Most recent firm news about Self-service audio-guided scenic tours help site visitors understand
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 constantly pressing the guide device - the English explanation merely stated "Created in 1907, the beginning of Cubism", and he would like to know "Why did the girl's face have to be broken into geometric fragments?" but could not discover a single explanation; the French visitor next to him, went through the guide device menu to discover the anti-war story behind the draft of "Guernica", but only saw "Created during World War II"; further away, several Arab visitors gathered around the sketchbook in the display cabinet, pointing and gesturing, but the guide device in their hands had no Arabic option and could only guess "Is this drawing doctors and patients?" at the sketch Picasso made when he was a teenager, "Science and Charity". Such scenes take place almost every day in this art site that houses over 4,500 works by Picasso.
The Picasso Museum is one of the most respected art museums in the world. Every year, more than 2 million international tourists visit here. But "understanding Picasso" is by no means an easy task - 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 throughout the world. There is a massive demand for languages other than English, French, and Spanish. The exhibition halls have close paintings and the walls are made from stone, and the signals often fail. Yingmi has actually been in the audio guide industry for 16 years. it didn't take the "just obtain a tool and address whatever" strategy. Instead, it concentrated on the problems of the museum and created a full-scenario voice tour solution. Without especially pointing out any product, she counted on technical adaptation and content refinement to help tourists turn "the complex Cubism" into "an understandable artistic life".
After chatting 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 tour of this location are all connected to "how to recognize art" and "how to adapt the scene". It's not something that can be fixed by adding a translator:
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 tours mostly only offer three languages - German, Italian, and Portuguese are often left out, let alone languages like Portuguese, Hindi, and these small languages.
A travel agency individual informed me that they once led a Middle Eastern team. The uncle pointed 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 frustrated. They desired Spanish commentary, but the Spanish version of the traditional tour only translated the names of the works, without discussing that Cubism was associated with the shapes of Spanish folk ceramics, and after the tour, everyone in the team said, "We just saw a bunch of strange paintings."
In Picasso's world, terms like "Cubism", "Deconstructionism", and "Collage Art" are difficult for ordinary tourists to understand even when translated into Chinese. Traditional tours either directly throw away the terms, such as pointing at "Les Demoiselles d'Avignon" and saying, "This is the founding work of Cubism," but without explaining "What is Cubism, and why are the characters not normal with noses and eyes?" Or they only say, "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.
Consequently, when tourists look at the flat lines in "The Guitar", they don't understand that Picasso was "drawing a three-dimensional guitar on a two-dimensional piece of paper"; when they stare at the reclining woman in "The Dream", they don't understand "those soft curves hide his brief yearning for love" - the most fascinating part of art is all covered up by these "term piles".
3.The exhibits are dense and "easy to puzzle", the viewing rhythm is often disturbed
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 tours have too inaccurate sensing. 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 from 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 local tourist complained 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 tours rarely mention these "behind-the-scenes stories", only saying "What's the name of the work, and when was it painted?".
Tourists can only look at "How weird does this painting look?" but don't understand "Why did he paint it this way?".
I conducted a small survey before, and only 15% of the tourists could know through traditional guided tours 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" - actually, the most important thing to see in an art museum is these "lives hidden in the paintings"
When Yingmi came up with the plan for the Picasso Museum, she didn't rush to tell people "How technically advanced we are", but actually sent 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 notebook of notes. The final plan, without any fancy explanations, was all based on the real demands of the tourists:.
To address the problem of "dense paintings and easily obstructed signals" in the museum, Yingmi's plan focused on two key points:.
One was "Accurate picking up", using the RFID-2.4 G star distribution technology. Simply put, when a tourist is within 1 meter of the painting, the description comes out precisely, and it doesn't jump to the adjacent sculpture - once I tried it in an exhibition with an extremely 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 "Stable signal", using the 4GFSK anti-interference technology, which can travel through stone walls. I had tested it in the stone exhibition hall of the Acropolis Museum in Athens, and the signal disruption 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 seek a charging socket in the middle, and the equipment was made lightweight, so it didn't cause hand pain after wearing it for a long time - unlike some traditional equipment, which became heavy halfway through and was not intended to hold.
Yingmi consulted 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 theories, break Picasso's artistic life into stories that tourists can understand.".
For instance, when discussing the Blue Period, one may say, "After his pal's suicide, Picasso was depressed, so he used blue tones to paint beggars and street performers - look at the heavy poses in 'La Vie', the blue color shows loneliness." One would also mention, "He met his first love, so the colors turned pink, and he painted acrobats and clowns - 'Child with a Pipe' has soft pinks, showing his happy 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 women's faces are split, that's how he broke the traditional perspective.".
The content also includes a tip for visitors to "discover it themselves", such as, "Look at the lines in 'The Guitar', how did Picasso use planes to create a sense of three-dimensionality?" "Look for the woman's arm in 'The Dream', isn't it like a soft, curved line flowing?" In this manner, visitors are not passively listening but actively observing and remembering it more securely.
The charm of the Picasso Museum is not "displaying a bunch of Picasso's paintings", but what is hidden within these paintings - an artist's journey from unhappiness to joy, from following old rules to innovating on their own, an art change history spanning half a century. For visitors, coming here is not to take a "photo with 'Les Demoiselles d'Avignon'" but to need to know "why Picasso painted like this, what kind of mood these paintings hide".
Yingmi's guided tour plan does not have any kind of expensive functions. It simply does these three things well: "explain the language thoroughly, have accurate responses, and have deep content". It is like an art guide, not forcefully imparting knowledge, but guiding visitors to watch gradually, in the sorrowful of the Blue Period, the tenderness of the Rose Period, and the development of Cubism, gradually helping visitors understand Picasso's artistic code. For customers, choosing such a plan is not only to make the visitor experience better, but also to truly enable the art museum to "transmit culture and interpret art" - this is the most crucial meaning of the guided tour plan.
Q1: How does the audio guide enhance the understanding of Picasso's art?
A1: By providing story-based explanations and contextual backgrounds, it transforms complex art terms into relatable narratives, making Cubism and other styles accessible.
Q2: What technologies ensure the guide's accuracy and reliability?
A2: It employs RFID for precise exhibit sensing and 4GFSK for stable signals, reducing interruptions even in challenging environments like stone-walled halls.
Q3: Are there customization options for different visitor groups?
A3: Yes, the guide offers multi-language support and content tailored to various knowledge levels, from beginners to art enthusiasts.
Most recent firm news about Self-service audio-guided scenic tours help site visitors understand
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 constantly pressing the guide device - the English explanation merely stated "Created in 1907, the beginning of Cubism", and he would like to know "Why did the girl's face have to be broken into geometric fragments?" but could not discover a single explanation; the French visitor next to him, went through the guide device menu to discover the anti-war story behind the draft of "Guernica", but only saw "Created during World War II"; further away, several Arab visitors gathered around the sketchbook in the display cabinet, pointing and gesturing, but the guide device in their hands had no Arabic option and could only guess "Is this drawing doctors and patients?" at the sketch Picasso made when he was a teenager, "Science and Charity". Such scenes take place almost every day in this art site that houses over 4,500 works by Picasso.
The Picasso Museum is one of the most respected art museums in the world. Every year, more than 2 million international tourists visit here. But "understanding Picasso" is by no means an easy task - 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 throughout the world. There is a massive demand for languages other than English, French, and Spanish. The exhibition halls have close paintings and the walls are made from stone, and the signals often fail. Yingmi has actually been in the audio guide industry for 16 years. it didn't take the "just obtain a tool and address whatever" strategy. Instead, it concentrated on the problems of the museum and created a full-scenario voice tour solution. Without especially pointing out any product, she counted on technical adaptation and content refinement to help tourists turn "the complex Cubism" into "an understandable artistic life".
After chatting 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 tour of this location are all connected to "how to recognize art" and "how to adapt the scene". It's not something that can be fixed by adding a translator:
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 tours mostly only offer three languages - German, Italian, and Portuguese are often left out, let alone languages like Portuguese, Hindi, and these small languages.
A travel agency individual informed me that they once led a Middle Eastern team. The uncle pointed 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 frustrated. They desired Spanish commentary, but the Spanish version of the traditional tour only translated the names of the works, without discussing that Cubism was associated with the shapes of Spanish folk ceramics, and after the tour, everyone in the team said, "We just saw a bunch of strange paintings."
In Picasso's world, terms like "Cubism", "Deconstructionism", and "Collage Art" are difficult for ordinary tourists to understand even when translated into Chinese. Traditional tours either directly throw away the terms, such as pointing at "Les Demoiselles d'Avignon" and saying, "This is the founding work of Cubism," but without explaining "What is Cubism, and why are the characters not normal with noses and eyes?" Or they only say, "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.
Consequently, when tourists look at the flat lines in "The Guitar", they don't understand that Picasso was "drawing a three-dimensional guitar on a two-dimensional piece of paper"; when they stare at the reclining woman in "The Dream", they don't understand "those soft curves hide his brief yearning for love" - the most fascinating part of art is all covered up by these "term piles".
3.The exhibits are dense and "easy to puzzle", the viewing rhythm is often disturbed
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 tours have too inaccurate sensing. 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 from 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 local tourist complained 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 tours rarely mention these "behind-the-scenes stories", only saying "What's the name of the work, and when was it painted?".
Tourists can only look at "How weird does this painting look?" but don't understand "Why did he paint it this way?".
I conducted a small survey before, and only 15% of the tourists could know through traditional guided tours 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" - actually, the most important thing to see in an art museum is these "lives hidden in the paintings"
When Yingmi came up with the plan for the Picasso Museum, she didn't rush to tell people "How technically advanced we are", but actually sent 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 notebook of notes. The final plan, without any fancy explanations, was all based on the real demands of the tourists:.
To address the problem of "dense paintings and easily obstructed signals" in the museum, Yingmi's plan focused on two key points:.
One was "Accurate picking up", using the RFID-2.4 G star distribution technology. Simply put, when a tourist is within 1 meter of the painting, the description comes out precisely, and it doesn't jump to the adjacent sculpture - once I tried it in an exhibition with an extremely 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 "Stable signal", using the 4GFSK anti-interference technology, which can travel through stone walls. I had tested it in the stone exhibition hall of the Acropolis Museum in Athens, and the signal disruption 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 seek a charging socket in the middle, and the equipment was made lightweight, so it didn't cause hand pain after wearing it for a long time - unlike some traditional equipment, which became heavy halfway through and was not intended to hold.
Yingmi consulted 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 theories, break Picasso's artistic life into stories that tourists can understand.".
For instance, when discussing the Blue Period, one may say, "After his pal's suicide, Picasso was depressed, so he used blue tones to paint beggars and street performers - look at the heavy poses in 'La Vie', the blue color shows loneliness." One would also mention, "He met his first love, so the colors turned pink, and he painted acrobats and clowns - 'Child with a Pipe' has soft pinks, showing his happy 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 women's faces are split, that's how he broke the traditional perspective.".
The content also includes a tip for visitors to "discover it themselves", such as, "Look at the lines in 'The Guitar', how did Picasso use planes to create a sense of three-dimensionality?" "Look for the woman's arm in 'The Dream', isn't it like a soft, curved line flowing?" In this manner, visitors are not passively listening but actively observing and remembering it more securely.
The charm of the Picasso Museum is not "displaying a bunch of Picasso's paintings", but what is hidden within these paintings - an artist's journey from unhappiness to joy, from following old rules to innovating on their own, an art change history spanning half a century. For visitors, coming here is not to take a "photo with 'Les Demoiselles d'Avignon'" but to need to know "why Picasso painted like this, what kind of mood these paintings hide".
Yingmi's guided tour plan does not have any kind of expensive functions. It simply does these three things well: "explain the language thoroughly, have accurate responses, and have deep content". It is like an art guide, not forcefully imparting knowledge, but guiding visitors to watch gradually, in the sorrowful of the Blue Period, the tenderness of the Rose Period, and the development of Cubism, gradually helping visitors understand Picasso's artistic code. For customers, choosing such a plan is not only to make the visitor experience better, but also to truly enable the art museum to "transmit culture and interpret art" - this is the most crucial meaning of the guided tour plan.
Q1: How does the audio guide enhance the understanding of Picasso's art?
A1: By providing story-based explanations and contextual backgrounds, it transforms complex art terms into relatable narratives, making Cubism and other styles accessible.
Q2: What technologies ensure the guide's accuracy and reliability?
A2: It employs RFID for precise exhibit sensing and 4GFSK for stable signals, reducing interruptions even in challenging environments like stone-walled halls.
Q3: Are there customization options for different visitor groups?
A3: Yes, the guide offers multi-language support and content tailored to various knowledge levels, from beginners to art enthusiasts.
