Search results

The state of interactive digital technology is evolving rapidly and has shifted the ways in which customers shop dramatically. This trend heightens the need for research that examines the latest interactive digital technology tools adopted in fashion retailing. In response, the purpose of this paper was to examine fashion retailers’ incorporation of new interactive digital technology – in both online and offline retailing formats, and including new hybrid contexts – and its results in providing new experiential quality that contributes strongly to engage with customers.

The paper first reviews the literature and then proposes the research questions. This is followed by exploratory substantiation of those propositions with the findings from case studies that examined the new interactive digital technology implemented by six leading fashion retailers.

Various digital technology tools implemented in brick-to-click, click-to-brick and brick-and-mortar retailing offer customers a variety of experiential qualities that allow them to co-create products, engage in emotion-driven sensational and personalized shopping experiences and seamless shopping virtually, all of which derive from interactive digital technology implemented to enhance customer engagement.

This research examined the implementation of interactive digital technologies across the full spectrum of the fashion retail settings above. This paper makes an original contribution by adopting a customer-centric perspective and assessing the advantages technology provides to customer’s engagement quality in shopping, which differs from the traditional firm-centric perspective that views technology as a way to innovate retailers’ operations.

Despite the growth of digital fashion shopping, many consumers regularly visit physical fashion stores. To enable digital interactions in a physical store, many fashion brands have installed interactive technology. However, studies of consumer engagement with interactive technology in fashion stores remain scarce. The purpose of this paper is to explore the experience with interactive technology in fashion stores.

A qualitative user experience design (UXD) approach was employed to address the research question. A combination of methods: protocol analysis, observation and interview, was used to collect the data. A prominent UXD framework was utilised to analyse the data.

There are four themes representing findings: split domain, digital domain merchandise, interactive information and interaction moments. For these, two core concepts were extracted: control over experience via framing and challenges for experience.

This research paper infused a new approach that is UXD into the field of fashion marketing. This shows the possibility to amalgamate those contrasting fields. Moreover, this research paper provides insights particularly about the interactions with a technology in fashion stores.

The purpose of this research is twofold: (1) to identify and understand consumer motivations to use interactive technologies in stores through the lens of the uses and gratifications (UGT) approach and (2) to understand how these gratifications differ between different interactive technologies (interactive kiosks and self-checkouts).

This research presents a dual qualitative study based on 32 in-depth interviews with 20 consumers, eight salespersons and four phygital experts.

The data analysis identified three specific gratifications sought in using interactive kiosks (information-seeking, hedonic and social interaction) and two gratifications common to both interactive kiosks and self-checkouts (control and time-saving).

From a media perspective (UGT), this research provides a deeper understanding of gratifications sought in using interactive technologies in a phygital store. It also contributes significantly to previous research by highlighting that gratifications differ between different technology types.

The omni-channel strategy provides a holistic experience during shopping by integrating online and offline channel services. In this digitalized realm, customers are more dependent on online elements for shopping. However, physical stores are still their first choice for apparel shopping. The introduction of interactive technology is one of the key elements to provide an online experience in the physical store. The purpose of this paper is to identify the impact of interactive technologies on purchase intention and its role.

This study has been conducted in Delhi using 573 customers who are using interactive technologies for shopping. A self-developed questionnaire was used to collect the data. Data was analysed using structural equation modelling through smart partial least square 3.

The results show that 46% change in purchase intention was due to mobile point of sale/digital wallet, tablet/i-pad/digital signage, smartphone and click and collect/ship from store technology. However, there was no impact of the smart mirror and in-store Wi-Fi technology on purchase intention.

This study focuses on various technologies which provide online experience at physical stores. This study offers new insights for the theoretical and business framework of omni-channel brands. These technologies could be used as key performance indicators of omni-channel retailing in future.

The purpose of this paper is to provide insight into whether “more sense makes sense” when attempting to encourage consumers to purchase retail products using technology; that is, does engaging senses in addition to visual and aural senses, such as haptic touch, through interactive retail technology lead to an easier and more enjoyable consumption experience of retail products for consumers, while also enhancing service provider outcomes? To test this assumption (“more sense makes sense”), this study empirically examines whether differences are present in the consumer experience (usefulness, ease of use and customer-perceived value) and service provider outcomes (satisfaction and purchase intentions) across retail technologies with and without haptic touch enabled.

The study randomly allocated participants to either the haptic touch (haptic touch, visual and aural senses, n = 135) or no haptic touch (visual and aural senses only, n = 182) interactive retail technology condition. The data were analyzed using multivariate analysis of covariance.

The data provide support for the use of high-interactive technology achieved through the inclusion of haptic touch by showing it to provide a more visually appealing, easy to use, enjoyable and entertaining experience. However, the results also provide insight into boundaries of where the use of haptic touch does not significantly increase outcomes. Overall, the results suggest high-interactive retail technology using haptic touch provides a more entertaining experience for consumers, which leads to increased satisfaction with service providers, but this does not translate into a significant increase in purchase intentions.

This study examines the consumer and service provider benefits and limitations of using haptic touch in interactive retail technology. The effects of haptic touch for both the consumer and service provider have not previously been empirically examined thoroughly in a technological setting.

The purpose of this study is to clarify the role of various levels of modality richness [text-visual, audiovisual and augmented reality interactive technology (ARIT)] on vivid memories (visual sensory detailed, emotionally intense, first-person perspective and coherent) and exploratory behavior. To clarify which modality richness online retailers use is more appropriate to create a virtual reality simulation experience to fill a significant gap in the sensory interactive marketing paradigm.

A task-based laboratory study was conducted to provide users with private try-on space. A total of 429 valid questionnaires were collected, and partial least squares path modeling was adopted to test hypotheses.

The results indicate that various levels of modality richness (text-visual, audiovisual and ARIT) positively affect vivid memories (visual sensory detailed, emotionally intense, first-person perspective and coherent), and vivid memories successfully induce exploratory behavior.

The study results could also help retailers and brands with clear guidance in designing and creating simulation experience services and choosing the best way to present products. With the results of this research, retailers will also be able to grasp better the critical points of introducing innovative technology into the service experience and then create the benefits of digital economic growth.

Exploring which digital interactive technology online retailers use is more appropriate to create a virtual reality shopping experience to fill a significant gap in the sensory interactive marketing paradigm. Exploring the antecedents of vivid memories in a digital sensory interactive experience contributes to the body schema literature and the script theory. We draw from construal level theory (CLT) to clarify the impact of various levels of modality richness on driving the difference in sensory simulation schema to break through the limited findings of previous studies, namely using CLT to interpret psychological distance.

Developing attention-aware systems and interfaces based on eye tracking technology could revolutionize mainstream human–computer interaction to make the interaction between human beings and computers more intuitive, effective and immersive than can be achieved traditionally using a computer mouse. This paper aims to propose an eye-controlled interactive reading system (ECIRS) that uses human eyes instead of the traditional mouse to control digital text to support screen-based digital reading.

This study uses a quasi-experimental design to examine the effects of an experimental group and a control group of learners who, respectively, used the ECIRS and a mouse-controlled interactive reading system (MCIRS) to conduct their reading of two types of English-language text online – pure text and Q&A-type articles on reading comprehension, cognitive load, technology acceptance, and reading behavioural characteristics. Additionally, the effects of learners with field-independent (FI) and field-dependence (FD) cognitive styles who, respectively, used the ECIRS and MCIRS to conduct their reading of two types of English-language text online – pure text and Q&A-type articles on reading comprehension are also examined.

Analytical results reveal that the reading comprehension of learners in the experimental group significantly exceeded those in the control group for the Q&A article, but the difference was insignificant for the pure text article. Moreover, the ECIRS improved the reading comprehension of field-independent learners more than it did that of field-dependent learners. Moreover, neither the cognitive loads of the two groups nor their acceptance of the technology differed significantly, whereas the reading time of the experimental group significantly exceeded that of the control group. Interestingly, for all articles, the control group of learners read mostly from top to bottom without repetition, whereas most of the learners in the experimental group read most paragraphs more than once. Clearly, the proposed ECIRS supports deeper digital reading than does the MCIRS.

This study proposes an emerging ECIRS that can automatically provide supplementary information to a reader and control a reading text based on a reader’s eye movement to replace the widely used mouse-controlled reading system on a computer screen to effectively support digital reading for English language learning. The implications of this study are that the highly interactive reading patterns of digital text with ECIRS support increase motivation and willingness to learn while giving learners a more intuitive and natural reading experience as well as reading an article online with ECIRS support guides learners’ attention in deeper digital reading than does the MCIRS because of simultaneously integrating perceptual and cognitive processes of selection, awareness and control based on human eye movement.

The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong.

A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire.

A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective.

Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.

Digital transformations are altering service models and care delivery methods in healthcare. Artificial Intelligence (AI) represents the next wave of transformation in healthcare. This study aims to understand patient perceptions of AI and its impact on value co-creation.

A conceptual model was developed to investigate how value co-creation operant resources (digital self-efficacy and relational service quality) impact value co-creation engagement (shared decision-making) and value co-creation outcomes (anticipatory AI value co-creation and intention to adopt AI). Data were collected from 332 respondents and analyzed using structural equation modeling.

The results indicate that the value co-creation process for AI technologies is a function of inputs, experiences and AI outputs. Operant resources were found to be positively associated with shared decision-making. However, not all operant resources directly and positively impacted AI outcomes. The indirect and positive mediated relationships through shared decision-making to AI outcomes suggest an interactive AI value co-creation process.

AI technologies are still in early stages of consumer adoption in healthcare. Future research is warranted that investigates the validity of the model through maturing service life cycles.

Customer perceptions of new digital innovations are formed in the context of previous digital experiences. Marketers need to understand how customers view their current non-AI technologies. Strong engagement and perceived value of current technologies will help ease customers into the usage of AI technologies.

This study investigates the unique stages of the value co-creation process for AI technologies in healthcare. The results demonstrate that the value co-creation process is a function of inputs, tech-enabled experiences and AI outputs.

Technology usage habits and the development of creative arts experiences and productivity are effective. In 2007, Lui argued that digital art can integrate the concept of information technology, which is at the forefront of the development of the child, with art education based on the dynamics of digital culture and art. In the discovery of artistic acquisitions, it is seen that they used digital art for play in the early stages of children's lives. In the stages of development, they were seen to improve their reading, writing and arithmetic skills, respectively. In young children, it was seen as a result of research that used information gathering and artistic expression skills more effectively with multi-interactive games. We see that digital visual culture and visual intelligence, technologies such as computer games, virtual museums, movies and the internet, change children's aesthetic perspective. Digital culture art gives children and young people who are centered on learning with their own dynamics the opportunity to produce art with new technologies, expressing themselves and carrying out more activities that are independent. Children can also be brought together with artists, software developers, designers, engineers and experts in various professional groups. While the child is using the possibilities of the digital world unlimitedly, he and the experts have developed their creative thinking skills and processed new records in their visual memory with different aesthetic perspectives. Children will be examined in this study to see how they develop and benefit from an awareness of artwork, production, creativity and discovery using digital special technological equipment.