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Brand backstories enable consumers the opportunity to go behind-the-scenes of their favourite brands. This chapter explores the role of the brand backstory experience in the consumer–brand relationship, detailing the manner in which these experiences are structured to immerse consumers within the brand storyworld.

A qualitative analysis of two brand backstory experiences, a museum exhibit documenting the television series Outrageous Fortune and a factory tour of snack foods brand Herr Food Inc. was carried out using in-depth interviews with backstory creators and observatory field notes of the backstory exhibit and tour.

This study reveals how temporal and spatial elements craft the overall architectonics of the brand backstory experience and how the brand backstory reveal progresses to ultimately unite consumers with the brands’ imagined and real families.

By illuminating the dynamism and evolution of brands and branding practices, this chapter offers exploratory insights into a scarcely explored aspect of the brand experience.

Management research has begun to explore how cultural entrepreneurs use established or declining societal traditions to create distinctive new ventures and products. In this study, we propose an alternative pathway for creating entrepreneurial opportunities, that is, through leveraging extinct societal traditions. Extinct societal traditions yield opportunities to create highly distinctive products and ventures, yet their use entails substantial challenges. To understand how entrepreneurs can successfully leverage extinct societal traditions, we investigate the case of The Merchant of Venice, an Italian venture established in 2013 that produces luxury perfumes based on the perfume-making tradition that flourished in Venice between the sixteenth and seventeenth centuries and disappeared afterwards. Our study illuminates how cultural entrepreneurs can leverage extinct societal traditions by (a) exhuming lost knowledge and practices, (b) validating them as an authentic and appreciable tradition of a given community and territory, and (c) elevating their meaningfulness as core to place identity. Our study contributes to the literature on cultural entrepreneurship and traditions by revealing the distinct challenges that resurrecting extinct traditions entail, enriching the understanding of types, goals, and processes of cultural entrepreneurship, and widening current knowledge of the roles of tradition custodians.

Through the use of digital methods, representation of peoples’ self-perception of experiences becomes possible. Digital imagery presents opportunities to expand the way it is possible to convey the diverse information gathered in the field. To enable some of the communication of various unseen experiences of the chronic illnesses Chronic Fatigue Syndrome and Fibromyalgia, I created, what I have called, hypertextual self-scape digital photographs through collaboration with participants which use a layering of information gathered in the field, including both seen and unseen experiences to create sensory embodied dialogue about the lifeworld. I will expand on this in greater detail as we continue, but briefly this means the use of art forms being used as a way to gather information and then using digital techniques to communicate the self-talk of lived experience. Images have the potential to expand our access to peoples’ lifeworld and I will take this further in the chapter to look at how altering an image increases the information that can be communicated. Just as the bodies of my participants do not reveal the truth about their experiences, the objects chosen do not tell the whole story about what they really represent. As a part of this discourse I will show how digital technologies have the potential to expand representations of experience. Imagery is another way to “write up” information gathered during the research and by embracing images and symbols through our method and our writing up of the research expands on the information which can be gathered and later communicated about participants’ lifeworld. The images I am using here act “not as observational and objectifying tools, but as routes to multisensorial knowing” (Pink, 2010, p. 99) and expand on the existing representations of chronic illness in the literature. We also view and interpret images in a different way to text, as I believe images offer a potential to engage in dialogue with the body in sensory discourse. Therefore, the purpose of this chapter is to advocate the use of digital technologies alongside research methodologies when looking at hidden experience and interiorities (Hogan & Pink, 2010; Irving, 2013).

Virtual reality technologies have given rise to a new breed of space travel, enabling touring of cosmic environments without leaving the Earth. These tours democratize participation in space tourism and expand its itineraries – reproducing while also altering the practices of tourism itself. The chapter explores the ways in which they alter modes of establishing “authentic” tourism destinations and experiences, rendering outer space into a stage for the performance of space travel, while themselves facilitating novel avenues for its social organization and technological assertion. Virtual space tourism not only reflects the progression and metamorphoses in tourist practice and production but also has the potential to influence both the aspirations and prospects of our space futures.

Creating memorable tourism experiences (MTE) is vital to obtain sustained tourism visits. In the digital era, infusions of various digital technologies in tourism services without admitting tourist emotions could jeopardize the experience. Drawing from a Service-Dominant Logic (S-DL) perspective, this study explains the complexity of digital tourism experience in the service system view, highlighting the importance of emotions as resources. It is composed of actors' orchestrations, connected by shared emotions, and enabled by sensory stimuli facilitated by the digital tourism ecosystem throughout the tourism journey. This study proposes a Memorable Digital Tourism Experience (MDTE) framework by identifying the focal actors, recognizing the emotions, and determining the moderating role of sensory stimuli enabled by various novel technologies. At last, several agenda and practical guidelines are proposed on how to operationalize the framework and different methodologies to explore Memorable Digital Tourism Experience.

To explore the sociology of sport-related pain through an autoethnographic focus on the contiguous, 20-year participation of one professional athlete at the Ironman Triathlon World Championships in Kona, Hawaii; to address the “well heeded, long-standing and vociferous calls ‘to bring the body back in to social theory’” (Hockey & Collinson, 2007, p. 2) by allowing authorial reflection on the negotiations of pain during those decades of elite competition.

Negotiated sports pain is explored as the subject/author allows visceral memory over a two-decade arc of professional-level participation at the Ironman. The ethnographic study is a combination of self-reflection, phenomenology, supportive and correlative theory, and detailed peripheral aspects of one elite athlete as he discusses the roles, levels, types, applications, and meanings of pain during the training and racing of the Ironman Triathlon World Championships. Allowances are made for reflective and subjective narratives in service of introducing sensorial elements to this area of the sociology of pain.

This chapter addresses several calls for a focus on the “practical experiences of the body” (Wainwright & Turner, 2006, p. 238) or what Hockey and Collinson (2007) call the “lacking (of) a more ‘fleshy’ perspective, a ‘carnal sociology’ (Crossley, 1995) of sport.” The details provided by the author/athlete offer a more personal and intimate view of how sports pain is negotiated over the arc of two decades of high-level competition. A sometimes brutally honest and objective self-reflection reveals the inner workings of a professional athlete turned college professor as he reflects on the multiplicity of roles that pain served and played during his 20 years at the Ironman World Triathlon Championships.

With a dearth of “embodied” studies on the sociology of sports-related pain, particularly by elite athletes who lived much of their youth in a physical culture that requires the near-constant negotiation of pain, this chapter provides a deep inside-out look at one case with its sensorial, phenomenological, and temporal insight to pain management.

• To identify the social elements that emerge from interactions with the virtual fitting room in e-retailing applications

• To debate the influence of the socialisation of the virtual fitting room (SVFR) in brand experience

• To discuss the implications of the SVFR for retailers, consumers and managers

• To envision the future of e-retailing brand experience through the SVFR

To identify the social elements that emerge from interactions with the virtual fitting room in e-retailing applications

To debate the influence of the socialisation of the virtual fitting room (SVFR) in brand experience

To discuss the implications of the SVFR for retailers, consumers and managers

To envision the future of e-retailing brand experience through the SVFR