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First published in Polish by Agata Skrzoska

Traditional museum education includes lessons, guided tours, publications and lectures accompanying exhibitions. The target groups are mainly schoolchildren and enthusiasts who regularly visit museums. Over the past decade, multimedia applications have become increasingly popular in Polish cultural institutions. They offer many opportunities to educate a broad range of adults without the involvement of educators and museum guides. Are these applications being used to their full potential?

^{Photo by Ståle Grut on Unsplash}

It is worth looking at the software specifications offered by the institutions to analyse the possibilities for museum education. Any visitor can download such an application onto their mobile phone. They can use it to explore a museum, a palace, a city or even a mile-long heritage trail. The functionalities of each application vary greatly and depend largely on the type of site visited. They differ in their level of technical sophistication and approach to presenting the subject matter covered by the institution.

The most basic and popular apps offer guided tours with an overview of the exhibits' history, description, and photographs. In terms of functionality, they do not differ much from the audio guides that are just as common in museums. Such a tour differs little from a standard guided tour of an exhibition. Still, it is worth noting that it provides an opportunity to obtain information when, for some reason, there is no person on site to introduce tourists to a subject, and the descriptions of the exhibits are not sufficiently detailed.

One of the main functions of museum applications is to enhance the visitor experience. They often include maps or plans of the sites concerned and indicate the exact location. The use of QR codes is also becoming more common. These enable users to find information about a particular site quickly. 

Some applications are more than just a site tour; they have additional functionality. One more unusual is Memory of the City (Pamięć Miasta), created for the Warsaw Uprising Museum. Rather than being about the museum, it offers the opportunity to walk around Warsaw and learn about the city's wartime history. 

This is made possible by correlating the map with archival and contemporary photographs of the city and narrative descriptions. In my opinion, apps that allow the user to personalise the tour by selecting the exhibits they are interested in and creating a personalised tour are the most interesting. The Rijksmuseum in Amsterdam and the Natural History Museum in London offer such apps.

There is no doubt that the main advantage of the apps is their inclusiveness. They do not require additional fees. All you need is access to a smartphone and the Internet. Their design is such that they are accessible to the broadest possible audience. They offer tours in several languages, which is extremely helpful as it is rare for Polish institutions to provide visitors with tours in languages other than Polish and English. Total accessibility is also demonstrated by the fact that, in addition to the main tour, there are often versions for children and people with disabilities. Sign language and audio description are most commonly used in the latter case. Moreover, users can choose a route adapted to their knowledge and interests.

The educational qualities of mobile applications are worth considering. One of these qualities is the attractive way in which knowledge is conveyed. In addition to written texts and recordings, the information they present is enriched with infographics, three-dimensional mock-ups and photos. This enhances interest, comprehension and memorisation. The applications interact with many of the senses. Quizzes to test the visitor's knowledge can also be found in the software offered by museums. The apps also allow you to return to the stories you have heard. You can rewind, skip and repeat specific passages. Most of them can be used outside the museum grounds. 

Polish museums do not yet seem to take full advantage of the opportunities that apps offer. Visitors to local institutions may find that the software's data is outdated. It is also common for institutions to fail to promote their apps sufficiently. As a result, visitors do not know they can download them onto their mobile phones. 

However, using the app is not all about the benefits. The software may not always be a substitute for the museum educator. A significant issue is the technological exclusion of older people. Downloading the app can be a big problem for them. Similarly, the use of apps by children, even if they have the technical ability to download them, can be problematic. They may find it difficult to focus on the stimuli provided by the smartphone and the location where they are.

For the time being, the software cannot replicate the charisma and personality of the educator or guide, which enables them to identify the audience's needs and adapt their message accordingly to make the material interesting. Apps seem to be most useful for audiences who are aware, eager to learn and have some cultural background. Apps also preclude asking questions, which is an important part of learning.

The need for the visitor to be 'online' at all times is an issue that may arise when discussing the pros and cons of visiting museums using phone-based software. Observing the audience using the apps, it is striking that much of their attention is focused on smartphone use. 

Stepping into the museum does not remove you from the virtual world where you spend a significant part of your day. This is not conducive to the kind of contemplation and reflection crucial to the whole experience of an art museum visit. An active visit requires the viewer to be a conscious and rational user of the application.

The multimedia market will grow soon, and its products will become a permanent part of the museum landscape. One indication of this is the growing popularity of apps that are not directly linked to specific cultural institutions, such as DailyArt and Google Arts & Culture, which are already generating impressive user downloads. 

As technology advances, the hope is that the applications will become increasingly audience-driven. Perhaps they will allow for questions and discussions to be held. Undoubtedly, this is an excellent opportunity for museum education, which needs to be used wisely.