Proceedings of the 54th Hawaii International Conference on System Sciences | 2021

The Roles of Digital Exhibition in Enhancing Immersive Experience and

Purchase Intention

Sojung Yoon Jai-Yeol Son

Yonsei University Yonsei University
yoon3110@yonsei.ac.kr json@yonsei.ac.kr

Abstract maximize user interaction. For instance, in 2019,

Atelier Des Lumières, a digital art museum in France,
Museums in modern society serve to a broader attracted more than 1.2 million visitors to its 30-minute
public than their early predecessors. In response to immersive exhibition of Gustav Klimt’s paintings [5].
such transition, many art museums now open digital Moreover, in 2020, Bunker de Lumières, a digital
exhibitions to provide immersive experience and exhibition located in Jeju Island, South Korea, attracted
maximize user interaction. This paper focuses on two more than 100,000 visitors in just 47 days [6].
such features – animated image and storytelling Despite the growing popularity of digital
description – and their effect on museum visitors’ exhibitions, conflicting perspectives towards
immersive experience and willingness-to-pay price digitalization of artworks still remain. For instance,
premium (WTP). Our results indicate that animated researchers have demonstrated that digital exhibition
images and storytelling description not only enhance has an advantage of emphasizing the experiential value
immersion and WTP but also are more effective when by expanding visitors’ sense of immediacy and
adopted together. This paper contributes to both IS participation, which eventually lead to increase in
literature and museum industry by providing revenue [7]. Technology-based exhibitions could re-
comprehensive understandings of how digital energize the relationship between art museums and
exhibition features enhance museum visitors’ their visitors [3]. On contrary, skeptics of digital
immersive experience and purchase intention. exhibitions are concerned of losing physicality and
static nature of art objects, straying from art museums’
original missions to preserve and educate, and
subsidizing the cost of technological initiatives. [8, 9,
1. Introduction 10].
The transition from traditional to digital exhibitions
As institutions which collect, preserve and present has drawn considerable attention from researchers of
artworks, art museums have functioned as a source of diverse fields, including Information Systems (IS), as
public education for a long period of time. Despite well. After demonstrating key advantages of
their long history, however, art museums now face a digitalizing art collections, researchers have examined
major change in their market. That is, museums in factors that maximize visitors’ satisfaction in digital
modern society serve to a broader public than their exhibitions [11]. For instance, both system attributes
early predecessors [1]. This transition from elitism to (i.e., media richness) as well as visitor attributes (i.e.,
inclusion is crucial because it transforms art museums personal innovativeness and computer self-efficacy)
into tourism sites and their visitors into consumers; are found to increase visitors’ level of engagement in
various marketing strategies and new exhibition digital exhibitions [12]. Moreover, the use of multiple
technologies are thus required [2]. digital technologies, rather than a single digital feature,
In response to such transition, many art museums could contribute to creation of values for both
have incorporated diverse information technologies, museums and visitors [13]. Most importantly, a
such as audio guides, interactive kiosks and animated number of researchers have revealed that the role of
videos, to attract and appeal to more people [3]. One of digital exhibitions extends from enhancing visitors’
the key objectives of using diverse technologies is the satisfaction to increasing their purchase intentions [14].
curation of immersive experiences [4]. Indeed, a While several researchers have conducted case
number of art museums have started to open digital studies to assess museum institutions’ affordance of
exhibitions to provide immersive experience and digital technologies, little is known about the

URI: https://hdl.handle.net/10125/71162
978-0-9981331-4-0 Page 4496
(CC BY-NC-ND 4.0)
relationship between the specific features of digital Digital exhibition is an exhibition that “assembles,
exhibition and visitors’ sense of immersion, and how interlinks and disseminates digital multimedia objects”
such relationship affects visitors’ purchase intentions to maximize user interaction [16]. Instead of presenting
[4]. Furthermore, while museums have recently been brick-and-mortar artworks, digital exhibition relocates
under substantial digital transformation, there is a lack traditional artworks into a digital screen. For instance,
of IS research in this context. Therefore, we aim to in digital exhibitions, a person in a painting may
provide a comprehensive understanding of both disappear from the frame, dance to the music, or even
immersive experience and economic values of digital interact with visitors, offering them a sense of
exhibition by addressing the following research immersion. Figure 1 demonstrates an example of a
questions: digital exhibition [17].
(1) RQ1: How do animated images and
storytelling descriptions affect visitors’ 2.1.1. Immersion. One of the primary purposes of
immersive experience? digital exhibitions is to increase visitors’ sense of
(2) RQ2: How does immersive experience affect immersion. In general, immersion is defined as “a
visitors’ willingness-to-pay price premium psychological state characterized by perceiving oneself
(WTP)? to be enveloped by [...] an environment that provides a
The findings of this paper contribute to both IS continuous stream of stimuli and experiences” [18].
literature and museum industry. While there have been Agarwal and Karahanna [19] have further explained
active IS researches in tourism, museum industry has immersion as the state of complete engagement with
received little attention despite its substantial market all of attention focused on a certain task. In the context
size of 12 billion dollars a year in the United States of art museum, researchers agree upon the consensus
[15]. The newly introduced immersive technologies in that immersion is a comprehensive and realistic
today’s art museums have brought various research experience that dominates attention and perceptual
opportunities for IS researchers [4]. To the best of our apparatus [20, 21]. It is important to note that
knowledge, this paper is one of the first to specify immersive experience is not limited to a visual sense.
distinct features of digital exhibition and assess the In fact, many museums attempt create a multi-sensory
impact of each feature on museum visitors’ immersive exhibition to establish immersive experiences [22].
experience and purchase intention. This paper thus Specifically, this paper follows He et al. [23]’s
contributes to the IS literature by providing classification of immersion into experiential value and
comprehensive understanding of art museums’ imagery vividness.
adoption of digital technologies. Moreover, by As a relativistic sense of visitors’ interaction with
assessing the economic value of novel technologies, artistic objects, experiential value is a subjective
this paper provides managerial insights of appreciation of the artistic experience in a museum
transforming traditional exhibitions into digital [23]. In the context of this paper, experiential value
exhibitions. Lastly, as museums are central segments indicates how museum visitors enjoy their experience
of cultural industry, this paper promotes future IS with the visualization of the artworks. Experiential
researchers to expand their research area to a broader value is a crucial factor in understanding consumer
interdisciplinary field. behavior in tourism industry, as most of the products in
tourism industry, including art exhibitions, are
2. Theoretical background and research experience goods [24]. As consumers of experience
hypotheses goods evaluate their purchases based on the benefits
received for the price paid, perceived experiential
value is key to the success or failure of museum
2.1. Digital exhibition business [25]. Thus, in this paper, experiential value is
measured as the key index of museum visitors’ feeling
of immersion.
The second aspect of immersion in art museums is
imagery vividness. Imagery vividness involves the
clarity with which one experiences an image. It is
different from visual vividness in that it involves not
only visual image but also mental image of one’s
experiences [26]. The mental imagery helps visitors to
fully understand artists’ intentions and perspectives by
combining sensory input with emotional perception
Figure 1. Digital exhibition and redefining how visitors themselves feel about the

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artworks [27]. Imagery vividness is therefore a the story invites listeners into diverse situations from
decisive factor in assessing visitors’ satisfaction in which the listeners coulld emotionally relate. Thus,
their museum experience because of its strong Hypothesis 3: Storytelling description is positively
influence on the ratings of aesthetic values [28]. In related to museum visitors’ experiential values.
managerial perspective, imagery vividness is one of the Hypothesis 4: Storytelling description is positively
factors that directly affect brand loyalty and future related to museum visitors’ imagery vividness.
consumption [29]. Therefore, in this paper, imagery
vividness is examined to determine the level of 2.1.4. The interaction effects of animation and
immersion from the digital exhibition experience. storytelling. Previous studies of digital exhibition
emphasize that the use of multiple technologies add
2.1.2. Animation. Digital exhibitions possess values to both museums and visitors [13]. Specifically,
distinctive features that are not available in traditional the combination of visual and aural senses is found to
exhibitions. This paper focuses on two of such “offer an interesting context of interface design and
features: animated image and storytelling description. cognitive psychology exploration” [34]. As such, in
Animation is a common digitalization practice that addition to the main effect of each features, we
combines temporal sense and visual images [30]. That examine the interaction effect of these features on
is, compared to traditional still images, animated museum visitors’ immersive experiences.
images in digital exhibitions require certain period of Hypothesis 5: The effect of animated image on
time to fully endorse the artworks [31]. For instance, in experiential values is higher with storytelling
Atelier des Lumières, visitors were asked to watch the description than with informative description.
entire sequence of Gustav Klimt’s animated paintings Hypothesis 6: The effect of animated image on
for 30 minutes [5]. Such inclusion of temporality into imagery vividness is higher with storytelling
the artworks is quite similar to the experiences that description than with informative description.
people encounter in reality, where countless actions
and sounds take place over the course of time. Digital 2.2. Willingness-to-pay price premium
artworks that integrate both temporal and visual senses
thus add liveliness and vigor to the museum experience. In addition to the main and interactive effects of
Hypothesis 1: Animated image is positively related to digital exhibition features on visitors’ immersive
museum visitors’ experiential values. experience, this paper further examines how such
Hypothesis 2: Animated image is positively related to immersion impacts visitors’ willingness-to-pay price
museum visitors’ imagery vividness. premium (WTP). Traditional economic literatures
outline price premium as the price that yields above-
2.1.3. Storytelling. In traditional art museums, average profits [35]. In the same vein, WTP of this
museum labels – twenty to fifty-word descriptions paper is defined as visitors’ willingness to pay at a
about the exhibited artworks – provide textual higher price than the normal or competitor’s price [23].
commentary of the artworks. However, the When making an experiential purchase (e.g., exhibition
multisensory digital exhibitions offer much more than ticket), consumers tend to value the opportunity to
informative descriptions; they present stories. As a enhance their enjoyment of experience [36]. That is,
narrative that conveys culture, history and values, consumers of experiential goods, compared to those of
storytelling is a powerful method to unite people and material goods, are more likely to pay price premiums
ideas [32]. Storytelling is consisted of ‘story’, a pattern as long as their experience could increase their
of information from which the brain is able to find satisfaction and well-being [37]. Therefore, we expect
meanings, and ‘telling’, an act of conveying that the immersive experiences from digital exhibitions
information to the audience [33]. In digital exhibitions, would have positive impact on WTP:
people and objects in the paintings act, interact, and Hypothesis 7: Experiential value positively affects
even speak in intriguing ways to convey meaningful museum visitors’ WTP.
messages to the audience. Storytelling in digital Hypothesis 8: Imagery vividness positively affects
exhibitions thus involves an interaction between the museum visitors’ WTP.
teller (i.e., artworks) and the listener (i.e., visitors). It is
inherently participatory and immersive, as the teller of The research framework of this paper is illustrated in
Figure 2.

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 Figure 2. Research framework

Table 1. Different combinations of artworks

Treatment Animated Image Still Image

Storytelling
Description

Informative
Description

description) experimental design was employed. The

3. Research methodology four artworks, each of which contains unique
combination of art types and description types, are
employed to measure the effect of animated image and
3.1. Experiment setting storytelling description. As for the animated image,
To test the proposed hypotheses, a two (art types: participants were presented with a trailer video of
still image versus animated image) by two (description Loving Vincent (2017), a world’s first fully painted
types: informative description versus storytelling animation film with 64,000 frames in oil paintings in

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the style identical to that of Vincent van Gogh [38]. 3.3. Measurement
The trailer of Loving Vincent is selected as the
treatment of animated image because the movement of Measurement items for experiential value were
characters in the film is identical to that of objects in adapted from the measurement scales of Mathwick et
digital exhibitions. The trailer is played for al. [39]. However, as the current study is concerned
approximately one-minute and presents six paintings of with museum visitors’ experiences rather than the
Vincent van Gogh in animated format. As for the shopping preferences in retail systems, the items were
treatment of the still images, the same six paintings are adapted to focus on the effectiveness of artworks in
presented but in a traditional, still format. These creating satisfactory values. The imagery vividness
paintings include: Landscape with Chariot (1890), was measured with five items developed by Bone and
Portrait of Adeline Ravoux (1890), Portrait of Postman Ellen [26]. Instead of imagery vividness towards
Roulin (1888), Bedroom in Arles (1888), Café Terrace brands, the keywords were adjusted to measure
at Night (1888), and Self Portrait (1889). participants’ imagery vividness towards exhibited
The description type is manipulated by the artworks. In particular, five aspects of imagery
conveyance of either informative description or vividness – clarity, vividness, intensity, liveliness, and
storytelling description. Both descriptions provide brief definition – were measured. The three items for WTP,
introduction about Van Gogh’s commitment of suicide which asked for the willingness to pay higher ticket
and numerous speculations regarding his death. price than traditional exhibition, were adapted from
However, while the storytelling description contains Baker and Crompton [40] and Dwivedi et al. [41]. All
the voices of actors and actresses in Loving Vincent, items were measured on a 7-point Likert scale with 1
the informative description consists of a voice meaning “not at all likely” and 7 meaning “extremely
narration about autobiographic description. Detailed likely”. Furthermore, participants’ previous visits to art
information and screenshots of each treatment are exhibitions were further measured as a control
provided in Table 1. covariate that might affect individuals’ behavioural
responses to the exhibited artworks. As the experiment
3.2. Experiment procedures was conducted in South Korea, the questionnaire was
translated into Korean first, and then a backward
Before conducting the main experiment, a pilot test translation was conducted.
with a sample 20 undergraduate students was
conducted to collect small-scale data and receive 4. Data analysis
feedback on the scale items. The main study was
initiated after confirming the satisfactory results. The
4.1. Participants background information
participants of the main experiment were 120
undergraduate students (who did not participate in the
Participants were invited and surveyed online for
pilot test) from a major university in South Korea. The
five days from May 18 to May 22, 2020. The
experiment took place online and participants were
participants were undergraduate students from a
provided with links accessible via PC and mobile
management course. After the experiment, in order to
environment. In the beginning of the experiment,
screen out unsuitable respondents, participants were
participants were instructed with a scenario of visiting
asked whether they have received story-like
two different types of art exhibitions. In the first
descriptions or factual descriptions, depending on the
exhibition, all participants were exposed to the
experiment group they were assigned to. Only those
traditional, plain paintings of Vincent van Gogh. Then,
who answered correctly to the intended treatment were
they were randomly assigned into one of the four
ultimately measured. After dropping 9 participants who
digital exhibitions that displayed the same paintings
did not pass the manipulation check, a total of 111
but in different combination of art types and
participants were included in the analysis. Among the
description types (see Table 1). After watching the two
final participants, 38.74% were female and 61.26%
art exhibitions for approximately 2 minutes,
male. The age ranged from 20 to 28, with the average
participants were instructed to complete the post-
age of 23. The monthly income ranged from $0 to
experiment questionnaire that measured immersive
$3,000 or higher. On the question about the number of
experience and WTP. The questionnaire also measured
visits to art exhibitions in a year, approximately 40%
demographic information and control variables as well.
answered that they have visited at least 3 art
On average, participants have spent approximately 5 to
exhibitions. Detailed demographic information is
8 minutes to complete the experiment and were
outlined in Table 2.
rewarded with a coffee coupon that is worth US $5.

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 Table 2. Demographic information supported. Furthermore, the storytelling description of
the artworks also had a significant positive effect
Demographic variable Frequency Percentage (F(1,103) = 16.675, p < 0.001). The results thus reveal
that presenting storytelling descriptions also resulted in
Female 43 38.74 significantly higher level of experiential value than
Gender presenting informative descriptions, thus supporting
Male 68 61.26 H2. Lastly, there was a significant interaction effect
between animated images and storytelling descriptions
20-22 54 48.65
on experiential value (F(1,113) = 20.488, p < 0.001;
see Tables 3 and 4). As a result, H5 was supported as
well.
Age (year) 23-25 47 42.34

Table 3. ANOVA test - main and interaction effects

26-28 10 9.01
Dependent Mean
Source df F Sig.
0-1,000 92 82.88 variable square

1,001-2,000 13 11.71 Experiential

Monthly 1 4.884 3.542 0.063
value
income Animated
(US$) 2,001-3,000 2 1.80 image
Imagery
1 0.002 0.001 0.974
vividness
Over 3,001 4 3.61
Experiential
1 22.989 16.675 0.000
0-2 67 60.36 value
Storytelling
description
Prior Imagery
3-5 26 23.42 1 17.337 8.614 0.004
museum vividness
experiences
(number of 6-8 13 11.71 Experiential
visits) Animated 1 28.246 20.488 0.000
value
image ×
Over 9 5 0.45 Storytelling
description Imagery
1 10.704 5.318 0.023
vividness
4.2. Experiential value
Table 4. Means and standard deviations of the four
Following Yi et al. [42], the multivariate analysis of conditions
variance (MANOVA) was first conducted on both
experiential value and imagery vividness. Gender, age, Animated
Still image
income, and prior museum experiences were included image
as covariates. The Cronbach’s alphas for experiential
value and imagery vividness are 0.918 and 0.936, Storytelling 5.717 5.042
description (0.179) (0.239)
respectively, indicating adequate internal consistency
Experiential
of the measurement (i.e., above 0.70) [43]. The results value
demonstrate that there is a significant interaction effect Informative 3.631 4.976
between animated image and storytelling descriptions description (0.295) (0.207)
on both experiential value (p < 0.001) and imagery
vividness (p < 0.05). Afterwards, follow-up ANOVAs
were conducted to examine the effects of animated Storytelling 4.911 4.3
description (0.231) (0.251)
image and storytelling description on each of the two Imagery
dependent variables separately. vividness
ANOVA results on the experiential value reveal the Informative 3.592 4.152
significant main effect of animated images (F(1,103) = description (0.358) (0.237)
3.542, p < 0.1), indicating that the animated images,
compared to still images, led to a significantly higher
level of experiential value. Therefore, the H1 was

Page 4501
4.3. Imagery vividness To further confirm that experience value and imagery
vividness indeed mediated the effect of animated
ANOVA result of animated images on participants’ images and storytelling descriptions on WTP, a
imagery vividness demonstrates that the presence of bootstrap test was conducted (with 500 bootstrap
animated images did not have a significant main effect samples and 95% bias-corrected confidence intervals).
(F(1,103) = 0.001, p > 0.1), indicating that participants While the results indicate that the indirect effect of
did not experience significant level of imagery storytelling description on WTP was positive and
vividness when they were presented with animated significant (95% CI = 0.201 to 0.418; p < 0.001), the
images. Therefore, H3 was not supported. Storytelling indirect effect of animated images on WTP was not
description, on the other hand, had a significant and significant (95% CI = -0.151 to 0.075; p >0.5). As
positive effect on the imagery vividness, thus animated images affected imagery vividness only when
supporting H4 (F(1,103) = 8.614, p <0.01). storytelling description was also provided, a moderated
Interestingly, there was a significant interaction effect mediation model was thus tested. Indeed, the
between animated images and storytelling description bootstrapping test results for the moderated mediation
on imagery vividness, supporting H6 (F(1,103) = model demonstrates that the animated images had
5.318, p <0.05; see Tables 3 and 4). The interaction positive and significant indirect effect on WTP only
effect of animated images and storytelling descriptions when moderated by storytelling description (95% CI =
on both experiential value and imagery vividness 0.013 to 0.117; p <0.10).
indicates that animated images have greater impact on Overall, the results demonstrate that animated
participants’ experiential value and imagery vividness images and storytelling description are more effective
when storytelling description is also presented. This is when presented together in increasing not only
especially evident in imagery vividness, which experiential value and imagery vividness but also
confirmed that the animated images enhance imagery WTP.
vividness only when storytelling description is also
present. Table 5. Loadings and cross loadings of measures
Experiential Imagery
WTP
4.4. Willingness-to-pay price premium (WTP) Value Vividness

EV1 0.899 0.546 0.639

Partial least squares (PLS) was used to examine the
structural modeling regarding the effects of EV2 0.802 0.577 0.596
experiential values and imagery vividness on WTP.
First of all, the measurement model was assessed. As EV3 0.851 0.605 0.576
outlined in Table 5, the measurement items loaded
heavily on their respective constructs (i.e., loadings EV4 0.904 0.645 0.691
above 0.70), demonstrating adequate reliability [43].
Moreover, the composite reliability and Cronbach’s EV5 0.884 0.613 0.722
alpha scores in Table 6 demonstrate satisfactory
internal consistency. The discriminant validity was also IV1 0.516 0.893 0.545
confirmed, as the square root of the average variance
IV2 0.62 0.927 0.604
extracted (AVE) of each latent variable was greater
than the correlations between that latent variable and
IV3 0.707 0.917 0.708
other latent variables [44]. Furthermore, in Table 5, the
loadings of indicators on their respective latent IV4 0.655 0.826 0.558
variables are greater than that of other indicators, thus
further supporting discriminant validity. IV5 0.546 0.897 0.544
After confirming reliability and validity of the
measurement model, the structural model was further WTP1 0.723 0.68 0.954
analyzed to examine the path significance. The results,
as illustrated in Figure 4, indicate that both experiential WTP2 0.726 0.626 0.969
value (β = 0.543, p < 0.001) and imagery vividness (β
= 0.296, p < 0.001) had significant positive effects on WTP3 0.719 0.638 0.981
WTP (R2 = 60.3%). Hence, H7 and H8 were supported.

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 Figure 4. Research framework: testing results

Table 6. Internal consistency and discriminant validity of constructs

Composite Cronbach’s Experiential Imagery

WTP
reliability alpha value vividness

Experiential
0.939 0.918 0.869
value

Imagery
0.951 0,936 0.688 0.893
vividness

WTP 0.978 0.966 0.746 0.670 0.968

** Bold numbers are the square roots of the AVE values, while the off-diagonal elements are correlations between the variables.

5. Discussions and implications the experiment. Nevertheless, our MANOVA analysis

revealed that, while animated images alone did not
In this paper, we not only examined the main and have significant impact on imagery vividness, it did
interaction effect of digital exhibition features but also have significant and positive effect when presented
confirmed the mediating effects of the experiential with storytelling description. Lastly, the structural
value and imagery vividness on WTP. First of all, the model of experiential value and imagery vividness on
individual effect of digital exhibition features on two WTP was measured using PLS; The results confirmed
elements of immersive experience were measured; The the significant and positive effect of both experiential
results confirmed that, except for the effect of animated value and imagery vividness on WTP.
images on imagery vividness, the effects of individual This paper provides several academic and practical
digital exhibition features on immersion was positive implications. First, the effect of immersive
and significant. One of the possible explanations to the technologies on users’ purchase intentions was
rejection of our hypothesis on the effect of animated examined in a novel context of museum industries.
images on imagery vividness could be the difference in While museums have transformed into tourism sites
display size between the actual digital exhibitions and and started to adopt diverse digital technologies to

Page 4503
attract more visitors, IS researches on such digital exhibitions create additional values (i.e.,
technologies remain scant. By examining how specific experiential and imagery vividness). Lastly, as art
features of immersive technologies enhance visitors’ museums are currently incorporating even more novel
immersive experiences and purchase intentions, this technologies, such as VR and AR, into their
paper contributes to the IS literature by expanding its exhibitions, studying the immersive effects of these
research area to a broader interdisciplinary field. technologies would provide further theoretical and
Furthermore, whereas previous studies have only managerial insights.
focused on digital exhibition as a whole, this paper
examines specific features (animated images and 7. Conclusion
storytelling description), both individually and
interactively. By demonstrating that the use of multiple Despite the active attempts of art museums to
digital exhibition features could further enhance become attractive tourism sites with diverse exhibition
visitors’ experiential value and imagery vividness, this technologies, significant IS research progress on the
paper provides in-depth understandings of the impact impact of digital exhibitions is yet to be made. As
of immersive technologies. such, this paper provides a comprehensive
In terms of practical implication, this paper understanding of digital exhibition, a relatively new
provides museum practitioners the insights regarding exhibition style, by examining the impact of its specific
how digital exhibition technologies could improve features on visitors’ immersive experience as well as
traditional exhibitions and lead to more engaging willingness-to-pay price premium. The results
experiences. By focusing on willingness-to-pay price advocate for the usage of multiple features to enhance
premium, this paper helps museum practitioners in not only visitors’ immersive experiences but also their
making decisions to transform their traditional willingness-to-pay price premium. These findings
exhibitions into a digital format. Lastly, as digital serve as a basis for future development in both IS
exhibition is highly feasible throughout diverse media, literature and yield valuable insights for museum
such as website or social media, the results of this industry practitioners.
paper could be applicable to diverse contexts within
museum industries.
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