This chapter reviews the field of event experience research, identifying major trends and setting out research directions for the future. Experiences are often viewed as the core of events and are therefore a key concern for event management and design. Much research has therefore focused on the way in which experiences are produced and consumed within events, which are often viewed as a special setting outside of everyday life. Recent research has extended to the complete visitor journey, considering what happens before and after the event as well. Future directions for event experience research suggested here include the development of improved measurement tools, examining the linkages between different elements of the event experience, the co-creation of value through event experiences, the development of event careers among visitors and the application of new technologies to event experience research.
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This chapter presents event diagrams as a representational tool that allows students to visualize relativistic phenomena. It puts particular emphasis on thought experiments that can help students obtain a deeper understanding of physical phenomena that are hard to imagine. The chapter is intended for readers who look for instructional models to teach concepts of special relativity at the secondary school level, and also, for those who wish to learn more about thought experiments as instructional tools. Students perform the thought experiment by drawing light propagation in the event diagram. Compared to the traditional presentation of thought experiments, the event diagram stimulates students to reason with light propagation more explicitly. Like all external representations, event diagrams are a simplified and idealized display of reality and are inherently limited. To wrap up, the authors have shown how their tasks stimulate students to perform thought experiments by drawing light propagation in event diagrams.
This chapter investigates the deeply mediatized experience of place and space within the lived practice of events by studying two annual Dutch cultural events as cases: Oerol Festival (2017) and 3FM Serious Request (2017). Drawing on substantial datasets containing online and offline participant observations, both short in situ interviews and longer in-depth interviews with a total of 248 interviewees and large datasets from Twitter and Instagram, this chapter demonstrates that media concurrently de-spatialize, in the sense that they diminish spatial borders and overcome distance, and affirm embodied experiences of being-in-place. I argue that it is liveness - the potential connection, through media, to events that matter to us as they unfold - that creates the closeness between the near and the far elements within the “eventsphere” and binds it all together into one event-space.
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The AR in Staged Entertainment project focuses on utilizing immersive technologies to strengthen performances and create resiliency in live events. In this project The Experiencelab at BUas explores this by comparing live as well as pre-recorded events that utilize Augmented Reality technology to provide an added layer to the experience of the user. Experiences will be measured among others through observational measurements using biometrics. This projects runs in the Experience lab of BUas with partners The Effenaar and 4DR Studio and is connected to the networks and goals related to Chronosphere, Digireal and Makerspace. Project is powered by Fieldlab Events (PPS / ClickNL)..
-Chatbots are being used at an increasing rate, for instance, for simple Q&A conversations, flight reservations, online shopping and news aggregation. However, users expect to be served as effective and reliable as they were with human-based systems and are unforgiving once the system fails to understand them, engage them or show them human empathy. This problem is more prominent when the technology is used in domains such as health care, where empathy and the ability to give emotional support are most essential during interaction with the person. Empathy, however, is a unique human skill, and conversational agents such as chatbots cannot yet express empathy in nuanced ways to account for its complex nature and quality. This project focuses on designing emotionally supportive conversational agents within the mental health domain. We take a user-centered co-creation approach to focus on the mental health problems of sexual assault victims. This group is chosen specifically, because of the high rate of the sexual assault incidents and its lifetime destructive effects on the victim and the fact that although early intervention and treatment is necessary to prevent future mental health problems, these incidents largely go unreported due to the stigma attached to sexual assault. On the other hand, research shows that people feel more comfortable talking to chatbots about intimate topics since they feel no fear of judgment. We think an emotionally supportive and empathic chatbot specifically designed to encourage self-disclosure among sexual assault victims could help those who remain silent in fear of negative evaluation and empower them to process their experience better and take the necessary steps towards treatment early on.
In recent years, organizations across Europe, and the Netherlands in particular, have increasingly supported efforts to enhance the sustainability of festivals such as the European Climate Pact, launched by the European Commission as part of the European Green Deal, European Festivals Association and Green Deals Circular Festivals in the Netherlands (European Union [EU], 2025). As a result, festivals across Europe are growing their environmental stewardship and serving as prototypes for wider societal transitions towards sustainability (Calvano, 2024; Irimiás et; al., 2024). However, festival organizers and other stakeholders still face challenges in developing effective communication strategies that truly activate more sustainable behaviour among festival goers (Harms et. al., 2023). Generic, one-size-fits-all approaches are often applied, yet they tend to have limited impact. This is also due to the diverse nature of music festivals, ranging from indoor to outdoor settings, single-day events to multi-day experiences, and from urban to rural locations, all of which shape the audience, context, and communication needs in unique ways (Tölkes & Butzmann, 2018; Dodds et. al., 2020). Essentially, festivals are ideal for informing, experiencing and activating sustainable behavioural change through effective communication before, during and after festivals. It is therefore crucial that a more targeted approach is utilized where messages can be tailored to make communication more effective (Temmerman & Veeckman, 2024). To address pressing sustainable and social challenges within the festival sector, NHL Stenden (NHLS) will collaborate with ESNS and Thansk on a design research project. In partnership with a network of festival organizers, industry professionals, and experts, the project will explore effective communication strategies for sustainability. The goal is to develop an actionable, research-informed roadmap that supports music festivals in enhancing their sustainability communication tailored to the sector’s dynamic and diverse nature.
