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THE Slingsby Sky is a British designed high‐performance sailplane and is intended for cross‐country and competition flying. The prototype Sky first flew in the summer of 1950 and since that time the design has been put into limited production. The Sky has obtained several notable successes in competition flying, the most recent of which was the 1952 International Gliding Contests in Spain, where Sky's took the first, third and fourth places; the six machines which completed the contest all being placed in the first fourteen out of a total entry of forty.

This study aims to recognize industry 4.0 opportunities and challenges associated with the co-creation of value in industrial services and to propose a theoretical framework for smart industrial services systems.

The authors carried out a systematic literature review based on the systematic search flow method; thereafter, the authors used the content analysis proposed by Bardin (2011) to analyze the resulting portfolio.

The authors identified a total of five industry 4.0 opportunities and five challenges for co-creating value in industrial services. Drawing upon these findings, this paper builds a theoretical framework for the smart industrial services system, in which the industry 4.0 opportunities arise from the digitally mediated inter-firm interactions and the challenges related to the resources of this system.

This study may not have enabled a complete coverage of all existing peer-reviewed articles in the field of value co-creation in industrial services associated with the industry 4.0 technologies. Also, the framework is constrained by being theoretical rather than empirically grounded.

The findings give managers support to devise strategies for overcoming the barriers that impede them from taking advantage of the opportunities offered by industry 4.0 for co-creating value in industrial services.

This paper’s uniqueness is to identify the industry 4.0 opportunities and challenges for value co-creation in the context of industrial services and to propose a framework for the smart industrial services system.

IN the post‐war programme of Slingsby sail‐planes provision was made for the design of a 45 ft. span intermediate sailplane to be used for advanced training and as a general utility machine by gliding clubs. This machine appeared in the early part of 1949 and was named the Prefect; it has since been adopted by the R.A.F. as a standard training type under the designation of Prefect T.X. Mark I, Light Glider.

THE S.N.C.A.S.O. has specialized in France in developing the jet helicopter, a technique that is the subject of widespread research throughout the world.

The increased involvement of customers in their experience is a reality for all service organisations. The purpose of this paper is to explore the way organisations collaborate with customers to facilitate consumption of cultural experiences through the lens of co-production. Although organisations are typically an integral part of the co-production process, co-production is typically considered from a consumer angle. Aligned with the service ecosystem perspective and value-in-cultural context, this research aims to provide greater insight into the processes and resources that institutions apply to co-produce experiences with consumers and the drivers and inhibitors of such processes.

Case study research with three exemplar organisations, using in-depth interviews with key informants was used to investigate the processes organisations follow in co-producing the service experience with customers, as well as the drivers and inhibitors of organisational co-production of the service experience in the cultural sector.

The findings illuminate that cultural organisations are co-producing the service experience with their customers, as revealed through a number of key processes: inviting customers to actively participate in the experience, engaging customers and supporting customers in the co-production of the experience. Increasingly demanding consumers and a changing competitive landscape are strong external drivers of co-production. Visionary leadership and consumer-focussed employees are internal factors impelling organisations to co-produce experiences with consumers. A strong curatorial orientation, complex organisational structure, employee attitude and capability gaps and funding constraints are impediments towards organisations co-producing experiences with consumers.

This paper addresses a gap in Service-Dominant logic theory, arts/cultural marketing and broader services marketing literature by proposing a broadened conceptualisation of co-production of the service experience. This conceptualisation can be used as a platform to derive strategic imperatives for managers of service organisations. The findings highlight the key practices and resources that are central to organisations co-producing experience with customers. In this way, greater understanding of institutional logics and practices that underpin experience co-production emerges.

The main aim of the study is to empirically investigate the relationship between strategic orientation and a dual conceptualization of performance (i.e. non-economic performance and economic performance) in the research context of corporate museums, which are owned and run by private companies. Furthermore, the study aims to explore the nature of the relationship between the dual performance, shedding light on the relevance of non-economic results for this peculiar category of museums.

The study is based on survey data from 105 Italian corporate museums, which represent almost the entire population in the country (91%). A structural model was estimated using SmartPLS software in order to examine the direct and indirect effects of strategic orientation on corporate museums' non-economic and economic performance.

The findings show that only if corporate museums are able to achieve non-economic performance, creating value for the owning company and the local community, they can also have good results in economic terms. Thus, the non-economic performance acts as a mediator into the relationship between strategic orientation and economic performance.

The current work is a pioneer study for the empirical investigation of performance within corporate museums. The empirical model of the study, based on a dual conceptualization of performance and a mediation analysis, is completely innovative in this research context.

The purpose of this paper is to argue that social interaction fundamentally underpins how people examine, experience and make sense of museum exhibits. It seeks to reveal how people collaboratively view and make sense of artwork and other kinds of exhibit, and in particular how the ways of looking at and responding to exhibits arise in social interaction.

The analysis inspects in detail video‐recordings of visitors' conduct and interaction at exhibits. It draws on ethnomethodology and conversation analysis to reveal the social and sequential organisation of people's verbal, visual and bodily action and interaction.

The study finds that people explore museums and examine exhibits with companions while other visitors act and interact in the same locale. Which exhibits visitors look at and how they see and experience them is influenced by and arises in social interaction with others, be they companions or strangers. People display and share their experience of exhibits with others through verbal and bodily action and interaction.

The findings bear on current debates in marketing research. They suggest that there is a lack of understanding of people's experience of exhibits in museums. They show how video‐based studies can address this gap in marketing research. Further studies are currently being conducted to shed light on the quality of people's experience at the exhibit‐face and how it may be enhanced by the deployment of interpretation resources, such as labels, touch‐screen and handheld systems.

The findings may have some implications for the work of curators, designers and exhibition evaluators. They suggest that social interaction needs to be taken into consideration when designing and deploying exhibits and interpretation resources, such as labels, touch‐screen information kiosks, hand‐held computers, etc.

The paper uses visual/video‐recordings as principal data and illustrates its findings by virtue of visual material. It introduces video‐based field studies as a method to examine cultural and visual consumption in museums. It employs an analytic and methodological framework from ethnomethodology and conversation analysis that previously have found little application in marketing and consumer research.

Cities, in order to differentiate themselves from their competitors, attempt to manage their image by following strategic place marketing approaches. The purpose of this paper is to identify the perception of Istanbul and to focus on the role of museums related to the formation of city image.

The study uses quantitative research techniques. A structural questionnaire focusing on the image of Istanbul and perception of Istanbul's museums is distributed to museum visitors in Istanbul.

The results reveal that Istanbul is perceived as a culturally rich and exotic city. The respondents consider Istanbul as a brand city and an attractive tourist destination. The general image of the local people is also positive. The perception of second time visitors is more positive compared to first time visitors. Furthermore, the internet is the major source of information used by the travelers. The exoticness of the city and the dynamism pointed out by other research renders Istanbul a lively city, full of energy and offering lots of entertainment. The participants believe that museums are important for city image formation and that the museums in Istanbul are worth visiting. However, the fact that the city is nominated as the European Capital of Culture in 2010 is not acknowledged by the majority of respondents. Istanbul has to exploit this big event in order to promote the city to all potential visitors and business people.

The paper provides a preliminary insight to the importance of museums for the city image formation focusing on Istanbul.

Co-creating services with the customer has recently appeared as an alternative strategy to achieve competitive advantage. Developing and sustaining a gainful experience requires sharing of knowledge, skills and resources between the firm and its customers. Managing value co-creation throws substantial challenge and difficulties. This study aims to investigate the barriers to customer resource contribution in value co-creation in service industries and find their interrelationships for developing an effective management framework for removal of those barriers.

A systematic literature review led to the identification of 26 barriers, which were further confirmed through expert opinion. The study used interpretative structural modeling (ISM) approach and Matrice d’Impacts croises-multipication applique (MICMAC), for analyzing the contextual relationships and develop a hierarchical model of the barriers.

ISM approach led to the development of a 13-level structural model. The barriers were further classified into autonomous, driver, linkage and dependent barriers using the MICMAC analysis. The framework offers a means to fulfill the expectations of the customers, thus leading to successful integration of the customer in the value creation process. Removal of the barriers has also been discussed.

The framework provides a direction and a tool to meet the expectations of the customers and lead to successful integration of the customer.

The study addresses a gap in the literature for the need of a structured framework for managing the value co-creation process in the service industry

The purpose of this paper is to introduce a progressive strategy of the National Palace Museum (NPM) using new media art exhibitions as a creative marketing tool to interpret its collection, generate cultural value and navigate the greater global context.

A review of museum marketing literature and the challenges presented by Taiwan’s sociopolitical situation contextualize discussions on marketing activities and the emergence of museum-commissioned new media art at the NPM within the past two decades.

Democratic potency inherent in the digital medium has enabled the NPM to transcend the conflicting cultural perceptions surrounding its collection and fulfill the function of market expansion and cultural transmission.

Specialized heritage museums, such as the NPM, do not traditionally create or collect contemporary artworks that engage in ongoing cultural dialogues. This paper brings into view the novelty of using the digital medium to generate cultural value as exemplified in the new media art commissioned by the NPM.