Self-service audio-guided trips assist site visitors recognize the "imaginative tricks of Cubism"

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In the exhibition hall of Picasso Museum in Paris, sunlight filtered through the blinds and fell on the canvas of "Les Demoiselles d'Avignon". Sato, from Japan, stared at the distorted human lines in the painting, frowning and frequently pressing the guide gadget - the English explanation merely mentioned "Produced in 1907, the beginning of Cubism", and he wished to know "Why did the woman's face have to be broken into geometric fragments?" but could not find a single explanation; the French traveler next to him, searched through the guide gadget menu to find the anti-war story behind the draft of "Guernica", but only saw "Produced during World War II"; further away, several Arab travelers gathered around the sketchbook in the display cabinet, pointing and gesturing, but the guide gadget in their hands had no Arabic alternative and could only presume "Is this drawing physicians and individuals?" at the sketch Picasso made when he was a teen, "Science and Charity". Such scenes take place nearly everyday in this art landmark that houses over 4,500 works by Picasso.

The Picasso Museum is among the most prominent art museums worldwide. Annually, more than 2 million global tourists browse through below. But "comprehending Picasso" is by no means a simple job - his paintings range from melancholic blue portraits to collage art, and later he even created Cubist works where faces were split into numerous pieces. Art terms can be overwhelming, and the tourists come from around the world. There is a significant demand for languages apart from English, French, and Spanish. The exhibition halls have close paintings and the walls are made of stone, and the signals often fail. Yingmi has been in the audio guide industry for 16 years. it didn't take the "just obtain a tool and fix whatever" strategy. Instead, it concentrated on the issues of the museum and established a full-scenario voice excursion remedy. Without especially stating any type of item, it counted on technological adaptation and material refinement to assist tourists turn "the complicated Cubism" into "an understandable imaginative life".

I. The "4 hurdles" of the Picasso Museum excursion, both tourists and the operators are troubled

After speaking with many museum operators and travel agencies, they all said, "Taking a team to the Picasso Museum is more exhausting than taking a team to the Louvre." The difficulties in the excursion of this place are all tied to "how to recognize art" and "how to adapt the scene". It's not something that can be resolved by adding a translator:

1.The "void" in multilingualism is big. Tourists with languages apart from English, French, and Spanish can only "think the meaning from the paintings".

Among the visitors to the Picasso Museum, nearly 40% do not speak Spanish, English, or French - there are Japanese and Korean families with children, Middle Eastern tourists who come specifically to see, and Eastern Europeans who are passionate about art. However, traditional excursions mostly only offer three languages - German, Italian, and Portuguese are often overlooked, let alone languages like Portuguese, Hindi, and these tiny languages.

A travel agency person told me that they once led a Middle Eastern team. The uncle directed at "The Blue Self-Portrait" and asked, "Why did he paint it so sadly?" The temporary translator could only vaguely say, "Perhaps he was in a bad mood," and the uncle shook his head and claimed, "It would be better if I just looked at the painting myself." South American tourists were even more irritated. They desired Spanish commentary, but the Spanish version of the traditional excursion only translated the names of the works, without mentioning that Cubism was associated with the shapes of Spanish folk ceramics, and after the excursion, everyone in the team claimed, "We just saw a bunch of weird paintings."

2.Art terms are "too obscure", ordinary tourists "don't comprehend"

In Picasso's world, terms like "Cubism", "Deconstructionism", and "Collage Art" are tough for ordinary tourists to comprehend even when converted into Chinese. Traditional excursions either directly throw out the terms, such as directing at "Les Demoiselles d'Avignon" and claiming, "This is the founding work of Cubism," but without describing "What is Cubism, and why are the characters not normal with noses and eyes?" Or they only claim, "This is a painting by Picasso in 1905," without mentioning that it was part of his rose-colored period and the pink tones in the picture were because he was in love and in a good mood.

Therefore, when tourists look at the flat lines in "The Guitar", they don't comprehend that Picasso was "drawing a three-dimensional guitar on a two-dimensional notepad"; when they stare at the reclining lady in "The Dream", they don't comprehend "those soft curves hide his short yearning for love" - the most intriguing part of art is all covered up by these "term heaps".

3.The exhibits are dense and "easy to perplex", the viewing rhythm is often interrupted

Most of the exhibition halls in the Picasso Museum are not large, but the exhibits are piled up closely: in one hall, there are sketches from Picasso's youth, oil paintings from his blue period, and sculptures from his rose-colored period, placed just 1.5 meters apart. The traditional guided excursions have too unreliable noticing. Standing in front of a sketch, the audio being played is that of an oil painting on the side. Tourists have to repeatedly manually switch the audio. What's more frustrating is that some exhibition walls are made of stone, and the signal gets disturbed when it encounters a barrier. Once I heard "The inspiration for the Rose Period came from the circus", just as I was about to listen more, the signal suddenly dropped, and by the time I recovered, we had already moved on to the next section.

A French regional tourist grumbled to me: "I originally wanted to follow Picasso's life journey, from his childhood paintings to his later Cubism works. But either I missed the sequence or there was no signal. In the end, I wandered around aimlessly and couldn't even figure out how his style changed."

4."Lack of depth", missing the "life stories" behind the creation

Picasso's paintings were never "created just for the sake of creation" - "Guernica" was painted after he was infuriated by the Nazis' bombing of the Spanish town of Guernica. The bull in the picture symbolized violence, and the horse represented suffering; the pale blue background in "The Boy with a Pipe" was his reminiscence of his youth. But traditional guided excursions rarely mention these "behind-the-scenes stories", only claiming "What's the name of the work, and when was it painted?".

Tourists can only look at "How odd does this painting look?" but don't comprehend "Why did he paint it this way?".

I performed a small survey before, and only 15% of the tourists could know through traditional guided excursions that "Picasso's Blue Period was due to the suicide of a friend, and the Rose Period was because of his first love"; even fewer, 10%, knew that "The inspiration for 'Les Demoiselles d'Avignon' was half from African masks and half from Spanish bullfighting" - in fact, the most important thing to see in an art museum is these "lives hidden in the paintings"

II. Yingmi's "Art Adaptation Plan": Adhere to the tourists' demands, turn "un-understandable" into "understandable".

When Yingmi generated the plan for the Picasso Museum, it didn't rush to tell people "How technically advanced we are", but actually sent out several people to the museum for a full week of observation - following tourists from different countries, observing where they stopped, where they frowned, which sentences they repeated, and taking a full notepad of notes. The final plan, without any expensive explanations, was all based on the real demands of the tourists:.

1.Exhibition Adaptation: Accurate noticing + Steady signal, without interrupting the viewing rhythm.

To resolve the issue of "dense paintings and easily blocked signals" in the museum, Yingmi's plan focused on two key points:.

One was "Precise noticing", utilizing the RFID-2.4 G star distribution technology. Put simply, when a tourist is within 1 meter of the painting, the description comes out exactly, and it doesn't jump to the adjacent sculpture - once I tried it in an exhibition with an incredibly dense collection of paintings, standing in front of Picasso's "Science and Charity" from his childhood, the description happened to be about this painting's story, and there was no need to manually switch the audio; the other was "Steady signal", utilizing the 4GFSK anti-interference technology, which can pass through stone walls. I had tested it in the stone exhibition hall of the Acropolis Museum in Athens, and the signal interruption rate could be reduced to below 5%, even in the underground exhibition hall where the museum stored drafts, the sound could be heard clearly.

And for battery life, it takes around 2.5 hours for tourists to visit the Picasso Museum, and the equipment used in the plan was Yingmi's own PMU security lithium battery, which could be charged once and used for 12 hours. There was no need to look for a charging socket in the middle, and the equipment was made lightweight, so it didn't cause hand discomfort after wearing it for a long time - unlike some traditional equipment, which became heavy halfway through and was not wanted to hold.

2.Content Depth: Adhere to Picasso's "life journey", turn art into "little stories".

Yingmi got in touch with scholars from the Paris Art Institute and the Picasso Research Center to jointly discuss the content of the explanation. The core was: "Don't talk big concepts, break Picasso's imaginative life into stories that tourists can comprehend.".

For example, when discussing the Blue Period, one may claim, "After his friend's suicide, Picasso was depressed, so he utilized blue tones to paint beggars and street performers - look at the heavy stances in 'La Vie', the blue color shows solitude." One would also mention, "He met his first love, so the colors turned pink, and he painted acrobats and clowns - 'Kid with a Pipe' has soft pinks, showing his delighted mood." When discussing Cubism, it would be broken down even further: "Picasso broke figures into geometric shapes and showed front and side views at the same time - look at 'Les Demoiselles d'Avignon', the females's faces are split, that's how he broke the traditional perspective.".

The content also includes a suggestion for visitors to "find it themselves", such as, "Look at the lines in 'The Guitar', how did Picasso utilize airplanes to create a sense of three-dimensionality?" "Seek the lady's arm in 'The Dream', isn't it like a soft, bent line moving?" This way, visitors are not passively listening but actively observing and remembering it more securely.

Final Thought: Allow Picasso's "Artistic Life" be comprehended by more people.

The charm of the Picasso Museum is not "showing a lot of Picasso's paintings", but what is concealed within these paintings - an artist's journey from despair to joy, from following old policies to innovating themselves, an art improvement history covering half a century. For visitors, coming here is not to take a "image with 'Les Demoiselles d'Avignon'" but to would like to know "why Picasso painted like this, what sort of mood these paintings conceal".

Yingmi's led excursion plan does not have any type of elegant features. It simply does these three things well: "discuss the language extensively, have accurate feedbacks, and have deep content". It is like an art guide, not powerfully presenting knowledge, but leading visitors to see slowly, in the sorrowful of the Blue Period, the tenderness of the Rose Period, and the advancement of Cubism, gradually helping visitors comprehend Picasso's imaginative code. For clients, choosing such a plan is not only to make the visitor experience better, but also to truly enable the art museum to "send culture and analyze art" - this is the most vital meaning of the led excursion plan.

FAQ 

Q1: How does the audio guide accommodate non-native English speakers?
A1: It offers multiple language options with culturally adapted explanations, avoiding direct translation to ensure clarity and relevance.

Q2: Can the guide be used in temporary or special exhibitions?
A2: Yes, the system is flexible and can be updated with custom content for rotating exhibits, maintaining the same accuracy and depth.

Q3: What happens if the device malfunctions during the tour?
A3: Museum staff provide immediate support and replacement devices, ensuring minimal disruption to the visitor experience.