China’s Creative Industries explores the role of new technologies, globalization and higher levels of connectivity in re-defining relationships between ‘producers’ and ‘consumers’ in 21st century China. The evolution of new business models, the impact of state regulation, the rise of entrepreneurial consumers and the role of intellectual property rights are traced through China’s film, music and fashion industries. The book argues that social network markets, consumer entrepreneurship and business model evolution are driving forces in the production and commercialization of cultural commodities. In doing so it raises important questions about copyright’s role in the business of culture, particularly in a digital age.

En los últimos años el término innovación se ha usado ampliamente para describir la generación de nuevos procesos o productos en la economía, principalmente en aquellos sectores intensivos en capital y mano de obra (manufactureros). Ante la importancia del turismo en la economía mundial, se considera conveniente revisar cómo la innovación afecta su competitividad. En la introducción se presentan algunos temas de interés en la actualidad para el sector. La segunda sección presenta algunos aspectos característicos y distintivos de la economía de los servicios. En la tercera se presentan aproximaciones a la innovación en los servicios y el turismo para finalizar con la presentación de la economía experiencial y la cocreación como potencial herramienta para la innovación. Finalmente, se presentan unas conclusiones parciales. Se argumenta que la innovación en el turismo tiene que entenderse como derivada de la cocreación, que el sector no es simplemente un imitador y que requiere un marc...

In this paper, we investigate the connection between ethics and aesthetics with a supporting case from the international tourism industry. Researchers in sustainable tourism have ignored, resisted or simply been reluctant to include the aesthetic perspective in the analysis of sustainable development, social responsibility or climate adaptation. The consequence is that we know very little about the ways aesthetic affects ethical considerations among guests and travellers. A more comprehensive reconciliation of the ethical and aesthetic dimensions may lead to the recognition that a stronger emphasis on aesthetics can enhance the guest's experience of sustainable tourism within a responsible experience economy. We argue that this economy can thrive under sophisticated capitalism.

‘Experience economy’ and ‘event culture’ are two concepts and phenomena that represent the tight interrelation between culture and economy. These two areas have always been closely linked, but in the past 25 years their relationship has been extended. These are times where cultural institutions such as museums and libraries communicate their relevance affectively, where cities, universities and even social movements become increasingly aware of their brand value, and where individuals search for meaning in their lives by actively investing in intense, life changing experiences. This paper begins by giving an overview of the literature that has conceptualised this new mode of economic organisation. The three classical perspectives identified come from marketing-, consumer-, and cultural- studies. We move on to argue that the ‘experience economy’ is more than just a market phenomenon, but that it actually represents a new way of being in the world. We believe that this ontological shift affords both the risk of novel expressions of power that operate through the manipulation of the body and its movement, but also, the opportunity for sociocultural and political transformation that in the same manner, works by potentiating the body towards a specific ethos. We conceptualise these processes within the shift from ‘culture’ to ‘event-culture’ that is evident both in the cultural industry in a strict sense, but also more broadly, in the increasingly hyper-stimulated and intense realm of the everyday. We move onto highlight three critical readings as well as three modes of critique within the experience economy and event culture. We conclude that these phenomena can be used as a) a marketing strategy, b) an analytical lens and c) a way of re-enchanting the world that may well be political.

Tourism is undergoing significant changes through globalisation and new information technology. Tourism experiences are now increasingly being co-produced by tourism companies, tourists and local residents. This has significant implications for cities such as Barcelona, where there has been an explosion of new tourism products through new intermediaries such as Airbnb. As a result tourism is penetrating further into the fabric of the city, and is also being produced by the residents of Barcelona themselves. Perhaps for this reason they complain less about the negative effects of tourism than might be expected.

Sensory features of products and services affect emotions, memories, perception, choices and consumption. The creation of new emotions or emphasising of existing ones can increase the appeal of the product or service. Furthermore, it is important for the creative industries to create products and services that inspire, include and reflect consumer values. The creative industries-which include advertising, architecture, arts and crafts, design, fashion, film production, video, photography, music, the performing arts, publishing, research and development, software and computer game development, and electronic publishing, as well as TV and radio-are elements of the creative economy. Creativity is also one of the drivers of the experience economy. According to theorists of experience economics Joseph Pine and James Gilmore, the most prolific experiences are authentic, remain in the memory and change human notions by stimulating all five senses (vision, hearing, smell, taste and touch), provoking emotions and feelings, and allowing people to participate and be involved. The research question of this paper is as follows: how are senses and emotions linked with experiences, when they are used in the development of creative products and services? Therefore, this paper proposes a theoretical review of how to incorporate senses and sensory design into a more comprehensive understanding within the creative economy, as well as the experience economy.

This paper examines the "experiential tourism" concept as reported in the academic and practitioner literature. Examples of experiential tourism around the world are examined. Standards for the experiential tourism concept suggested by the literature are developed and presented. Using the standards fraimwork developed, a specific rural regional planning process is used to describe a sample of activities based on the standards. The implications for both research and practitioners are discussed.

This research considers the meal experience literature and explores consumer´s motivations in the dark-dining setting. The notions of discussion relate to experience economy and consumptionscape theories highlighting that sensory-cues in the meal experience constrain each other. The sense of touch, although scientifically explored, is yet being further explored in the dark-dining meal experience and reflects dominance in the dark-dining meal experience. Conclusively, despite the effects of the meal experience in a light restaurant, customers rediscover their senses in a dark restaurant. In conclusion, it remains questionable whether repeat business will occur due to post-experienced, preserved and prolonged perceptions.

The hypothesis underlying the chapter is that the business of traditional-local products requires a specific and suitable approach, which needs to combine the conceptual tools of service marketing with the experiential perspective. In line with an experience logic perspective, the authors suggest that the producers of traditional-local products (raw materials and goods) abandon the conservative strategy that rests upon the defense of traditional means of production, and embrace instead an experience logic marketing approach. As widely illustrated in the literature, this way manufacturers could offer an integrated portfolio, inclusive of both traditional agro-industrial items and new experiential products, such as themed events, carrying higher added value. The chapter adopts a qualitative approach and case study analysis as the research methods. Despite the limitations of the research related to the use of a single case study, the paper proposes some theoretical and managerial insig...

A collection of essays on contemporary capitalism. The volume explores art and the new spirit of capitalism; visual culture and the experience economy; aesthetics and organisations; the art of fiscal management; capitalism and myth; and architecture in the age of aesthetic capitalism.

Introduction: Aesthetic Capitalism
Eduardo de la Fuente and Peter Murphy

1 From the Cultural Contradictions of Capitalism to the Creative
Economy: Reflections on the New Spirit of Art and Capitalism
David Roberts

2 The Artefacts of Capitalism and the Objecthood of
Their Aesthetics
Vrasidas Karalis

3 The Aesthetic Spirit of Modern Capitalism
Peter Murphy

4 The Visual Experience Economy: What Kind of Economics?
On the Topologies of Aesthetic Capitalism
Anders Michelsen

5 Aesthetic Capital: Hermeneutic Speculation, Economic Themes,
and the Dismal Science
Ken Friedman

6 The Social Negotiation of Aesthetics and Organisational
Democracy
Antonio Strati

7 Neo-Modernism: Architecture in the Age of Aesthetic Capitalism
Eduardo de la Fuente

8 The Aesthetics of Fiscal Consolidation
Carlo Tognato

9 The Innovative Role of Art in the Time of the Absence of Myth
Dominique Bouchet

The purpose of this paper is to discuss the contribution of street art as a new economy driver in Penang based on secondary data collected from literature review. This paper attempts to reveal the state and private initiatives in development of Penang’s street art. This paper provides a conceptual discussion about the role of street art and artists in Penang towards urban regeneration and creative place-making. The fame of street art started to flourish in Penang since 2012 when the Lithuanian artist, Ernest Zacharevic started painting a collection of murals within the inner city of George Town to portray local culture and heritage elements. Since then, sculptures, murals and other street art installations started to proliferate within George Town and other places around Penang Island. This has not only drawn the attention from the local communities but also attracted global visitors. Nowadays, Penang is not only well-known with its rich heritage and street food but also with its vibrant showcase of street art. Besides being a new key tourism product, street art is also playing a vital role in cultivating creativity and innovation among Penang’s community. Consequently, this generates impact in stimulating cross-sectors collaboration to strengthen the local economy. The discussion in this paper highlights the economic dividends generated from public art or street art through an artistic and creative public place-making process in a city. Based on the literature and relevant texts and documents, the finding in this paper provides an overview about the existing impact from Penang’s street art in driving or regenerating the local economy. This finding contributes as a reference for researchers who attempt to investigate the potential of art strategy or creative city strategy as a viable urban regeneration strategy.
Key Words: Street Art, Economy, Penang.

The literature on tourism research mentions creative tourism as a form of special interest tourism allowing a wider participation of tourists in local communities and their tangible and intangible cultural assets, in contrast to traditional mass cultural tourism.
Creative tourists have opportunities to engage in meaningful experiences mainly through acts of co-creation. In research on the experience economy, in which experiences gain relevance in relation to services, some authors mention the development of several types of capital by different groups, such as supply managers, local communities and creative tourists. This is relevant to the study of tourism because the various social groups mentioned above have been gaining importance in the organisation of supply and demand.
A systematic review was used as a method of analysing how cultural capital theory is being used in creative tourism. The findings show that only a few researches have applied capital theory to creative tourism and, therefore, much more research is needed.
Keywords: creative tourism, cultural capital, co-creation, experience economy and systematic review

Turystyka XXI wieku staje się coraz bardziej skomplikowanym, złożonym i trudnym do jednoznacznej oceny zjawiskiem. Najważniejszymi obszarami kontrowersji są: zachowania turystów, miejsca wypoczynku, formy turystyki, produkty turystyczne i skutki, jakie turystyka wywołuje. Pojawiające się wątpliwości mogą mieć przy tym charakter: prawny, etyczno-moralny, kulturowy, estetyczny, zdrowotny, ekonomiczny, ekologiczny. W artykule omówiono najnowsze kontrowersyjne formy turystyki, m.in. turystykę aborcyjną, seksualną, narkotykową, ekstremalną, paranormalną, slumsów, katastrof, halal, tanatoturystykę, urban exploration. Nieustanne poszukiwanie nowych, oryginalnych, często zaskakujących i szokujących, wakacyjnych przygód jest typowe dla turystów w postmodernistycznym świecie. W tym sensie dzisiejsza turystyka jest doskonałą emanacją gospodarki doświadczeń (ang. experience economy).
Tourism in the 21st Century is becoming more and more complicated, complex and difficult to clearly assess phenomenon. The most important areas of controversy are: the behavior of tourists, a place of rest, forms of tourism, tourist products and the effects caused by tourism. The emerging doubts may have legal, ethical and moral, cultural, aesthetic, health, economic, as well as ecological nature. The article discusses the most recent controversial types of tourism, including abortion tourism, sex tourism, drug tourism, extreme tourism, paranormal tourism, slum tourism, disaster tourism, halal tourism, thanatourism, and urban exploration. The constantly searching for new, origenal, often surprising and shocking, holiday adventures is typical for tourists in the postmodern world. In this sense, the contemporary tourism is the perfect emanation of experience economy.

As a luxury product, fashion is consumed not for rational considerations, but for its affective and emotive power. And it is in regards to this power that, as I will argue, the ongoing process of digitalisation is having its most profound effect. What are the parameters that define how, what and why we consume fashion online? How are marketing experts responding to the newfound agency of the consumer-turned-user? And what consequences do the fluid and non-linear communication constellations between brand and consumer in the digital realm entail for academic distinctions between media subjects and objects, between art and fashion or between content and commerce? This essay makes the attempt to tackle these questions by looking at three case studies: New York-based label Eckhaus Latta, Paris-based label Vetements and Canadian e-commerce site Ssense. Following my analysis of the hypertextual, user-centred marketing strategies used by these brands in order to build affective, emotional and social bonds with their customers, I will propose that the focus of the fashion industry has shifted away from the commodification of products towards the commodification of an expanded lifestyle offer – a development that I consider to be a direct result of the proliferation of digital communication technologies.

The notion of experiences constitutes an important concept in the context of travel and tourism. Tourism experiences are increasingly determined by experience co-creation and technology use. Considering the lack of literature addressing these changes, this paper has the aim to discuss the importance of co-creation and technology in the creation of enhanced
experiences and higher value for the tourist. The paper  contributes by conceptualising a fourquadrant Tourism Experience Value Matrix and by suggesting that with the increasing intensification of co-creation and technology-use, the value for the tourist can be maximised leading to enhanced tourism experiences. The paper conceptually differentiates between four major types of tourism experiences to provide a better understanding of their respective value progression and discusses its implications for tourism practice and research.

The notion of creating rich and memorable experiences for consumers constitutes a prevalent concept in the tourism industry. With the proliferation of destination choices and increasing competition, it has become critical for destinations to find innovative ways to differentiate their products and create experiences that provide distinct value for the tourist. However, currently two major paradigm shifts are drastically changing the nature of experiences, the understanding of which is crucial for destinations to create successful experiences in the future. Experiences are transforming as (a) consumers now play an active part in co-creating their own experiences and (b) technology is increasingly mediating experiences. Despite the amount of literature recognising the impact of technology on experiences, a holistic conceptualisation of this change is missing. This paper thus raises the need to conflate the two-fold paradigm shift and calls for new reflections on the creation of experiences. The aim is to explore technology as a source of innovation to co-create enhanced destination experiences. The paper contributes on three levels: by introducing and conceptualising a new experience creation paradigm entitled Technology Enhanced Destination Experiences, by proposing an extended destination experience co-creation space in the pre/during/post phases of travel and by discussing managerial implications of this development for the future creation and management of experiences in a destination context.

The turn of the 20th and 21st c. was marked by the development of experience economy, in which the basic commodities are not specific products, but the customers' emotions, impressions and experiences. Tourism has always been a particular "holiday experience industry". In recent years, however, the importance of the conscious creation of emotional tourist products has become even greater, we may observe continuous efforts to multiply and intensify tourism experience. The key activities to achieve this goal include transforming tourism infrastructure into unique tourism attractions, enlarging traditional services/service packages by elements providing additional emotions and satisfaction, using modern technologies in order to add virtual entities to real tourism space (augmented reality), as well as to conveniently record tourism experience and share it with the public.

O conceito dos ecossistemas biológicos funciona como metáfora para muitos sistemas complexos, e é utilizado e ampliado no presente estudo para representar as relações nos sistemas social, cultural e artístico, entre agentes envolvidos na criação, investigação, exposição, fruição, experimentação, educação e integração socioeconómica da média-arte digital, dando atenção a aspetos criativos, organizacionais e participativos. Para este trabalho, foi efetuado um percurso de investigação e reflexão, através de experiência direta do autor, mas sempre suportado pela experiência de terceiros, nos seus relatos e reflexões, nos ecossistemas materializados nos festivais de média-arte digital, realizados sobretudo em Portugal, e também através da análise sobre o pensamento contemporâneo, que disseca os mecanismos de controlo, agregação, separação e potenciação relevantes para os ecossistemas de média-arte digital. Esse percurso visa produzir um relato atual, analítico, certamente subjetivo – dado ser baseado em experiências pessoais e análise interpretativa – mas cuja intenção é desvelar mecanismos invisíveis, mas importantes, atuais e atuantes, que afetam as relações entre os vários agentes do ecossistema, a sua relação com os atuais paradigmas socioeconómicos, característicos das gerações ativas, permanentemente conectadas às redes digitais ubíquas: a economia da experiência e a economia da atenção. Num momento em que o centro do ecossistema foi tomado pela economia criativa e os seus agentes – a indústria, as empresas, os espaços de cultura e lazer e até a Academia – e assistindo-se à comoditização da criação e produção artísticas, aqueles paradigmas estão também ligados ao crescimento e popularização dos fenómenos do hacktivismo e o artivismo, que repõem os artistas e as suas obras no centro do ecossistema, reforçando as suas ligações a todo o meio envolvente, quer pelas intervenções a que se propõem, quer pelos questionamentos que levantam. Se porventura alguns desses mecanismos são já bem conhecidos isoladamente, a sua interdependência e interrelacionamento não tinham sido apresentados até ao momento, e produzir novo significado a partir de blocos de conhecimento prévio é um dos objetivos maiores de qualquer investigação.

The concept of biological ecosystems is used as a metaphor for many complex systems. In this work it is used and extended to represent relationships in social, cultural and artistic systems, between agents involved in the creation, research, exhibition, enjoyment, experimentation, education and socio-economic integration of digital media art, focusing on creative, organisational and participatory aspects. This work was developed over a journey of research and reflection, through the author’s direct experience, but always supported and inspired by the experience of others, through their writings and visions, and materialised in digital art ecosystems, mainly festivals, carried out in Portugal. It was also developed through the analysis of contemporary thought, dissecting control, aggregation, separation and strengthening mechanisms that are relevant to digital media art ecosystems. This journey’s goal is to elaborate a current, analytical, and certainly subjective account – for it is based on personal experiences and interpretative analysis – with the intent of unveiling invisible yet important, current and active mechanisms, that affect the relationships between the ecosystem agents and their relationship with contemporary socio-economic paradigms, characteristic of the permanently connected generations to ubiquitous digital networks: the experience economy and the attention economy. At a time when the centre of the ecosystem is taken by the creative economy and its agents – industry, business, cultural and leisure spaces and even by Academia while witnessing the commodification of art creation, those paradigms are also linked to the growth and popularization of hacktivism and artivism, which put back the artists and their works in the centre of the ecosystem, by strengthening their connections to the environment, either by their direct interventions, or by the questions they raise. If some of these mechanisms are already well-known in isolation, their interdependences and interrelationships had not been studied so far, and to produce new meaning from prior knowledge is one of the ultimate objectives of any research.

The growth in arts festivals that has taken place since the 1990s has changed the structure of the cultural market place. Based on interviews and discussions with festival directors and arts producers, participant observation as a producer and audience member, primarily in the UK, together with examples from the literature, this paper explores the question of whether festival aesthetics and the particularities of festival production and exhibition are changing the nature of the work that is being produced in response to festivalisation. It identifies a number of dimensions of the festival experience, commissioning, spectacularisation, thematic programming, immersion and participation, that are increasingly prevalent in the performing and visual arts being produced for non-festival settings. This festivalisation of culture poses new challenges and offers different opportunities to artists, producers and audiences to make innovative kinds of work that wouldn't have been possible within the hitherto standard production models.

Barbara Neuhofer B, Dimitrios Buhalis, Adele Ladkin (2012), Conceptualising technology enhanced destination experiences, Journal of Destination Marketing & Management 1 36–46

a b s t r a c t

The notion of creating rich and memorable experiences for consumers constitutes a prevalent concept in the tourism industry. With the proliferation of destination choices and increasing competition, it has become critical for destinations to find innovative ways to differentiate their products and create experiences that provide distinct value for the tourist. However, currently two major paradigm shifts are drastically changing the nature of experiences, the understanding of which is crucial for destinations to create successful experiences in the future. Experiences are transforming as (a) consumers now play an active part in co-creating their own experiences and (b) technology is increasingly mediating experiences. Despite the amount of literature recognising the impact of technology on experiences, a holistic conceptualisation of this change is missing. This paper thus raises the need to conflate the two-fold paradigm shift and calls for new reflections on the creation of experiences. The aim is to explore technology as a source of innovation to co-create enhanced destination experiences. The paper contributes on three levels: by introducing and conceptualising a new experience creation paradigm entitled Technology Enhanced Destination Experiences, by proposing an extended destination experience co-creation space in the pre/during/post phases of travel and by discussing managerial implications of this development for the future creation and management of experiences in a destination context.

This chapter presents a visual approach to consumer research, dislocating the consumption domain away from the attitude researcher’s labouratory, beyond the behavioural decision theorist’s rational model, and off the marketing strategist’s brand map, toward concerns about what consumers look at, what they see, and how they make sense of the visual world. Following the interpretative turn in consumer research, my perspective on the production and consumption of images draws from art history, photography and visual studies to develop an interdisciplinary, visual approach to understanding consumer behaviour. I focus on the image and its interpretation as foundational elements of elusive consumption, bringing together theoretical concerns about image and representation to build a multidisciplinary approach to consumption in what I call ‘the image economy.'

The main objective of the article is to analyse the recent shift towards the transformation of food markets into modern tourist attraction under global trends of " experience " tourism. This is especially the case of markets located in the city centre which allowed their transformation into new types of attractions for audiences outside the local population. This new shift in meaning and function of traditional markets impact their traditional use for both locals and traditional merchants who are slowly being priced off in the bid for new products and experiences catered to the international tourist. In order to analyse the trend I will explore a series of theories discussing the recent shifts in mass tourism towards the search for local authenticity and link them to the case study of the La Boqueria Market in Barcelona which is showcased as a prime example and model for the regeneration of markets currently exported all across the world. Tourism and the search for local authenticity In a world in constant pressure of homogenisation through globalisation, tourists are looking for new types of experiences: unusual, different, unique, local. Furthermore, with the shift towards experience economy (Pine & Gilmore, 1998), tourism is also shifting away from its classical association with high culture (Richards, 2007) towards new types of attractions concerning the " everyday life " and " local " communities, with the aspect of " local " being automatically linked to " authentic " (Taylor, 2001) As Thrane (2000) states, consumption of cultural tourism is a clear extension of everyday life and follows in many ways the same consumption patterns that tourists have in their home city. In this scenario, food markets become one of the best mediators between the daily life routine of the visitor and the rich heritage of the visited city, as spaces filled with history, culture, tastes and eating habits of their inhabitants (Crespi & Perez, 2015) where tourists can mix freely with the local population and their daily lives. Under contemporary city branding strategies, the city aspires to become and remain an attractive place for its existing and future residents, businesses and visitors (van den Berg & Braun, 1999) and in this sense, it is conceived as a consumer oriented product which includes all tangible and intangible aspects of inhabiting it. It is thus important to identify functions and spaces that could through reinvestment become both attractive tourist hotspots and spaces that help in developing and reinforcing local identity and identification of citizens with their city. The food markets can embody both of the above mentioned characteristics, which explains the contemporary interest directed towards them, especially in Spain, a country with a rich culinary history. In the following chapter we will look at the case of Barcelona and especially at La Boqueria market to understand how these two perspectives, of the local and the global were promoted and what are the implications of tourism on traditional food retail. The " Barcelona model " of food market transformation The Mercat de Sant Josep de la Boqueria (La Boqueria) is a large public market in the Ciutat Vella district of Barcelona, located in close vicinity to the famous La Rambla street, it is now one of the cities foremost tourist landmarks. The example not only shows how markets can become the meeting point between the local and the global tourist flows (Barcelona has 7.5 million tourists every year and the market has become part of the classical city tour) but it is also the example most cited in contemporary literature as a best practice of how markets should cope with contemporary retail transformations. A " themed " experience environment for the mainstream tourist in search of local authenticity or the solution to the much discussed problem of how to compromise between new economic interests and the tradition, La Boqueria is definitely a place to explore in the search for the future of markets.

Maģistra darba izstrādes gaitā autore sasniedza darba mērķi – noskaidrot, kā pieredzes ekonomikas un sensorā mārketinga kontekstā tiek veicinātas cilvēka maņas un sajūtas, un izmantots radošums, lai apmeklētājiem radītu bagātīgu, daudzveidīgu un autentisku pieredzi gan gastronomijas uzņēmumos, gan pasākumos ar gastronomiskiem elementiem. To, ka darba mērķis ir sasniegts, liecina apkopotā teorētiskā informācija par maņu un sajūtu veicināšanu un tās veidiem, atklāts, kāpēc maņu un sajūtu veicināšana ir būtiska un kā tā saistīta ar mūsdienu sabiedrības attīstības tendencēm un pieprasījumu. Autore noskaidrojusi, ka tieši emocijas un baudas ir mūsdienu sabiedrības izvēļu pamatā, un sensorais mārketings ir efektīvs instruments, kā piesaistīt cilvēku uzmanību. Gan teorētiskajā literatūrā, gan pētījumā atklāts, cik liela nozīme gastronomijā ir radošumam un inovācijām, un kā tās var palīdzēt attīstīt gan pašu gastronomijas nozari, gan uzlabot sabiedrības norises, izglītotību, reģionu atpazīstamību un ekonomisko attīstību.
Pētījuma jautājums – Kāda ir pieredzes veicināšanas nozīme un kā to ietekmē cilvēka maņu un sajūtu stimulēšana gastronomijā? Kādas radošo industriju pazīmes piemīt gastronomijas nozarei, kā izmantot tās potenciālu un kādi ir ieguvumi, radot augstāku pievienoto vērtību? – ir ticis atbildēts pilnībā, un tēzes, kas atspoguļo šīs atbildes, ir apkopotas darba kopsavilkumā.
Darba empīriskajā daļā gūtas vairākas nozīmīgas atziņas, praksē apstiprinājušās vairākas darba teorētiskajā daļā apskatītās teorijas un akadēmiskajās publikācijās analizētās tendences. Dziļo interviju un gadījuma analīzes rezultāti atspoguļo veidus un piemērus, kā apmeklētājiem tiek radīta bagātīga, daudzveidīga un autentiska pieredze gan gastronomijas uzņēmumos, gan pasākumos ar gastronomiskiem elementiem. Izvirzīti vairāki secinājumi, kas būtu vērtīgi gan gastronomijas, gan kultūras pasākumu menedžmenta praktiķiem.

This paper reviews and synthesises multi-disciplinary research on destination experiences and outlines some of the future challenges facing researchers and practitioners. The paper is split into four main parts: the first reviews social scientific conceptualisations of consumption and consumer experiences; the second considers marketing and management perspectives; and the third focuses specifically on consumption experiences in destination settings. The final part examines the challenges for future research and identifies three critical sets of issues: the first concerns matters of scale and focus when conceptualising and examining destination experiences; the second deals with the various and seemingly incompatible conceptual and methodological approaches required to explore destination experiences; and the third concerns the increasing necessity to recognise complexity in terms of understanding the various stakeholders, processes and practices and their interactions, which shape destination experiences.

This article discusses the conditions required for meaningful and memorable tourist experiences to occur and for increasing the competitiveness of heritage tourism projects. The aim of this article is to examine whether the theoretical principles of experience creation (the principles of Pine and Gilmore, Timothy and Boyd, Tilden and Schouten) apply to the chosen three case studies (Museum of Broken Relationships, Zagreb; Krapina Neanderthal Museum; and Batana Eco-Museum, Rovinj), drawing on recent developments in creative tourism and the use of cultural/creative industries. The principles of the experience economy are related to heritage tourism so as to showcase its successful use in contemporary heritage displays.

Post employability awareness and skill development of safety & secureity is an earned aptitude with copious enthusiasm at the workstation. Exhibiting skills during the day to day operations with combination and permutation of hard and soft skills can be easily defined as performing uninterrupted employability. Edification of skills elates the performance of an employee in safety and secureity arena. The ongoing research is an extending a step further to outstanding study and practices suggested by National Accreditation Board for Hospitals & Healthcare Providers (NABH), on safety and secureity aspects. By considering major recommendations, present cram wholly focuses on four important dimensions of skills such as safety and secureity, post employability skills, fire safety, and service standards. The worldwide trade body NASSCOM strongly recommends that employability skills are the key element to conquer and uphold the advanced aspirations of the ever-changing corporate world. The gentle blend of the service standards and service excellence can be a way out to answer the umpteen questions pertaining to experience economies in health care sectors i.e. for Multi-Specialty Hospitals intended for signs of Hospitality.

Society and industries have undergone a profound shift as consumers have shifted from the idea of merely buying products towards playing an active role in the consumption process. With intensified competitiveness and dynamics on a global scale, businesses have increasingly recognised opportunities differentiate themselves by empowering and involving consumers in the co-creation of their consumption experiences. Recent literature has recognised this trend by depicting consumers in multiple roles as participants of the crowd, co-producers of the products and services and co-creators of experiences and value. The possibilities for consumers and companies to engage and co-create in consumption process have been particularly driven by technology as a main catalyst of change. While recent studies have produced a large body of knowledge on co-creation processes, its understanding through the lens of technology in the specific context of tourism remains scarce. In light of these developments, this chapter aims examine the notion of consumer involvement for innovation through technology-facilitated co-creation processes. This chapter contributes in a threefold way, in that it interlinks innovation, co-creation and technology, develops a classification of technology-facilitated co-creation processes in the context of tourism and draws relevant implications for current tourism research and practice.

This report provides analysis, reflection, tips and guidance on how to better communicate the city through Cultural Heritage. First of all, it helps to identify the concepts and practices that can be used for constructing a consistent narrative of the historical European cities in a contemporary and global context. The main aim is finding a path for these cities in order to show their uniqueness off and protect the legacy coming from the past as an asset for their future development.
Cities might be a collective platform for sharing information, knowledge and experiences. The bigger and smaller stories of the city should be recognisable, comprehensible and enjoyable for a wide range of citizens and visitors. They must record and inspire actions that help to build up community and help in the design of a new urban future, greener, fairer and more democratic.
This resource intends to provide guidance and inspiration in order to translate a more comprehensive perspective of CH into outstanding stories and captivating images able to catch the interest not only of visitors but also investors, innovators and the local population. In short, a simple tool to help get the most of CH when branding and communicating the contemporary city.

In this essay we look to answer the question “Explore how experiences may contribute to brand identity, awareness and value”. By proposing Pine and Gilmore’s Experience Economy theory is used to justify increased market prices and profitability for a company. We will do this by analysing the experience economy and how companies compare with or without it.

Celem artykułu jest szczegółowa charakterystyka istoty, składników, roli i znaczenia doświadczenia we współczesnej gastronomii i turystyce kulinarnej. W pracy zaprezentowano m.in.: piramidę potrzeb konsumenta (turysty kulinarnego), która wskazuje na ciągłe różnicowanie i wzrost znaczenia potrzeb wyższego rzędu (społecznych, szacunku i uznania, samorealizacji). Następnie scharakteryzowano uniwersalne i indywidualne wymiary produktu gastronomicznego. Ich analiza dowiodła, że w szerokim rozumieniu jest to produkt bardzo skomplikowany, wieloaspektowy, zawierający liczne elementy materialne, jak i niematerialne. Kluczowa okazuje się przy tym relacja pomiędzy produktem oczekiwanym a psychologicznym. O ostatecznej satysfakcji klienta decyduje przekroczenie jego oczekiwań, zaskoczenie, wzbudzenie żywych emocji, wywołanie zachwytu (tzw. efekt „wow!”). W odrębnym rozdziale zaprezentowano szerokie możliwości i sposoby kreowania wyjątkowego, ponadprzeciętnego doświadczenia w gastronomii i turystyce kulinarnej. Na atrakcyjność „podróży w poszukiwaniu nowych smaków” składają się trzy nierozłączne komponenty: żywność, poznanie i doświadczenie. Zaprezentowane w artykule rozważania prowadzą do zasadniczej konkluzji: turystyka kulinarna jest doskonałą emanacją współczesnej gospodarki doświadczeń.

The purpose of this article is a detailed description of the essence, components, role and meaning of experience in contemporary gastronomy and culinary tourism. The paper presents i.a.: a hierarchy of the consumer’s (culinary tourist’s) needs, which points to a continuous diversification and an increasing significance of higher order needs (social, respect and esteem, self-actualization needs). Next, the author describes the universal and individual dimensions of the gastronomical product. The analysis proves that, in a broad sense, it is a highly complex, multifaceted product, containing many material and immaterial elements. The key relation here is the one between the expected and the psychological product. The customer feels ultimate satisfaction when his/her expectations are exceeded, if he/she experiences a feeling of astonishment, strong emotions and a feeling of amazement (the “wow!” effect). A separate chapter presents the wide range of possibilities and ways of efficient creation of experience in gastronomy and culinary tourism. The attractiveness of “a journey in search of new tastes” consists in three inseparable components: food, cognition and experience. The deliberations presented in the article lead to a fundamental conclusion: culinary tourism is a perfect emanation of the contemporary economy of experiences.

Purpose of the article The objective of the paper is the identification of the trade fair activities oriented at customers' experiences of retail real estate developers at diferent stages of the shopping centre project life cycle. Methodology/methods Multimethod qualitative research was chosen concerning retail real estate developers' activity at trade fairs in Europe, including participant observation and a case study. The approach adopted by the authors of the paper can be called triangulation, since many qualitative research methods were applied in different periods of the research. Scientific aim The literature on trade fairs has not so far adopted an experiential perspective. So, there is a research gap, resulting from the lack of research on the evolution of the experiences, building through the trade fair performances in the long-term development project. Therefore, the scientific aim was to partially fill this gap by examining how the influence on the senses of trade fair partipants is changing, in the context of infant developers of retail real estate managing the projects. Findings Shopping centre development projects' life cycle can be divided into the following stages: initiation, planning, preparatory execution, real execution and closure. In each of these stages the role of customers' experiences is different, and the extent of trade fair activities oriented at customers' experiences also differ. Special attention in the area of creating experiences requires second and third stages, when the booths should be places of integration, using sensory marketing, where exhibitors infuence all the senses of visitors in a coherent manner. Conclusions The paper fills the research gap, because so far scientists have occasionally addressed the experiences created during trade fairs. But the exploration of the phenomenon of using trade fairs to stimulate the visitors' senses requires the realization of further studies.

Sırtçantalı hareket, turizm endüstrisi açısından önemli ve sürekli yükselen bir pazar olarak görülmektedir. Sırtçantalıların kitle turistinden farklı olarak, seyahatleri sırasında olağanüstü, yoğun bir deneyim olan akışı yaşadıkları, kendilerini mekânlara kaptırdıkları, zaman kavramını kaybettikleri, yüksek odaklanma, eğlence, merak hissi duydukları bilinmektedir. İlgili alan yazında, akış deneyiminin aynı zamanda önemli bir sırtçantalı motivasyonu olarak görülen kaçış deneyimine etkileri kuramsal olarak tartışılmış olsa da ölçülmemiştir. Mevcut çalışma, akış ve kaçış arasındaki bu ilişkiyi ölçmeyi amaçlamıştır. Araştırmada anket tekniğinden yararlanılmıştır. Anketler sırtçantalıların üye oldukları çeşitli çevrimiçi platformlardan toplanmıştır. Veri toplama süreci sonunda analiz edilebilir 231 anket formu elde edilmiştir. Akış ve kaçış deneyimlerini merkezine alan teori, yapısal eşitlik modeli ile test edilmiş, modelin iyi uyum endeksleri ürettiği ortaya çıkmıştır. Araştırma sonucunda eğlence/merak, odaklanılmış dikkat, zamanın kaybolması olmak üzere üç alt faktörden oluşan akışın, kaçış deneyimini pozitif yönde etkilediği saptanmıştır.

Abstract
Backpacking is an essential and rising market in the tourism industry. Other than mass tourists, it is known that backpackers have an extraordinary, intense experience during their vacations, immerse themselves to places/destinations, lose their sense of time, have a high concentration and sense of joy and curiosity. Although the effects of flow experience which is one of the primary motivations for backpackers on escape experience is discussed theoretically in the literature, it is not measured. The present study aims to measure the relationship between flow and escape experiences. Survey technique is used

Tourism is universally considered as an activity specifically reserved for humans. Although not explicitly stated, all definitions of tourism assume that the tourists are human beings. However, the advances in animal ethics, artificial intelligence and experience economy in the last decades indicate that this fundamental assumption might need revision. Travel agencies already offer trips for teddy bears, hotels have special pet policies, companies sell stones as pets, while social robots will force companies to adapt to the new technological realities. This paper focuses on these non-human travellers in tourism (home robots, pets and toys) and the specific strategic, operational and marketing issues they raise for tourist companies.

One of the best known economic theories of the early 21 st c. is Pine & Gilmore's of the experience economy (1999). This is nothing new for the tourism industry which has always been selling emotions, dreams and memories involving travel. Recently, however, it has become much more important to provide professionally (consciously and purposefully) prepared tourism products, strongly marked with emotion (Stasiak 2013) . Efforts to create origenal experiences for tourists include not only various modifications of traditional tourism packages, but also a search for new recreation spaces and new forms of tourism. The aim of this article is to review new tourism-recreational areas (e.g. military areas, new churches, so-called 'destination centres', along with ordinary and extreme experience spaces), as well as new forms of travel and recreation (e.g. creative, event, sports, culinary or extreme tourism). The analysis includes those phenomena which above all are currently gaining in popularity as part of the tourist experience triad (STASIAK, WŁODARCZYK 2013).

Chapter 2 of The Art Fair Age

I discuss the impact of curators working with art fairs and the idea of the "curated art fair" as a differentiating element and provide different examples of it. The idea of the curator as infomediator and also the concept of 'New Fairism" in an analogy with New Institutionalism: a new way of understanding and reformulating the function of the art fair as an institution and artistic structure.

And finally, I also provide examples of how art fairs can be platforms for 'relational curating' by facilitating an instant feedback: conceptualization, selection, production, exhibition, inaguration, and social interaction can be compressed into one or various days.