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The purpose of this paper was to develop a new interactive guiding system allowing people to use their own smart mobile devices, such as smart phones or tablet PCs, to activate the guiding services at the art gallery. The system provided interactions between visitors and exhibit items. It focused on the highly interactive functions between visitors and artworks authors as well as among visitors at both exhibition sites and social network sites (SNSs).

The system used quick response (QR) codes as the context aware elements, Facebook as the platform of SNSs, and smart mobile devices as the human-machine interfaces. Visitors carrying their own smart phones or tablet PCs can activate the guiding services by scanning the QR codes of the interested exhibit items. A system usability scale (SUS) survey was conducted to understand the visitors' perceptions on system usability. A questionnaire survey was conducted to collect the visitors' and authors' attitudes on releasing messages through Facebook.

The system was implemented at an art centre where lacquer artworks were on display. The SUS survey showed that 94 per cent of the participated visitors have satisfactorily rated this new guiding system, indicating rather high usability of the system. Most participated visitors agreed on Facebook as an ideal channel to release messages and they would pay more attention to the highly-recommended exhibit items. All the artworks authors consented to this new guiding system with potential power to disseminate their works over the cyberspace.

This new system possesses some important features in blending real world and cyberspace activities. Visitors at exhibit sites can become more informed and captivated because the interactive guiding system enables them to share knowledge and commentary opinions with others who were, are or will be at the same exhibition. It also allows people to share with their cyberspace friends who may have no times or opportunities to visit the exhibition. Most importantly, the new system may immensely expand the number of potential visitors in ways to make the authors and their artworks rapidly recognized.

The purpose of this paper is to propose a new management approach to analyse the processes of museums in the experience logic and, on the basis of such a model, to study the management processes of the National Gallery of the Marches in Urbino, one of the most important museums in Italy.

This study adopted a qualitative methodology and a descriptive-exploratory approach. The proposed model, which aimed to create and manage experiences and transformations in museums, was tested in the National Gallery of the Marches by adopting the case study method.

The empirical research underlined the partial application of the proposed model in the museum under examination and the potential for the museum to improve the offering value to its visitors.

Although a single case was investigated, the present work offers a preliminary theoretical contribution, which is useful for perfecting the conceptual framework and applying it to a wider number of cases.

The management of the National Gallery of the Marches should first plan a greater number of more detailed experiences and transformations around the theme of the Renaissance, and promote the active role of visitors. Second, it should improve the communication of the offer, especially through social networks. Third, personnel (especially front office) should be motivated and trained to create value for visitors.

The paper aims at developing a new management approach for the museums to create value for the visitors and museums by bringing the insight of the experience logic into the field of cultural heritage management.

This paper aims to provide an exploratory investigation into contemporary interpretation methods used in historic gardens and their fundamental role in enhancing the visitor experience and sense of a place.

A series of semi-structured interviews (n = 65) with Wrest Park visitors – who had the opportunity to experience new interpretation methods provided on-site – have been carried out in an attempt to explore their sense of place through interpretation.

The research suggests that interpretation has a fundamental role to play in “telling the story” of historic gardens, with 92.5 per cent of the sample understanding elements of the place’s history, significance and evolution. The findings further suggest the presence of two distinct visitor typologies – history explorers and leisure seekers.

The study provides implications for theory and practice and recommendations for historic garden practitioners.

The importance of conceptualising and operationalising interpretation in historic gardens has received relatively little attention across the extant body of heritage interpretation literature. English Heritage’s Wrest Park, which is amongst England’s most prominent historic gardens, is used as a case study.

Science museums provide a context for developing and testing engineering activities that support visitors in creating personally meaningful objects. This study aims to propose that narrative design elements in such engineering activities can foster empathy to support engineering engagement among girls ages 7–14.

Taking a constructionist approach to engineering design, the authors present results from an observational study (n = 202 girls) of engineering activities across three museums that were designed to foster girls’ engineering engagement by integrating narrative elements aimed to foster empathy in activities. Using quantitative counts from observation protocols, the authors conducted statistical analyses to explore relationships between narrative, engineering and empathy.

Linear regression demonstrated a statistically significant relationship between empathy and increased numbers of engineering practices within museum activities. Additionally, this led us to explore the impacts the potential narrative design elements may have on designing for empathy – multiple linear regressions found both narrative and empathy to be independently associated with engineering practices. Overall, the authors found that using narrative to design activities to elicit empathy resulted in girls demonstrating more engineering practices.

The authors offer design ideas to foster aspects of empathy, including user-centered design, perspective-taking, familiarity and desire to help.

Recognizing the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research aims to generate a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience.

This research uses a single case study design of Miró’s blockbuster exhibition, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observations and archival records.

An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and personal versus communal interpretations – amongst other features – in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital.

The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences.

The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences.

This research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

The purpose of this paper is to provide a deeper understanding of the relevance of shore excursions in the distribution of cruise passenger flows; an approach which has been overlooked by many studies on cruise tourism. Specifically, the paper focuses on two destinations: Barcelona, a mature cruise destination suffering from the impact of overcrowding; and Valencia, an emerging cruise destination facing the risk of future (similar) impacts.

The method used is multiple-case study with replication logic. First, web content analysis is conducted of shore excursion descriptions of the destinations selected so as to identify the itineraries, as well as the municipalities and the specific tourist attractions included in the tours. Then, word-processing tools are used to create a regional and local data set to arrange the narrative data. Finally, density maps are drawn in order to examine the different visitor flows within the tourist hinterlands from the supply perspective.

The results indicate that most shore excursions are concentrated in the port cities. Comparing the two destinations, the paper argues that the redistribution within the cities is not equally balanced. Nevertheless, the results also reveal that the excursions offered by local shore tourism operators (TOs) in both destinations have contributed to the expansion of the cruise tourist hinterland over a wider regional area.

This paper evaluates the visitor flow distribution from a supply perspective. Hence, future studies should examine the demand dimension in order to gain a deeper understanding of the concentration intensity. Additionally, it would be worth examining not only visitors taking guided tours but also the independent ones (those who visit the destination on their own).

Despite the growing importance of cruise tourism, research on the role of local shore TOs in this sector is quite limited. One element that deserves more research attention is related to the role of shore excursions in the spatial configuration of the cruise tourist hinterland. Finally, the results obtained could also have significant implications for policy makers developing and promoting effective measures to prevent overcrowding.

This study aims to explore the strategies that service providers use to facilitate marketplace accessibility, and identify the key challenges in that process. The authors do so to develop a roadmap towards improved accessibility and disability inclusion in the marketplace.

The authors conducted eight semi-structured interviews with service providers (curators, visitor service coordinators and access managers) at museums who run access programmes for customers with visual impairment (VI), along with an embodied duo-ethnography of those programmes.

Service providers foster autonomous, embodied and social access. Resource constraints, safety concerns and exposed differences between customers compromise access. To overcome these challenges, service providers engage in three inclusionary strategies – informing, extending and sensitizing.

This service provider- and VI-focus present limitations. Future research should consider a poly-vocal approach that includes the experiences of numerous stakeholders to holistically advance marketplace accessibility; and apply the marketplace accessibility findings upon different disabilities in other marketplace contexts.

This study offers a roadmap for policymakers and service providers on: which types of access should and can be created; what challenges may be encountered; how to manage these challenges; and, thus, how to advance accessibility beyond regulations.

This study contributes a service provider perspective on marketplace accessibility that goes beyond removing “disabling” barriers towards creating opportunities for co-creation; an approach towards marketplace accessibility that fosters inclusiveness while considering the inherent challenges of that process; and an illustration of posthumanism’s empirical value in addressing issues of accessibility in the marketplace.

By extending the expectancy-disconfirmation theory and integrating the elaboration likelihood model, this study aims to explore the reference effects (i.e. disconfirmation and self-identity) and customer engagement that affect customer experience on satisfaction with a museum visit. The study is designed to test a dual-mediator mechanism involving disconfirmation and self-identity. The moderating role of cognitive, affective or behavioral engagements is also examined with the overall purpose to advance the understanding of customer experience in cultural consumption such as museum visits.

A self-administered field survey in two stages was carried out on visitors to the Hong Kong Museum of Art. A total of 465 valid response sets were used for analysis. Hypotheses were tested using confirmatory factor analysis, three-step mediation test, structural equation modeling and moderation regressions.

Disconfirmation and self-identity are found to be dual mediators in the experience–satisfaction relationship. Cognitive engagement reduces the effect of knowledge experience on disconfirmation and self-identity but increases that of the entertainment experience on disconfirmation and self-identity. Affective engagement amplifies the effect of knowledge experience on self-identity but mitigates the importance of entertainment evaluations.

Findings highlight the importance of both perceived knowledge and entertainment experiences in visitors’ evaluation of a cultural experience. Managers are suggested to craft promotional messages with the psychological appeal that connects visitors with museum services. Appropriate engagement tactics for museums can be developed to avoid overloading visitors with information.

Previous studies treat disconfirmation as the dominant reference effect in the formation of customer satisfaction. This study shows both disconfirmation and self-identity as dual reference effects that link the customer experience to satisfaction in the museum context, serving as a pioneer in defining how the influence of experience on reference effects varies depending on how customers are cognitively and affectively engaged in such context.

The purpose of this study is to demonstrate the lighter (entertainment and esthetic experiences) and darker sides (educational and escapist experiences) of dark tourism experiences. This study also examines the effect of lighter and darker sides of dark tourism experiences on functional and emotional value.

To investigate how and where visitors experience lighter and darker sides of dark tourism, the authors conducted in-depth interviews from visitors to the Korean demilitarized zone (DMZ). To demonstrate consequences of lighter and darker sides of dark tourism experiences on functional and emotional value, the authors collected field survey data. Taken together, the authors used mixed methods with exploratory sequential design.

Interviewees vividly described their entertainment (crossing the suspension bridge) and esthetic experiences (seeing a family of crane birds from a short distance) in the Korean DMZ. They also described educational (understanding the background of the civil war) and escapist experiences (limiting daily entries made them feel like they were entering a special place or even a foreign country). Survey results showed that educational and esthetic experiences increased emotional value, while educational and escapist experiences enhanced functional value of a tour of the Korean DMZ.

Previous research operationalized lighter and darker sides of dark tourism based on characteristics of dark tourism sites. Specifically, darker and lighter aspects of dark tourism were determined, depending on whether such sites are directly related to human death or not. However, the current study draws on tourist experiences to operationalize lighter and darker sides of dark tourism. While previous research focused on the supply side, this study shifts focus to the demand side, thereby advancing knowledge in hybrid dark tourism experiences.

本研究旨在通过娱乐和审美体验（相对于教育和逃避现实的体验）展示黑暗旅游的光明（相对于黑暗）的一面。除此, 本研究以到访频率和到访目的作调节变量, 分别探讨上述四个类别的黑色旅游体验、功能性或情感性价值和访客满意度的关系。

为了深入探究上述四个类别的黑色旅游体验的性质, 我们与韩国非军事区的访客进行了深入的访谈。我们收集了田野问卷数据来测试上述四个类别的黑色旅游体验、价值观和满意度。运用测量不变性测试和多组分析试验了到访频率和到访目的之调节变量。

受访者在韩国非军事区生动地描述他们的娱乐（走过吊桥）和审美经历（近距离观赏一群鹤鸟）。他们还描述了教育（解释了韩战的背景）和逃避现实的经历（每日入场人数限制让访客觉得他们正在进入一个特别的地方甚至是国外）。问卷结果显示了教育和审美经历引致了情感价值, 教育和逃避现实经历则引致功能价值。

先前的研究根据黑色旅游地点的特点, 对黑色旅游的光明面和黑暗面进行了展示。具体来说, 根据这些地点是否与人类死亡直接相关, 确定了黑暗旅游的光明及黑暗的方面。然而, 本研究利用旅游体验来定义黑色旅游的光明面和黑暗面。虽然之前的研究侧重于旅游供应方面, 但本研究将重点转移到需求方面, 从而推进了混合黑色旅游体验的知识发展。

El propósito de este estudio es demostrar el encendedor (entretenimiento y estética) experiencias) y los lados más oscuros (experiencias educativas y escapistas) de las experiencias de turismo oscuro. Este El estudio también examina el efecto de los lados más claros y más oscuros de las experiencias de turismo oscuro en funcional y valor emocional.

Para investigar cómo y dónde los visitantes experimentan más claro y más oscuro lados del turismo oscuro, los autores realizaron entrevistas en profundidad a visitantes del desmilitarizado coreano zona desmilitarizada (DMZ). Demostrar las consecuencias de los lados más claros y más oscuros de las experiencias de turismo oscuro en valor funcional y emocional, los autores recopilaron datos de encuestas de campo. En conjunto, los autores utilizaron métodos mixtos con diseño secuencial exploratorio.

Los entrevistados describieron vívidamente su entretenimiento (cruzar el puente colgante) y Experiencias estéticas (ver una familia de pájaros grulla desde una corta distancia) en la DMZ coreana. Ellos también describió experiencias educativas (comprendiendo los antecedentes de la guerra civil) y escapistas (limitar las entradas diarias les hizo sentir como si estuvieran entrando en un lugar especial o incluso en un país extranjero). Los resultados de la encuesta mostraron que las experiencias educativas y estéticas aumentaron el valor emocional, mientras que Las experiencias educativas y escapistas mejoraron el valor funcional de un recorrido por la DMZ coreana.

Investigaciones anteriores operacionalizaron los lados más claros y más oscuros del turismo oscuro con base en Características de los sitios de turismo oscuro. Específicamente, los aspectos más oscuros y más claros del turismo oscuro fueron determinado, dependiendo de si tales sitios están directamente relacionados con la muerte humana o no. sin embargo, el El estudio actual se basa en las experiencias turísticas para operacionalizar los lados más claros y más oscuros del turismo oscuro. Si bien la investigación anterior se centró en el lado de la oferta, este estudio cambia el enfoque hacia el lado de la demanda, por lo que avanzar en el conocimiento de experiencias híbridas de turismo oscuro.