2017
DOI: 10.1007/s10824-017-9309-x
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The authenticity of the museum experience in the digital age: the case of the Louvre

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Cited by 54 publications
(34 citation statements)
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“…These material, spatial, and other forms through which the past is made present in turn shape the practices through which history is produced and consumed within a field, as well as the kinds of “knowledge” that that history conveys. The practices that surround the production and consumption of an exhibit designed to convey the authenticity of an identity (Evrard & Krebs, 2018; Gilmore & Pine, 2007) differ from the practices related to the incorporation of history into entertainment designed to infuse a sense of realism into the production of amusement. Thus, explorations of how historical form shapes such social spaces and practices in organizations and organizing remain a significant research opportunity that would expand the conversation about the uses of the past.…”
Section: New Frontiers Of the Pastmentioning
confidence: 99%
“…These material, spatial, and other forms through which the past is made present in turn shape the practices through which history is produced and consumed within a field, as well as the kinds of “knowledge” that that history conveys. The practices that surround the production and consumption of an exhibit designed to convey the authenticity of an identity (Evrard & Krebs, 2018; Gilmore & Pine, 2007) differ from the practices related to the incorporation of history into entertainment designed to infuse a sense of realism into the production of amusement. Thus, explorations of how historical form shapes such social spaces and practices in organizations and organizing remain a significant research opportunity that would expand the conversation about the uses of the past.…”
Section: New Frontiers Of the Pastmentioning
confidence: 99%
“…On the mega review sites, technology can serve as “the rarefaction process as a facilitator through customization technologies” (Koiso-Kanttila 2005, p. 65). Hence, prior research in consumer behavior has argued that consumers engage in a constant quest for “authenticity” of a website and its contents (Evrard and Krebs 2018; Koiso-Kanttila 2005). Authentic contents, which are generated by both the website and its users, mean to be original, credible, trustworthy, reliable, genuine, real, and actual as opposed to artificial, fake, secondhand, and copied (Napoli et al 2014).…”
Section: Introductionmentioning
confidence: 99%
“…In addition, as mentioned above, travelers cannot experience destination services without visiting the destination in person. Therefore, within this digital context, travelers’ perceptions about the authenticity of online reviews generated by other (virtual) users can influence their perceptions, attitudes, and behavior (or purchase intention) toward all-digital tourism products on the mega review sites (Evrard and Krebs 2018; Scheinbaum 2012). For example, even if online reviews on a particular destination are positive, travelers may be more likely to become skeptical about the destination if the reviews seem to be copied and replicated for a destination-marketing purpose.…”
Section: Introductionmentioning
confidence: 99%
“…Third, the context of museums and arts exhibitions has contributed significant insights to SE in terms of service exchange (Minkiewicz et al, 2016) and resource integration (Nakamura et al, 2017). Fourth, as technology changes museum services, managers are forced to adapt to the new circumstances (Evrard & Krebs, 2018; Garrido & Camarero, 2014), making this phenomenon particularly interesting to study.…”
Section: Research Considerationsmentioning
confidence: 99%
“…For example, complexity and the multidimensional nature of museum services are well‐established (see, e.g., Gilmore & Rentschler, 2002; Hume, 2015), not least when museum visitors, their interactions, and ongoing technological changes are concerned (McLean, 2012). While research focusing on museums as SE has included an exploration of the service experience (Minkiewicz, Bridson, & Evans, 2016) and the interplay of museum visitors, exhibition organizers, and resources in such an SE (Nakamura, Sakamoto, & Križaj, 2017), the role of technology in determining the flexibility of museum SE has been somewhat neglected, despite the insight that technologies change museum services, forcing the managers to adapt to new circumstances (Evrard & Krebs, 2018; Garrido & Camarero, 2014). In light of this fact, more research into digital solutions as potentially supporting communication, service provision, and museum organization has been called for (Arrigoni, Schofield, & Trujillo Pisanty, 2019).…”
Section: Introductionmentioning
confidence: 99%