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These are times in which technological acceleration feels less like an opportunity and more like a siege. Users and professionals alike seem to lack the time to grasp the full potential of new technological proposals before others appear on the horizon. From the perspective of museum management, education, and cognitive experience, this pressure risks undermining the very institutions of the museum world, already challenged by the current era’s questions about their purpose and identity.

The interview

Network Museum – Who is Matteo Zaramella?

Matteo Zaramella – I’m someone who has always loved stepping out of my comfort zone and trying to make a difference in whatever I do. I earned my Bachelor’s degree in Computer Engineering in my hometown of Padua, followed by a Master’s degree in Artificial Intelligence and Robotics from La Sapienza University in Rome. Along the way, I’ve had the opportunity to work as a researcher in the field of AI and to take part in international experiences, including research projects and conferences. One of the milestones I’m particularly proud of is receiving the Best Paper Award at the SUMAC workshop during the ACM MM 2023 conference held in Ottawa, Canada.
Alongside my passion for technology, I’ve always been fascinated by museums and their essential role in transmitting culture and knowledge. I’ve long admired their ability to educate in an engaging and experiential way, even though I had never had the chance to contribute directly to that world.
It was during my time studying in Rome that I began reflecting on how Artificial Intelligence could be applied to museums to make them even more interactive, accessible, and stimulating. I firmly believe that technology can be a key tool in bringing culture closer to an ever broader audience.

Network Museum – What is culture, and what is its role?

Matteo Zaramella – Culture represents the heritage of humanity and safeguards our history. Preserving and remembering it is essential, as it allows us to understand the evolution of humankind and the discoveries that have shaped the course of time.
But culture is not just about ancient artifacts or past traditions, it is a living narrative that explains how we arrived at the present world, illustrating in detail what life was like in different eras.
Historical discoveries help us grasp the roots of modern development and the reasons why we act and think the way we do today.

Network Museum – What is a museum, and what is its purpose?

Matteo Zaramella – A museum is a place where culture is preserved and kept alive. It doesn’t merely safeguard objects from the past; it also carries the crucial task of transmitting knowledge and raising awareness about the importance of historical and cultural memory.
It is a space where the public can see, tangibly encounter, and experience history—gaining a deeper understanding of its origins and meanings.
At the same time, a museum is not static: through scientific research and the study of its collections, it actively contributes to expanding and updating our knowledge.
In this sense, a museum plays an active role in society: it educates, inspires, and stimulates curiosity, becoming a point of reference for both individual and collective cultural growth.

Network Museum – What is BrAIn, and why would an engineering startup be interested in museums?

Matteo Zaramella – Artificial Intelligence is profoundly transforming the world, making scenarios possible that just a few years ago would have seemed unimaginable. Today, many startups focus on optimizing business processes, aiming to maximize productivity or reduce costs to boost profit margins. These applications are undoubtedly valuable for the corporate world, but the potential of AI in other areas of society is often underestimated.
BrAIn was born from this awareness: from the desire to innovate the museum sector through the intelligent use of Artificial Intelligence. We firmly believe that AI can become an ally for museums, providing new tools to enrich the visitor experience and to tell stories and convey content in ways that were previously unthinkable.
The goal is not to replace art or culture, but to enhance it with new forms of interaction and storytelling.

Network Museum – What can technology offer the world of culture and, in particular, the museum system?

Matteo Zaramella – Digital innovations, when adopted with intelligence and sensitivity, can become extraordinary allies for the museum world. I emphasize “if adopted well” because, too often, we see solutions focused solely on entertainment, without genuine respect for history or the cultural value of the content.
On the contrary, I am convinced that technological tools, if consciously integrated, represent a unique opportunity for museums, which cannot afford to lag behind the evolution of our times. Today, we have access to tools that allow for the creation of interactive and immersive experiences, enabling visitors to truly live history in a direct, engaging, and emotionally resonant way.
Returning to the very definition of a museum, as a place for preserving and disseminating culture, it’s clear that the intelligent use of digital resources can strengthen this mission. Among all technologies, Artificial Intelligence stands out as one of the most promising: when employed with respect and care, it can facilitate understanding by providing context, personalized narratives, and in-depth exploration pathways.
Thanks to these tools, we can reconstruct historical environments, narrate events from the perspective of those who experienced them, and engage audiences of all ages and backgrounds. In doing so, cultural heritage becomes more accessible and meaningful for everyone, adults, children, the elderly, while always preserving its historical and cultural depth.

Network Museum – What does “Why Don’t You Speak” represent? What is it about?

Matteo Zaramella – “Why Don’t You Speak” (WDyS) is a quote attributed to Michelangelo who, according to legend, uttered these words while addressing his statue of Moses—struck by the perfection of the sculpture to the point of expecting it to speak.
This project is inspired precisely by that suggestion, aiming to create a living interaction between statues and visitors. Through our web app, the visitor can watch the statue come to life and tell its own story in the first person. The goal is to make the museum experience more engaging, dynamic, and emotionally resonant—awakening curiosity in a new way.
The idea was born during a museum visit, when I noticed that many people were spending more time reading the labels next to the artworks than actually observing the pieces themselves. From that reflection, WDyS emerged: a new way of interacting with art, where the focus shifts back to the artwork itself—not only as a visual centerpiece but also as a narrative one. Visitors are thus immersed in an experience where the art speaks for itself, fostering a more immediate and profound connection.

Network Museum – Why do you consider it important to “make statues speak”? What is the museum world’s response, and what benefits might this bring?

Matteo Zaramella – I believe that making statues speak is only the beginning of a new way of interacting with museums. Emerging technologies are opening the door to increasingly immersive and engaging experiences that not only attract more visitors but also help disseminate culture more broadly — making it accessible to people of all ages, from children to the elderly.
Just as the introduction of audio guides years ago marked the first step toward a more interactive visit — a tool now present in almost every museum — today’s new technologies are poised to further transform the museum experience. The difference is that these new solutions don’t simply accompany the visitor; they aim to profoundly reshape how culture is experienced. In the future, we could offer fully personalized visits tailored to individual users or audience groups, thus boosting both engagement and communicative effectiveness.
It’s true that within the museum landscape, there are institutions more open to innovation and others that remain anchored in tradition. Some fear that introducing advanced technologies might compromise the authenticity and gravity with which art and history should be treated — and I understand this concern. However, it’s important to emphasize that initiatives like “making statues speak” are not meant to trivialize content, but rather to make it more accessible and engaging for a broader and more diverse audience.
Museum evolution does not mean a loss of value — it means adapting to the times. And those unwilling to evolve risk being left behind. Just look at the growth of sensory and experiential museums in recent years to see how the demand for engaging experiences is clearly on the rise.

Network Museum – How are museums adapting to technological evolution, and how do they engage with a new startup specializing in educational technology and “edutainment”?

Matteo Zaramella – In my personal experience, I must say that there’s still not much openness within the Italian museum sector—especially when it comes to proposing innovative projects from a new startup.
Often, when I try to reach out to prominent museums, I receive no reply at all or I’m met with a flat rejection, without even the opportunity to establish a real dialogue or exchange.
The institutions that tend to be more receptive are usually smaller museums. While they may have less visibility, they’re often more agile and willing to experiment—precisely because adopting an innovative idea can represent a concrete opportunity for growth and exposure.
It’s a dynamic quite similar to what we see in the business world: large corporations tend to be slower and more cautious, whereas startups, having more to gain, are often more willing to take risks.
The only real limitation of smaller museums is often economic. Even when they have the mindset and motivation to innovate, they may lack the resources to support certain projects financially.

Network Museum – What are the biggest challenges for a new tech company working with the museum sector?

Matteo Zaramella – In Italy, one of the main obstacles for those seeking to innovate in the museum sector is undoubtedly bureaucracy. The vast majority of public museums—and a significant portion of private ones as well—remain quite resistant to new technologies. Even in rare cases where there is interest, bureaucratic timelines are extremely slow, making it difficult to establish meaningful collaborations within a practical timeframe.
This poses a major barrier for startups, which need to enter the market quickly, sell their services, and gain visibility in order to grow and prove their credibility. The static nature of museum institutions often delays or even prevents the development of new and innovative ventures.
Another key factor is the network of contacts. In many cases, even when a startup has a solid and well-structured idea, if it doesn’t have access to the right people or channels, the idea might not even be considered. Unfortunately, the value of innovation often takes a backseat to the importance of relationships.

Network Museum – There are many technological applications for educational animation in exhibitions: how does this approach impact content and public interpretation? What is the response from curators and museum education specialists you’ve worked with? And how does BrAIn differ from other competitors?

Matteo Zaramella – It’s true—there are many technological applications today in the field of educational animation for museum exhibitions. But it’s crucial to draw a clear distinction between two very different approaches: on one side, we have solutions that respect the artworks and genuinely contribute to the spread of culture; on the other, those focused solely on entertainment, often exaggerating or trivializing artistic and historical content.
The latter may be fun, but they rarely offer real value to visitors: they don’t convey knowledge or deepen the meaning of the works. The former, however, aim to enrich the museum experience, making it more accessible, engaging, and stimulating from an educational perspective. That’s exactly the kind of innovation the sector needs to move forward—and BrAIn fully belongs to this category.
What sets BrAIn apart is its interactive yet simple approach: the visitor can access the experience directly from their own smartphone, without the need for bulky or invasive devices like VR headsets or special screens. But that’s only the starting point.
The real distinction lies in BrAIn’s purpose: it was not created to entertain, but to revolutionize the museum experience, placing knowledge, accessibility, and authentic engagement at its core.
So far, audience feedback has been positive—I’ve received several enthusiastic reviews, and I’ve noticed that the idea is being embraced with the right mindset: open and curious. That said, the project has so far been implemented in a limited number of museums, so it’s still too early to draw definitive and general conclusions.
As for curators’ perspectives, it’s hard to make a unified assessment: each professional has their own view. In general, though, I’d say we’re still quite far from a true openness to new technologies.

Network Museum – How do you assess the relationship between information, cultural dissemination, and the national education system from the perspective of technological applications? What about abroad?

Matteo Zaramella – In the fields of education and cultural dissemination, I believe technology has a highly significant impact and can offer tangible, positive contributions.
In the educational sphere, for example, it enables greater personalization of learning, catering to students’ diverse needs and promoting inclusion. Similarly, in the cultural domain—as we demonstrate with BrAIn—technology allows for more active and immersive public engagement.
In both areas, the goal is to offer a tailored experience for the user, although with different outcomes, since education plays a deeper role in shaping the individual.
When it comes to information, things become more complex and delicate. We live in a time where distinguishing between reliable sources and manipulated content is increasingly difficult. The spread of fake news and the use of deepfakes present a concrete challenge: in this space, technology has a double edge.
On the one hand, it enables deeper exploration and the dissemination of quality content. On the other, it provides tools for those seeking to misinform or manipulate public opinion. For this reason, I believe a regulatory system is necessary—or the development of tools that help users recognize and access verified sources.
As for other countries, while I’m not an expert, I think there are nations that adopt a more open and experimental approach to technology, particularly in the fields of digital education and cultural innovation. In general, as has often been the case in the past, the example set by more advanced countries can drive others to follow the same direction.

Network Museum – How does the public experience technological interventions in museum education and communication? Have you collaborated with cognitive science experts on this?

Matteo Zaramella – No, unfortunately I haven’t yet had the opportunity to establish collaborations with experts in cognitive science, so at the moment I don’t have specific findings in that area. Similarly, the field of didactics hasn’t yet been a direct focus of my research, which is why I prefer not to express an opinion that isn’t sufficiently grounded.
That said, based on my direct experience in the museums where my project has been implemented, I’ve received very positive feedback from visitors. In particular, many have said they feel more engaged during the visit, perceiving the technological component as a useful tool to enhance their understanding of the artworks.
The ability to interact directly with the content is welcomed as an enrichment of the experience — making the visit clearer, more stimulating, and more accessible.

Network Museum – How do you envision the museum of the future in light of technological evolution?

Matteo Zaramella – I envision the museum of the future as a space where the visitor is at the center.
Today, in most museums, the artworks are the sole protagonists, while the visitor’s role is passive—often reduced to that of a simple observer. In the future, I believe this approach will undergo a radical transformation: artworks and culture will remain at the heart, but interaction with the visitor will become the true focal point of the experience.
I imagine a museum capable of offering personalized experiences, designed around each visitor’s characteristics, interests, and age. In this way, the transmission of culture becomes much more effective, engaging, and memorable. It will be a tailor-made experience, able to adapt to each individual, increasing the emotional and educational impact of the visit.
Another essential aspect of the museum of the future is geographic accessibility. Today, visiting a museum requires being physically present. This is a significant barrier for many. Through digitalization, however, it will be possible to offer virtual access to parts of the museum to anyone, from anywhere in the world.
Naturally, the in-person experience will remain irreplaceable: certain emotions, sensations, and connections can only be felt face-to-face. But by offering a digital alternative, we can include those who—due to economic, physical, or logistical reasons—cannot visit in person. This guarantees a more democratic access to culture.

Network Museum – And now the question tied to this year’s theme: how would you define an “intelligent museum”?

Matteo Zaramella – That really depends on what we mean by “intelligent museum.”
If we’re referring to internal management, I would define it as a museum that’s open to technological innovation, constantly working to renew itself, enhance the visitor experience, and invest in research to deepen and expand knowledge across the fields it covers.
If instead we take “intelligent museum” in a more futuristic sense, then I imagine it as a highly interactive place, where the experience is personalized to each individual visitor—from personal tastes to age and specific interests. The goal would be to offer everyone a tailor-made journey, one that maximizes the cultural content’s impact and value.
With the advancement of Artificial Intelligence, many of these solutions are already becoming reality. And I’m convinced that in the coming years, we’ll see a growing number of “smart” applications inside museums. It will mark a significant shift, one that’s set to radically transform the way we experience culture.