Self-service audio-guided excursions aid visitors recognize the "imaginative keys of Cubism"

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In the exhibit 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 tool - the English explanation merely specified "Produced in 1907, the beginning of Cubism", and he wished to know "Why did the lady's face have to be broken into geometric fragments?" yet could not find a single explanation; the French vacationer beside him, searched through the guide tool menu to find the anti-war story behind the draft of "Guernica", yet only saw "Produced during World War II"; further away, numerous Arab vacationers collected around the sketchbook in the display cabinet, directing and gesturing, yet the guide tool in their hands had no Arabic choice and could only presume "Is this drawing doctors and clients?" at the sketch Picasso made when he was a teenager, "Science and Charity". Such scenes happen nearly daily in this art landmark that houses over 4,500 works by Picasso.

The Picasso Museum is one of the most prestigious art museums on the planet. Each year, more than 2 million international tourists see below. But "comprehending 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 all over the globe. There is a substantial need for languages apart from English, French, and Spanish. The exhibit 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" approach. Instead, it focused on the issues of the museum and developed a full-scenario voice excursion remedy. Without particularly discussing any kind of product, Yingmi relied on technological adaptation and material refinement to aid tourists turn "the confusing Cubism" into "an understandable imaginative life".

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

After speaking with several museum operators and travel agencies, they all claimed, "Taking a team to the Picasso Museum is more stressful than taking a team to the Louvre." The problems in the trip of this place are all tied to "how to comprehend art" and "how to adapt the scene". It's not something that can be solved by adding a translator:

1.The "space" in multilingualism is huge. Tourists with languages apart from English, French, and Spanish can only "presume 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 particularly to visit, and Eastern Europeans who are passionate about art. However, traditional trips mostly only provide three languages - German, Italian, and Portuguese are often omitted, 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 aimed at "The Blue Self-Portrait" and asked, "Why did he paint it so sadly?" The temporary translator could only vaguely say, "Maybe 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 aggravated. They wanted Spanish commentary, yet the Spanish version of the traditional trip only translated the names of the works, without stating that Cubism was related to the shapes of Spanish folk ceramics, and after the trip, 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 challenging for ordinary tourists to comprehend even when converted into Chinese. Traditional trips either directly throw out the terms, such as directing at "Les Demoiselles d'Avignon" and claiming, "This is the founding work of Cubism," yet without explaining "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.

As a result, 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 conceal his brief yearning for love" - the most intriguing part of art is all hidden by these "term heaps".

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

A lot of the exhibit halls in the Picasso Museum are not large, yet the exhibitions 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 trips have too imprecise picking up. Standing in front of a sketch, the audio being played is that of an oil painting on the side. Tourists need to repeatedly manually change the audio. What's more troublesome is that some exhibit walls are made from stone, and the signal gets disturbed when it encounters a barrier. Once I heard "The motivation for the Rose Period came from the circus", just as I was about to listen more, the signal unexpectedly dropped, and by the time I recovered, we had already moved on to the next section.

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

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

Picasso's paintings were never "created just for the sake of production" - "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. Yet traditional guided trips 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?" yet 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 trips 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 motivation for 'Les Demoiselles d'Avignon' was half from African masks and half from Spanish bullfighting" - in fact, the most crucial thing to see in an art museum is these "lives hidden in the paintings"

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

When Yingmi thought of the plan for the Picasso Museum, she didn't rush to inform 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 complete notebook of notes. The final plan, without any expensive descriptions, was all based on the actual needs of the tourists:.

1.Exhibit Adjustment: Accurate noticing + Steady signal, without interrupting the watching 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 "Exact noticing", utilizing the RFID-2.4 G star distribution technology. Put simply, when a visitor 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 exhibit with a very 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 exhibit hall of the Acropolis Museum in Athens, and the signal interruption rate could be reduced to below 5%, even in the underground exhibit 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 soreness after wearing it for a long time - unlike some traditional equipment, which became heavy halfway through and was not wanted to hold.

2.Material Deepness: Adhere to Picasso's "life journey", turn art into "little tales".

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 imaginative life into tales that tourists can comprehend.".

For example, when discussing the Blue Period, one might claim, "After his buddy's suicide, Picasso was depressed, so he utilized blue tones to paint beggars and street performers - look at the heavy postures in 'La Vie', the blue color shows loneliness." One would also state, "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 reminder for visitors to "find it themselves", such as, "Look at the lines in 'The Guitar', how did Picasso utilize planes to create a sense of three-dimensionality?" "Look for the lady's arm in 'The Dream', isn't it like a soft, curved line flowing?" This way, visitors are not passively listening but actively observing and remembering it more firmly.

Verdict: Allow Picasso's "Artistic Life" be comprehended by more individuals.

The beauty of the Picasso Museum is not "presenting a lot of Picasso's paintings", but what is concealed within these paintings - an artist's journey from sadness to happiness, from following old regulations to innovating themselves, an art transformation history spanning half a century. For visitors, coming here is not to take a "image with 'Les Demoiselles d'Avignon'" but to wish to know "why Picasso painted like this, what kind of mood these paintings conceal".

Yingmi's guided excursion plan does not have any kind of expensive functions. It simply does these three points well: "describe the language thoroughly, have exact reactions, and have deep material". It resembles an art guide, not vigorously imparting knowledge, but guiding visitors to view slowly, in the melancholy of the Blue Period, the tenderness of the Rose Period, and the breakthrough of Cubism, gradually aiding visitors comprehend Picasso's imaginative code. For clients, choosing such a plan is not just to make the visitor experience better, but also to truly enable the art museum to "transmit culture and interpret art" - this is the most vital meaning of the guided excursion plan.

FAQ 

Q1: What makes this audio guide different from traditional tours?
A1: It uses story-based content and advanced technology to provide accurate, multi-language explanations without manual intervention, enhancing understanding of art contexts.

Q2: How does the guide handle dense exhibit layouts?
A2: With precise sensing and anti-interference signals, it ensures audio plays only for the exhibit you're near, avoiding confusion in crowded spaces.

Q3: Are there options for visitors with limited art knowledge?
A3: Yes, the guide breaks down complex terms into relatable life stories and encourages active observation through prompts and questions.