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One conclusion is widely shared by professionals in the cultural sector: consumer motivations have changed and in particular their relations with cultural products and services. This paper seeks to analyze different trends applied to museums in order to improve the understanding of this “new” cultural audience.

For this trend marketing analysis, seven consumer orientations have been identified (without claiming they are at all exhaustive) after an extended review over the shape of contemporary consumer habits. Besides, the authors wanted to know the opinion of the cultural managers. Each consumer orientation has been evaluated by taking a sample of French practitioners from different areas of the museum sector.

The paper is interesting in that it highlights the gap between actual management practices and practitioners' judgments.

The first limitation that should be borne in mind relates to the exploratory character of this paper. In an extremely shifting environment, it is difficult to claim to have successfully identified all of the consumer trends that may criss‐cross the cultural sector. The second limitation of the research is the cultural contingency of the empirical validation. This was done in a French context.

The environment (especially the competitive environment) in which cultural institutions find themselves should urge them to take account of changes in modes of cultural consumption in order to reach individuals through an attractive and coherent discourse. Museums have to continue to open up to their audiences. It is not, of course, a question of forcing a change or complexification of the core cultural offer (exhibition), but rather a contemplation of what can be done around that core.

The paper offers insights into the evolution of the relation between museums and visitors by analyzing seven consumer orientations. The authors illustrate how museums stray from their original image as a high cultural place. They then show that museums are also revitalizing themselves by redefining the role played by the visitor: from a passive individual to an actor fully interacting in the museum's offer.

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.

While the spatial dimensions of augmented reality (AR) have received significant attention in the marketing literature, to date, there has been less consideration of its temporal dimensions. This paper aims to theorise digital timework through AR to understand a new form of consumption experience that offers short-lived, immersive forms of mundane, marketer-led escape from everyday life.

The authors draw upon Casey’s phenomenological work to explore the emergence of new dynamics of temporalisation through digitised play. An illustrative case study using AR shows how consumers use this temporalisation to find stability and comfort through projecting backwards (remembering) and forwards (imagining) in their lives.

The proliferation of novel digital technologies and platforms has radically transformed consumption experiences as the boundaries between the physical and the virtual, fantasy and reality and play and work have become increasingly blurred. The findings show how temporary escape is carved out within digital space and time, where controlled imaginings provide consumers with an illusion of control over their lives as they re-establish cohesion in a ruptured sense of time.

The authors consider the more critical implications of the offloading capacity of AR, which they show does not prevent cognitive processes such as imagination and remembering but rather puts limits on them. The authors show that these more short-lived, everyday types of digitised escape do not allow for an escape from the structures of everyday life within the market, as much of the previous literature suggests.

The authors argue that corporations need to reflect upon the potential threats of immersive technologies such as AR in harming consumer escapism and take these into serious consideration as part of their strategic experiential design strategies to avoid leading to detrimental effects upon consumer well-being. More nuanced conceptualisations are required to unpack the antecedents of limiting people’s imagination and potentially limiting the fully fledged escape that consumers might desire.

Prior work has conceptualised AR as offloading the need for imagination by making the absent present. The authors critically unpack the implications of this for a more fluid understanding of the temporal logics and limits of consumer escapism.

The purpose of this study is to conceptually integrate business to consumer (B2C) into business to business (B2B), with a holistic consumer-centric, technology-reinforced, long-term vision for tourism industries and companies to survive and succeed in the era of new technologies 4.0. The research suggests that the tourism-marketing-new technologies decision-making involves customers as the center of the design and decision process.

The research design includes a qualitative study with 94 in-depth interviews, a literature analysis and a conceptual proposition. The qualitative study follows the tourism consumer desire data analysis, from categorization to integration. The literature analysis applies a systematic literature review approach based on the 29 most up-to-date new-tech papers from peer-reviewed journals. The analysis compares qualitative research findings and literature analysis results and matches the new technology applications with consumer desire understanding. The conceptual framework of tourism marketing/advertising is proposed based on qualitative research and literature analysis.

The qualitative research deciphers that consumers, based on their imagination and memorization, desire therapy and sceneries and connect such desires to the empathetic and resonating advertising messages. The literature analysis synthesizes the new tech applications in tourism and matches the qualitative research findings with the deciphered desires in tourism. The conceptual model proposes that B2C should be integrated into B2B to provide value for both consumers and businesses and opens avenues of research on this topic.

This research has made the following theoretical contributions: it offers an in-depth understanding of consumer desire, often hidden or subconscious, in the field of tourism. Consumer desires regarding tourism are mostly subconscious and exist long before consumers are exposed to advertising messages. These desires reflect the search for therapy and sceneries and become “embodied” – they exist on multisensorial levels and become part of the body and life and will lead consumers into positive perceptions when marketing communications/advertisements resonate with them. In the latter case, they will subjectively judge advertising as “good,” regardless of the advertising design quality. The research also connects consumer research with a new technologies research review and proposes a conceptual framework to integrate business to consumer (B2C) with business to business (B2B). As such, the research makes theoretical contributions to the integration or the “boundary blurring” between B2C and B2B research and practical suggestions that involved industries and consumers may all benefit from such integration. Conceptually, there is a lack of discussions of the pitfalls of new technologies, a dearth of empirical verification of the applications of new technologies in the proposed fields and a shortage of discussions about ethical issues. Qualitative methods, offering an efficient tool for understanding consumer desires in the tourism industry, have their own limits, as discussed in previous research. The sample is limited to the state of New York population and may be influenced by geographic, demographic and psychological characteristics related to the region.

This research provides advertising practitioners, new technology innovators and tourism industries with a framework to face the combined challenges of understanding hidden consumer desires and applying adequate technologies that resonate with consumer desires to tackle relevant issues. The conceptual proposition of this research fills the gap between qualitative consumer research without concrete practical resolution and new technologies applications without in-depth consumer understanding. Through the conceptual framework, the author provides insights into how industries may benefit from consumer understanding. The business relationships among the industries of marketing, tourism and new technologies should be centered around consumers. Thus, B2C and B2B should be naturally integrated into business practices.

Social implications of this research include three major points: first, the understanding of consumer desire for therapeutic power in tourism, which invites more attention to tourism as part of social well-being design instead of a purely for-profit business. Second, a profound comprehension of what consumers need and desire, without which the applications of new technologies may cause severe societal problems. Third, a way to tailor to consumers’ individuality and desires for advertising/marketing that may be considered abusive, stressful and socially destructive if applied in a nonpersonal manner.

Conceptually, this research adds consumer desire, an originally B2C concept, to the B2B context regarding the new technology applications in tourism marketing/advertising. It contributes to the B2B literature by proposing a strong consumer-centric approach, especially the consumer desire understanding, that is not yet investigated in the B2B literature; and a combination of empirical study and literature analysis and the matching of the two for better practice of advertising/marketing, tourism and new technologies applications.

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).

Katipuneros RPG: Bisperas ng Himagsikan (Katipuneros RPG: The Eve of the Revolution) is an immersive and gamified theater that engages its “audiences” in the initiation rites of a secret revolutionary movement in the Philippines in 1896. This descriptive qualitative research evaluates such experiential approach to learning history by investigating the experiences and insights of a group of students from the University of the Philippines Los Baños (UPLB), who participated in Katipuneros RPG.

Textual data obtained from the participants' reflection papers and focus group discussion transcripts were analyzed using open and axial coding.

Three key themes summarized the participants' learning experiences as they went through the play, as follows: (1) Katipuneros RPG as an immersive, interactive and intrinsically motivating medium for learning history; (2) the knowledge, values and skills that served as facilitating factors for their learning and (3) the insights the participants gained about history and life in general.

The research argues that in Katipuneros RPG, learners take on a more active role in studying history as the “teacher” vanishes in lieu of a learning system the allows students to think critically, reflect and collaborate. The approach integrates elements of development theater, immersive play and gamified learning, as well as the principles of constructivist, play-based and multi-sensorial learning.

As an innovative learning tool, it is a viable medium to teach history in the current socio-political context of the Philippines.

The study hopes to contribute to literature on pedagogical approaches for teaching and learning history through immersive environments.

In advancing the academic discourse around the theory of field, place and space in ethnographic research, this paper proposes a carnal sociological reading of the meaning and form of the Lindsay Leg Clubs – third-sector community leg care centres for older adults with leg problems – as a therapeutic space-construct.

The paper draws on non-formulaic, polymorphic ethnographic research in the UK Lindsay Leg Clubs conducted through multiple on-site and extramural engagements with the Leg Club community between 2019 and 2023 and an interview with the Leg Club founder and president, Professor Ellie Lindsay OBE. Wacquant's (2015) reflexive, enactive ethnographic approach is applied to develop an intellectual and carnal know-how of Leg Clubs as therapeutic space-constructs.

The researcher's “flesh and blood” experience of the Leg Clubs reveals the importance of cognitive and embodied appreciation of sounds, smells, sights, movements, the structures of wound stigma, centre-stage physical bodies of members and the volunteers, the material arrangement of the place and the researcher's own visceral and intellectual, biographical relation to the fieldwork to understand the therapeutic form and meaning of Leg Club spaces.

Applying the carnal sociology approach to reveal the therapeutic form and meaning of the Leg Club spaces makes concrete the abstract distinctions between field, place and space in ethnographic research, hence advancing the discourse around the theory of field in ethnography. A carnal sociological reading of the Leg Club spaces has implications for an embodied understanding of broader community care spaces.

The aim of this article is to propose a framework for a new perspective on the total service experience, which dimensions influence it, and how a service experience is linked to value in use.

The article is conceptual and suggests a new theoretical frame of reference describing value in use through service experience in technology‐based services.

According to this article, a service experience is the total functional and emotional value of a consumed service. The service experience is unique to every individual customer and the service consumption situation. Value in use is the cognitive evaluation of the service experience.

The framework is discussed in the context of technology‐based services and will provide a basis for future research. Empirical studies are called for concerning service experiences in different kinds of service contexts.

This article contributes a new framework, illustrating the service experience, which dimensions influence the service experience, and how it is linked to value. The framework is placed in a context of technology‐based services. Unique to these kinds of services is a lack of personal interaction between the service producer and the customer.

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.