How to facilitate immersion in a consumption experience: appropriation operations and service elements

Carù, Antonella; Covà, Bernard

doi:10.1002/cb.30

Cited by 201 publications

(197 citation statements)

References 27 publications

(14 reference statements)

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“…While some insight can be gleaned from recent research into the motives and values of museum and gallery visitors (Morris Hargreaves McIntyre 2007;Slater 2007;Thyne 2001), this field of research has remained predominantly quantitative in its approach. While qualitative studies do exist (Thyne 2001;Carù and Cova 2006;Pitts 2005), they are predominantly exploratory in design and, with the exception of Bergadaà and Nyeck (1995), relate to art forms other than theatre.…”

Section: Introductionmentioning

confidence: 99%

Why people go to the theatre: A qualitative study of audience motivation

Walmsley¹

2011

J. Cust. Behav.

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Theatre is a complicated pastime, bridging the fields of arts and leisure and the drivers of aesthetics, hedonics, emotions, education and entertainment, to name but a few. Pincus (2004) claims that quantitative research has failed to provide a true synthesis of motivation; and while some insight can be gleaned from recent research into the motives of event-goers and museum and gallery visitors, as well as from impact analysis of arts and cultural events, the complex motivations of theatre audiences remain unclear.This paper therefore aims to explore the fundamental drivers behind theatre-going and to fill a gap in the literature on audience motivation. The paper achieves this through a comprehensive qualitative study of theatre-going at Melbourne Theatre Company and West Yorkshire Playhouse, which was carried out in 2010. The methods employed comprise a combination of qualitative techniques, including responsive depth interviews and participant observation.The research finds that the key motivating factor for participants was the pursuit of emotional experiences and impact. This contests previous findings in other arts and leisure sectors, which prioritised escapism, learning, enhanced socialisation and fun. The paper concludes that motivation should be regarded as a construct determined by a complex combination of drivers and recommends that theatre organisations invest time and money in customised motivational segmentation and in enhancing the audience experience.

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Section: Introductionmentioning

confidence: 99%

Why people go to the theatre: A qualitative study of audience motivation

Walmsley¹

2011

J. Cust. Behav.

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“…Our theory building efforts are demonstrated in enriching the appropriation process and its cycles (e.g. Carù and Cova, 2006;Lindberg and Østergaard, 2015) through the integration of the role of consumers' cultural capital in shaping their appropriation practices and sense-making responses (Flyvbjerg, 2006).…”

Section: Methodsmentioning

confidence: 99%

The appropriation cycle: novice and expert consumers

Stavraki

Plakoyiannaki

Clarke

2018

EJM

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Purpose -Recognising the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research generates 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. Design/methodology/approach -This research employs a single case study design of Miró's blockbuster exhibition and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records. Findings -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 of personal versus communal interpretations -amongst other featuresin distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications -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. Practical implications -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. Originality/value -The 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.

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“…Furthermore, it reintroduces the body in a consumption situation in which it is usually not solicited, contrary to real-life consumption (Vicdan & Ulusoy, 2008;Merle et al, 2011). From an experiential perspective, an avatar also allows the consumer to play an active and productive role, which is a key factor of immersion in a commercial space (Carù & Cova, 2006).…”

Section: Avatars and The Virtual Shopping Experiencementioning

confidence: 99%

“…One possible explanation is that experience is not exponential and may fluctuate over time (Carù & Cova, 2006) and from external or situational variables. Other explanations could be a well-liked third visit (as suggested by high means of immersion and satisfaction), and the lack of novelties on the website for the last visit, which may have decreased the global quality of the experience.…”

Section: Studymentioning

confidence: 99%

Avatar Identification on a 3D Commercial Website: Gender Issues

Poncin

Garnier

2012

JVWR

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This research examines the influence of identification with an avatar on immersion in a 3D commercial website and its subsequent effect on satisfaction with the website. It also focuses on the potential moderating role of gender in these relationships. Two studies were conducted. The first study comprised 286 students and collected both quantitative and qualitative data on the visit to the website; the second, longitudinal study consisted of 32 participants who visited the website additional times during a two-month period. The results show that during the first visit, (1) gender influenced the creation of the avatar, (2) identification with the avatar strongly influenced immersion and satisfaction, and (3) gender moderated the identification-immersion relationship. The longitudinal results reveal the dynamics of avatar personalization over time and show that gender influence is not significant over time anymore. Implications of these results for managers and academics conclude the study. AcknowledgementAuthors dedicate special thanks to Idées-3Com, creators of the 3D shopping mall, for their help in this research.

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How to facilitate immersion in a consumption experience: appropriation operations and service elements

Cited by 201 publications

References 27 publications

Why people go to the theatre: A qualitative study of audience motivation

Why people go to the theatre: A qualitative study of audience motivation

The appropriation cycle: novice and expert consumers

Avatar Identification on a 3D Commercial Website: Gender Issues

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