Abstract: Experiences are becoming increasingly important in events and festivals, which are prime manifestations of the experience economy. However, research on event experiences has generally been concerned with economic impacts and visitor motivations [Gursoy, D., Kim, K., & Uysal, M. (2004). Perceived impacts of festivals and special events by organizers: An extension and validation. Tourism Management, 25(2), 171–181. doi:10.1016/s0261-5177(03)00092-x]. Few studies have attempted to operationalise and quantitatively analyse experiences, and there is no consensual definition regarding the essence of experiences [Walls, A. R., Okumus, F., Wang, Y., & Kwun, D. J.-W. (2011). An epistemological view of consumer experiences. International Journal of Hospitality Management, 30(1), 10–21. doi:10.1016/j.ijhm.2010.03.008]. This article develops an Event Experience Scale (EES) for event experiences. In this exploratory study the item generation and selection for this scale are presented in three phases: specifying the domain of construct and generation of items, item selection, and scale purification. An 18-item scale, comprising four dimensions – affective engagement, cognitive engagement, physical engagement, and experiencing newness – with satisfactory values for Cronbach's alphas (.83,.86,.86, and.87), emerged. Implications for theoretical and practical research are discussed.
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This paper applies the Event Experiences Scale (EES) to seven cultural events in different countries with the aim of identifying generic dimensions of event experience. Exploratory factor analysis indicated the presence of four experience dimensions: cognitive engagement, affective engagement, physical engagement and novelty. These broadly reflect the four dimensions found in the original EES study [de Geus, S., Richards, G., & Toepoel, V. (2016). Conceptualisation and operationalisation of event and festival experiences: Creation of an event experience scale. Scandinavian Journal of Hospitality and Tourism, 16(3), 274–296]. In the cultural events analysed here, the cognitive dimension is strongest, followed by affective engagement, novelty and finally physical engagement. The experience dimensions are shown to vary significantly between visitor groups (particularly in terms of age) and by event location or context. Analysis of social media use shows that experiences also vary significantly through the stages of the ‘event journey’, with affective engagement being particularly prominent during and after the event.
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Cultural festivals can attract cultural tourists, extend the tourist season and add vibrancy to the cultural scene. However, there is relatively little research on how festivals affect tourist experience of the destination or outcomes such as satisfaction or repeat visitation. This study used the Event Experience Scale to measure tourist experiences at three cultural festivals in Hong Kong – the Lantern Festival, Dragon Boat Festival and the Cheung Chau Bun Festival. The findings show that tourist experiences of these festivals are distinct, and they positively affect destination image and behavioural outcomes. Relative to permanent attractions and tours, festival experiences elicit stronger affective, conative and novelty responses. Festivals also convey a stronger impression of Hong Kong as a destination exhibiting Chinese and traditional culture, but less as a global city. The festival experience is associated with positive outcomes, namely greater satisfaction, intention to recommend and intention to return.
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Background: There are indications that older adults who suffer from poor balance have an increased risk for adverse health outcomes, such as falls and disability. Monitoring the development of balance over time enables early detection of balance decline, which can identify older adults who could benefit from interventions aimed at prevention of these adverse outcomes. An innovative and easy-to-use device that can be used by older adults for home-based monitoring of balance is a modified bathroom scale. Objective: The objective of this paper is to study the relationship between balance scores obtained with a modified bathroom scale and falls and disability in a sample of older adults. Methods: For this 6-month follow-up study, participants were recruited via physiotherapists working in a nursing home, geriatricians, exercise classes, and at an event about health for older adults. Inclusion criteria were being aged 65 years or older, being able to stand on a bathroom scale independently, and able to provide informed consent. A total of 41 nursing home patients and 139 community-dwelling older adults stepped onto the modified bathroom scale three consecutive times at baseline to measure their balance. Their mean balance scores on a scale from 0 to 16 were calculated—higher scores indicated better balance. Questionnaires were used to study falls and disability at baseline and after 6 months of follow-up. The cross-sectional relationship between balance and falls and disability at baseline was studied using t tests and Spearman rank correlations. Univariate and multivariate logistic regression analyses were conducted to study the relationship between balance measured at baseline and falls and disability development after 6 months of follow-up.
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In the past two years [2010-2012] we have done research on the visitor experience of music festivals. We conducted several surveys asking festival visitors for demographic variables, taste in music, their motivation for visiting festivals, mentalities and the evaluation of the festival. We also asked for the use of social media before, after and during the festival. Results show that visitors using social media have a significantly different festival experience from users that do not use social media before, during or after the festival. Results on difference in festival satisfaction are mixed.
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This research concerning the experience and future of zoos was carried out from 2011-2012 and takes regional ideas concerning Zoo Emmen as well as global visions into account. The research focuses partly on Zoo Emmen, its present attractions and visitors while also comparing and contrasting visions on the future in relationship to other international zoos in the world. In this way, remarkable experiences and ideas will be identified and in the light of them, it can serve as inspiration for stakeholders of zoos at large. The main research subject is a look at the future zoos in view of: The Zoo Experience – an international experience benchmark; The Zoo of the Future – a Scenario Planning approach towards the future; The virtual zoo - zoo’s in the internet domain.
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Within large service organizations there are currently two trends visible. These trends seem to be diametrically opposed. On the one hand organizations face increasing price pressure and thus a pressure to cut costs. One of the consequences of this trend is that organizations are increasingly encouraging customers to make more use of digital communication channels. At the same time, companies find it important to know their customers in order to respond adequately to their needs. To do this, organizations must have a certain degree of personal involvement to their customers and they must have regular personal contact. It is assumed that both trends – digitisation and personalisation – will have a strong impact on customer experience and (perhaps) on the relational models customers use. If it is true that relational models - so the way in which people perceive and assess a relationship - play a role in the perception of the customer, it is also interesting to know if it is possible to influence these relational models. During the last fifty years much research has been done into the possibilities to influence customers by using subliminal priming techniques. In these techniques thoughts and feelings are unconsciously activated by showing people certain words or images (eg Bargh, Chen & Burrows, 1996; Dijksterhuis, 2005). In recent years a number of experiments were performed in which customers were unconsciously primed at some type of relationship (eg Aggarwal, 2004; McGraw & Tetlock, 2005; Tuk, Verlegh, Smidts & Wigboldus, 2009). These experiments showed that it is possible to activate a certain type of relationship. The experiments however the researchers used scenario’s based on an interpersonal relationship, and often to a fictitious relationship. The question is whether priming techniques also work for an already existing and more complex relationship between an organization and its customers. From 2010-2013 we conducted research for six large service providers in banking, insurance, utilities and social welfare to discover what the customer experience of these organisations, what role relational models played in customer experience and whether it was possible to influence these relational models. The research project has provided answers to the following questions: - Which relational models are used by customers and what is the influence of these models on customer experience? - What is the influence of digitisation in customer communication on relational models and customer experience? - What is the influence of personalisation in customer communication on relational models and customer experience? And finally, - Is it possible to influence relational models (and customer experience) by using specific words and images that are associated with relational models (relational framing)?
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The Integrated Recovery Scale IRS was developed by Dutch National Expertise board for Routine Outcome Monitoring. Recovery is multi dimensional: 1. Symptomatic recovery 2. Physical health, 3. Societal recovery 4. Existential: personal recovery. The validation process and first outcomes of the instrument are described.
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The concept of immersion has been widely used for the design and evaluation of user experiences. Augmented, virtual and mixed-reality environments have further sparked the discussion of immersive user experiences and underlying requirements. However, a clear definition and agreement on design criteria of immersive experiences remains debated, creating challenges to advancing our understanding of immersive experiences and how these can be designed. Based on a multidisciplinary Delphi approach, this study provides a uniform definition of immersive experiences and identifies key criteria for the design and staging thereof. Thematic analysis revealed five key themes – transition into/out of the environment, in-experience user control, environment design, user context relatedness, and user openness and motivation, that emphasise the coherency in the user-environment interaction in the immersive experience. The study proposes an immersive experience framework as a guideline for industry practitioners, outlining key design criteria for four distinct facilitators of immersive experiences–systems, spatial, empathic/social, and narrative/sequential immersion. Further research is proposed using the immersive experience framework to investigate the hierarchy of user senses to optimise experiences that blend physical and digital environments and to study triggered, desired and undesired effects on user attitude and behaviour.
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Background The Self-Expression Emotion Regulation in Art Therapy Scale (SERATS) was developed as art therapy lacked outcome measures that could be used to monitor the specific effects of art therapy. Although the SERATS showed good psychometric properties in earlier studies, it lacked convergent validity and thus construct validity. Method To test the convergent validity of the SERATS correlation was examined with the EES (Emotional Expressivity Scale), Emotion Regulation Strategies for Artistic Creative Activities Scale (ERS-ACA) and Healthy-Unhealthy Music Scale (HUMS). Patients diagnosed with a Personality Disorder, and thus having self-regulation and emotion regulation problems (n = 179) and a healthy student population (n = 53) completed the questionnaires (N = 232). Results The SERATS showed a high reliability and convergent validity in relation to the ERS-ACA approach strategies and self-development strategies in both patients and students and the HUMS healthy scale, in patients. Hence, what the SERATS measures is highly associated with emotion regulation strategies like acceptance, reappraisal, discharge and problem solving and with improving a sense of self including self-identity, increased self-esteem and improved agency as well as the healthy side of art making. Respondents rated the SERATS as relatively easy to complete compared to the other questionnaires. Conclusion The SERATS is a valid, useful and user-friendly tool for monitoring the effect of art therapy that is indicative of making art in a healthy way that serves positive emotion regulation and self-development.
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