stage, in order to enable visitors to have deeper experiences and in order to attract Generation Z and technologies on museums -Its influence on perceptions about Quality, Arousal and E-WOM Intentions 4 Marketing & Tourism Review • Belo Horizonte -MG -Brasil • v. 5, n. 2, 2020 NEECIM TUR • Núcleo de Estudos e Estratégias em Comunicação Integrada de Marketing e Turismo • UFMG good evaluations on specialized sites, such as Trip Advisor. Another hand, it is strategic, to build relationships. Brida, Meleddu and Pulina (2012) have studied which visitors are more likely to come back, revisiting. They argue that revisitors used to be part of the community close to the museum, and demographic factors are correlated to revisiting intention.

THEORETICAL FRAMEWORK
Marketing of any destination is influenced by characteristics of their offer, such as attractions, prominence and positioning. Museums, besides acting as safekeepers of legacy or educational institutions, can help economic development by attracting and keeping on the city both local and foreign tourists. They can help on destination marketing, especially those of them considered "super-museums", which are worldwide famous, admired and capable to attract touristic demand by themselves (FREY, 1998). Some of them are recommended on travel guides, and other are intrinsic part of a destination positioning, once there is a cult around them, for instance, the relation between cities like Rome and Paris and its museums, such as Vatican and Louvre. Therefore, museums can be strategic to destination marketing once they can change the way this place is seen, beyond attract visitors and resources.
Several regions around the world could change their city or country brand positioning by investing in museums -for instance, Singapore (Ooi, 2003), Florence, Italy (Lazzeretti & Capone, 2015) or Bilbao (Plaza, 2000). Moreover, their capacity to promote events, attracting people and attention, to engage people in a chain of values and to start new productive local arrangements, is strategic to public power and all stakeholders in the region.
Museums can also attract sustainable development. Museums' strategy demands the correct balance of these interests in the long run.
In order to discuss their strategies, museums, as a service, need to know how value is created for their stakeholders. What are the functional and emotional benefits? What are the customers' costs? Value is measured, intuitively, by the relation of these benefits and sacrifices (Kotler, Kotler & Kotler, 2008).
Value is the most important concept in a service strategy. Likewise, it is no different for museums. Strategy in the provision of services needs to consider visible and invisible operational aspects, as well as non-operational aspects.
Both of them can increase or undermine service value.
Another key concept in services strategy is the consumer experience (which is what the consumers have experimented with during the service execution), where the museum is considered as being authentic.
Therefore, it is important to think about tangible and intangible aspects in a museum, in order to project a service which allows for alignment to high standards of tangible aspects of a service with immaterial and intangible aspects.
The first step in this project task is the concept of the museum, its mission, and the reason for its existence. However, defining this concept, in turn, necessitates consideration of how the market is: its segmentation, and how attractive each segment is. What kind of visitors to, donators to, or sponsors of this concept of museum is best? This task, in turn, makes it necessary to look to the market to analyze how the competitors are performing and to answer question like these: What are the competitors doing? Is there some service or segment that is forgotten? How can the museum be different from them, and how can it be innovative so as to make the competition irrelevant?
The next step is to decide how to adapt the operation, in order to follow that idea. This is positioning. Kotler et al. (2008) argue that it is possible for a museum to be positioned to interest a certain kind of user, in terms of its attributes or its benefits. For instance, a Natural History museum is positioned in terms of its attributes, but its operation can be positioned on students; whilst a Modern Art museum has other attributes, so maybe its focus is on another kind of user, perhaps art merchants and artists.
To make execution work, all actions (communication included) need to be defined and adjusted in order to follow strategy. Moreover, Lovelock and Wirtz (2011) state that service delivery strategies need to align operational and promotional efforts to succeed. Kamal and Pramatic (2015) argues that, in museums, several factors can boost this: If cultural and anthropological factors are valuable in helping have an influence on visitor decision, promotional efforts are as important as learning and aesthetic factors are. Among these promotional efforts, social media can act as a direct avenue of communication between museums and visitors, and amongst visitors (Russo, Watkins, Kelly & Chan, 2007). Therefore, social media is an important part of museum marketing, helping to keep visitors informed and satisfied -to ensure a revisit, a recommendation, and the promotion of its intangible heritage (Richani, 2016).
Researchers have studied what increases the likelihood of e-WOM (electronic word-of-mouth) recommendations; for example, factors studied include both emotional involvement and excitement about visitation experience. Berger and Milkman (2012) and Botha and Reyneke (2013) argue that people used both to engage on e-WOM and share content when they are emotionally involved.
Museums' marketing needs e-WOM recommendations to reach visitors. Hausmann (2012) shows an analytical framework to increase the likelihood to get visitors recommendations. Some models have explored relations among

MUSEUMS, AROUSAL, AND PERCEPTION OF QUALITY
By its nature, it is not possible to indicate the quality of a service before delivery (Lovelock & Wirtz, 2011). To evaluate customers' perception of quality, it is needed asking directly to costumer. One way to do this is by measuring customers' expectations before service delivery, comparatively, to measuring the perception of service performed, identifying if there is a disconfirmation, that is, how much a user was frustrated with the provision of services, or a confirmation, when the service follows the standards expected (Lovelock & Wirtz, 2011 Entertainment can lead to emotional intensity and better experiences (Hackley & Tiwsakul, 2006). If it were positive and intense emotions, the experience will be memorable and, probably, the visitor will express approval and recommend to others, included youngsters (Waiguny, Nelson & Terlutter, 2012). Arousal is a measure of how active and intense an emotion is (Berger, 2011). Berger (2011) states that more arousal leads to more social information transmission.
This allows the authors to make a hypothesis: H1: Confirmation of the quality of museums' service is related to an arousal felt about the service.

TECHNOLOGIES SUPPORTING MUSEUMS SERVICES
Technologies can support museums' operations in different ways. It is possible to enhance experiences and turn the visitor in an immersive and emotional Moreover, Swiss and Hanna (2004) and Fraga (2017) show different ways in how art can incorporate technology, exploring new possibilities, thresholds and languages, for example, works using games language, incorporing videos or, even, artificial intelligence. Artists have tried to incorporated these technologies as well, and museums' curators can consider that on creation of an exhibition.
On the internet, museums can turn information available to community.
Visitors can share artworks, and prospects can see the schedule and opening hours (Vrana et al., 2019). Curators can see the catalog, and possible donators can see financial statements (Camarero, Garrido & San Jose, 2016).
This allows the authors to make a hypothesis: H2: High level of technologies in museums makes Generation Z have greater arousal, e-WOM recommendations, and perception of quality. Virtual reality, or augmented reality, allows user see more than the reality using glasses that amplify the vision, mixing GPS information, and adding some images over the real images. Games, artwork, and even movie makers can simulate art in reality using this technology. It is possible, for example, to make pictures animated, to simulate virtual tours, and to add information about works.
Gomide (2017 Electronic art is experimental and goes beyond the boundaries of a traditional museum. Swiss and Hanna (2004) Cell phone apps Cell phone apps can provide maps, audio guides, and further artwork information. Tallon and Walker (2008) Interactive art and games Works that allow participation and demand action of the visitors. They can change the work by direct manipulation or, instead, by means of a brain computer interface.
Fraga (2017) On the internet Blogs about museums' works Blogs about museums are a good way to make visitors be in a participatory position, allowing dialogue and interaction.
Pierroux, Krange and Sem (2011) Digital museum catalog An online museum catalog that enables social tagging and blogging activity around a set of cultural heritage objects. The example is Blobgects, a platform held by a preeminent museum of anthropology and archaeology. Museums' websites can provide information such as sustainability, presence on social networks, podcasting, videocasting, catalog, virtual tour, blog, e-mail contact, annual reports, history of the museum, press room, catering, opening hours, and scheduling of exhibitions, among others.

Bonacchi
(2017); Camarero, Garrido and San José (2016) Virtual museums Virtual museums are online platforms for exhibiting artworks on the internet -whether without a physical exhibition, or as part of a copy strategy integrating online and offline content (Hybrid publication). Some works are constantly in exhibition online, while others are only exhibited offline.  (Ryder, 1965). Several sociologists have studied how these processes work since the XIX century, including August Comte, Karl Mannheim, Ortega y Gasset, Julian Marías, among others (Becker, 1991). They focused on questions such as how values are adopted among generations, tradition, conflicts among generations and their civil participation. Strauss and Howe (1991) Priporas, Stylos and Fotiadis (2017) shows that this generation, regarding retail, expects various new devices and electronic processes to be widely available, thus offering consumers more autonomy and faster transactions. In addition, they expect the technology to enable them to make more informed shopping decisions. For example, Turner (2015) remembers that no other prior generation has had an involvement with technology greater than that of Gen Z; for example, issues as cyberbullying, attachment to devices, high frequency use of social media, and continuous partial attention are common amongst them. Jacobsen and Forsten (2011), in a study considering students in the first year on college, have discovered a negative relation between usage level of mobile phones and grades in the school, and many of students used electronic devices to multitask during the classes. In other hand, Mastrodicasa and Metellos (2013) (2010) argue that generation is just one of predictor to higher level of use of digital technologies, and some adults can be digital natives as well. Perceived usefulness is a predictor to higher levels of usage, and it does not change to age. (2016) have compared people from Australia and Portugal in the same age, from this generation. Among positive points of them, they list, for example, problem-solving skills, proactive study, information gathering, and awareness globally and locally; communication and collaboration with their peers and family were improved and enhanced. Alternatively, this study identifies new negative factors as being that physical contact and physical activities were prevented; thinking, concentrating, and memory skills were reduced; and that depression and isolation, and laziness, having increased.

Regarding international similarities on this generation, Issa and Isaias
Talking about Generation Z with regards to Romania, Runcan (2015) argues that many people of this generation have a profound relation with social media -a relationship he called "Facebookmania," an addiction to the use of Facebook: 10% of Generation Z respondents answered by describing themselves as being addicted to social media.

Gen Z and E-WOM Recommendations
Generation Z has worldwide repercussions. People between 14 and 25 years tend to have a strong connection with social media, mobile phones, and games. Their use of social media includes recommendations of the use of products and services. These recommendations can occur online -whether by transmitting or retransmitting reviews or any shareable content such as text, photos, or videos -or offline, in a simple dialogue among family and friends (Feitosa & Lourenço, 2018).
Among Generation Z individuals from Indonesia, Samodra and Mariani (2012) argue that it is needed that any content be useful and easy to manage.
Among individuals from all ages and generations, arousal is also considered as being a predictor of e-WOM recommendations (Berger & Milkman, 2012). This makes it important for museums to consider how to include Gen Z expectations of their service.
This allows the authors to make a hypothesis:    (Kim et al. 2012, Bruyn & Lilien 2008).
All museums were described in Table 3  1. "In good museums" (for expectations) or "in this museum" (for perception), employees are educated and want to help 2. "In good museums" (for expectations) or "in this museum" (for perception), employees stay with visitors willingly 3. "In good museums" (for expectations) or "in this museum" (for perception), stocking and concentration of people are tolerable 4. "In good museums" (for expectations) or "in this museum" (for perception), the staff are knowledgeable 5. "In good museums" (for expectations) or "in this museum" (for perception), there is no restriction on access and all are free to explore the museum 6. "In good museums" (for expectations) or "in this museum" (for perception), the opening hours are adequate 7. "In good museums" (for expectations) or "in this museum" (for perception), sufficient information is available 8."In good museums" (for expectations) or "in this museum" (for perception), there is sufficient educational content of the exhibitions 9."In good museums" (for expectations) or "in this museum" (for perception), there is attractive content of exhibitions 10. "In good museums" (for expectations) or "in this museum" (for perception), the exhibits are well explained 11. "In good museums" (for expectations) or "in this museum" (for perception), the visit is interesting because of the new technologies 12. "In good museums" (for expectations) or "in this museum" (for perception), there is a good audio system 13. "In good museums" (for expectations) or "in this museum" (for perception), there is a good information service 14. "In good museums" (for expectations) or "in this museum" (for perception), the building is beautiful and attractive 15. "In good museums" (for expectations) or "in this museum" (for perception), the signs are good 16. "In good museums" (for expectations) or "in this museum" (for perception), cleanliness is good 17. "In good museums" (for expectations) or "in this museum" (for perception), the souvenir shop has a good variety of products 18. "In good museums" (for expectations) or "in this museum" (for perception), the bathrooms are clean and well located 19. "In good museums" (for expectations) or "in this museum" (for perception), access for the elderly and people with special needs is adequate. 20. "In good museums" (for expectations) or "in this museum" (for perception), the queue to enter the museum is adequate 21. "In good museums" (for expectations) or "in this museum" (for perception), there are good food services.

Source: Authors
The HISTOQUAL model rounds needed 3 measures: a measure of expectations, in 21 items, before the visit; a measure of pondered weights of each dimension, when the respondent distributes 100 points among the 5 dimensions, before the visit; and, at least, a measure of perception, in 21 items, after the visit. Quality level is done by weighted arithmetic mean of the difference between expectations and perception in each one of the 21 items pondered by the weights of each dimension (Frochot & Hughes, 2000).

DATA ANALYSIS
About respondents, average age was 18,2 years. 68¨% were female, 38% males. 75% was in the high-school, 18% have finished high-school and other 7% was in college. Sample's average household income was R$ 2912.
Results have shown that a higher degree of use of technology can increase arousal and WOM recommendation intentions regarding museums, as compared to ones with a lower degree of technology usage: Correlations were stronger for high-IT museums than for low-IT ones; and the means were higher, and Levene test rejected hypothesis for equal means (p>0,05) for all the independent variables: Arousal (5,51 high; 5,24, low), E-WOM (5,78 high; 5,53, low), Quality perception (5,80 high; 5,55 low), and Quality expectation (5,9 high; 5,8 low).
In despite of the three museums with higher technological means also being higher in terms of generated arousal and WOM recommendation intentions (as compared to ones with lesser means), the highest means were based on the Federal museum visit, where the guide was very friendly. We consider that as being a result of empathy.
All three hypotheses were confirmed. H1 was only confirmed for museums with higher levels of technology. The correlation between the confirmation of quality (perception higher than expectation) and arousal was significant and positive.
Hypothesis 2 was confirmed by a t-test of means difference. All means on museums with higher IT were higher than those of museums with lower IT (test t > 0,05). Additionally, disconfirmation of quality was almost 4 times higher on Low IT museums than on High IT ones. Hypothesis 3 was confirmed, as correlation is higher on High IT museums than on Low IT ones. In Table 4, it is possible to see all the data.  This museum is a result of a partnership between public and religious organizations. Founded in 1970, its collection of sacred art started to be formed at the beginning of the 20th century; and its inventory lists more than 130,000 works from 56 countries.

Low.
All the interactivity is provided by human monitors.
However, every group of visitors is monitored by one monitor.

Source: authors
It is possible to see that museums with higher levels of technology usage were evaluated as being better in each of the dimensions of the HISTOQUAL scale, when we compared the means of these with those of museums with lower ones. Higher differences occurred in the presentation dimension, where technology is evaluated.
Also, museums that have offered personal guides were evaluated as being better on the communication dimension. A good personal guide can increase all the grades and, probably, all the experience quality. By contrast, students gave evaluations of the worst degree to museums where they waited for the entrance in lines. At this point, it is important to note that MAC may have been the worst, and that, during the wait, the MAC attendees had a complaint regarding the noise of a small group of students. Maybe this fact, aligned with a partial and, probably, few empathic guidance, decreased their grades.
It is coherent with generation Z profile, based on theory (Feitosa & Lourenço, 2018), however, results show that personal contact can be more effective than technology itself in terms of arousal generation and quality confirmation.

FINAL THOUGHTS
This study allowed the research question to be answered. Considering Generation Z as being an important part of visitors of any museum, today and in future, it is necessary adopt all kinds of technology to increase their experience at museums. That is a strategic issue for museums. Despite technology levels allowing a higher emotional charge and greater e-WOM recommendation intentions, operational issues are already important. Instead of just increasing spending on technology, it is better to spend money on training and internal organization-to avoid any risk of conflict.
Content is important; and interactive games, virtual reality, and audio guides can help to make content more accessible and understandable. However, courtesy and empathy are highly important in any service. Moreover, at this point, any technology can replace human beings.
Technology can improve a museum's educational goals. People will get deeper on content, and probably will share it with friends. Generation Z expects that.