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  Culture, Pleasure and Happiness as a Method of Experience or : How Experience Methods Can Attract People and be Operated Successfully

Mr. Kurt GROTSCH - Trillenium Group, Sevilla, Spain

 

Desire for Culture : Experience Method

"Culture" is one of the main motivations behind travel because "culture" characterises civilisations and gives them this uniqueness which then renders them worth visiting. In this and other senses, the local cultures have developed into trademarks of regions and cities that increasingly view their cultural benefits as part of a "Strategic Image Management" (S.I.M.), and integrate them into city and regional marketing strategies (city marketing), as, for example, Barcelona has been a perfect example for years with the "Cultures Forum 2004".

Culture "as man's answer to the problems life brings", according to the Spanish philosopher, Ortega y Gasset (1883-1955) is therefore occurring primarily in cities, as shown in the declarations on culture tourism, now in need of reform, such as that of Brussels 1976, Rostock 1984 or Mexico 1999. Thus, culture tourism is, in this sense, primarily city tourism although not exclusively so.

Culture is also viewed as a dynamic element of developments which only partially relies on structural, i.e. historical content such as museums and art treasures, but mainly brings to life artistic resources and seeks to provide opportunities to experience such resources in the form of festivals, concerts, exhibitions and events. First and foremost however the culture manager also tries to break through the static, purely educational nature of museums using lively and striking elements. In doing this, it is primarily a matter of distinguishing between culture as an enrichment of knowledge of certain areas such as art, architecture or music, and culture as an opportunity for self-awareness and self-enrichment, perhaps also through the common and socially accepted consumption of art. It is precisely that consumption aspect which, through its various "fun" or "entertainment" variants, forges links between local and tourist culture consumption. As a result, this new consumption is also becoming democratic since it caters for and can be experienced by both visitors and residents alike and it also eliminates the question of whether "culture tourism" also requires "cultivated tourists". The question of the authenticity of the attractions on offer meets with the phenomenon of independent tourists who make up their own minds, which is known as the Hermann Hesse Syndrome. On 10 April 1901 at around four in the afternoon, the latter set during his stay in Florence with his Baedeker travel guide and began to explore and experience the city by himself. In this sense, Hesse (1877-1962) was the prototype of the modern "experience tourists" as he created his own Florence.

Those elements of culture that can not be digitised and transported now make it essential to make the consumption of culture more dynamic and present it as an experience. Because cultural manifestations generally have small platforms they must be viewed in their entirety and organised as a system in order to create a universal and lasting overall impression in the visitors. The cities or regions would need to appear more and more as experience systems in which the consumption of culture is seen as a subsystem and is integrated into the overall system. In this sense, the as yet unusual collaboration between culture manager and tourism management is long overdue.

This collaboration could resolve an apparent anachronism: "Culture for tourists" and "culture for locals". Even when cultural manifestations are threatened by foreign infiltration in places where participation and active living are only possible through generations of cultural learning, e.g. in magical operations, dancing or the clapping out of various flamenco rhythms, but where vehicles of culture and culture consumers, e.g. tourists, mix, new forms of dual culture consumption seem to emerge. According to Jacques Brunhes, the basis [1] of this dual consumption is local value systems which are also widely viewed as supply chain systems based on a global ethical code of tourism [2].

Similarly, more and more cultural attractions are targeting residents and tourists. The reasons and requirements for organisation and logistics remain varied as the problems for visitors, such as foreign language communication, accessibility, and accommodation etc. still need to be resolved.

Correspondingly, culture consumption is joining the trend towards the experience economy, event economy, entertainment economy, on demand consumption, mood or emotion management, which seem to be the keywords for the view of a modern hedonism as we step over the threshold of the new millennium. The scenarios of this experience consumption are seen in the variety of "mixed use centres" that are being established in all different parts of the world, where travel leisure and residential leisure simply must be sustainably united into new forms.

The sustainability of new forms of consumption is based on the fusion of attractions which serve both tourists and residents alike. These attractions are inevitably location specific as they require, on the one hand, the surrounding countryside and on the other, local cultural, for the most part intangible traditions, or tangible, partly architectural resources to emphasise the uniqueness of a tourist destination. As part of this fusion, the roles of and benefits for the individual partners in the sustainability model are now merging. On the one hand, the residents or locals are direct beneficiaries of the "touristisation" of their resources and on the other, they form a significant component of the experience for visitors to these resources as they, as carriers of the local culture, also represent the latter and bring it to life for others. They are familiar with the native surroundings and only they can disclose the "secrets" of their environment and culture to the visitors. At the same time, they must preserve these and maintain and pass them on in their uniqueness. This can only be achieved however if they systematically keep local resources (cultural treasures) intact. In this sense, inhabitants of tourist destination assume a dual capacity of which they are often unaware and which is seen as tiresome in many places: on the one hand they are a significant component of the "foreignness" experience for others as a result of the foreign dialect, the way they dress, the lively folklore and the gastronomy etc., and thus they become cast personnel in the tourism experience. On the other, they must keep the system running as technicians, so to speak as the latter enables the making of significant revenues. In particular however, the nostalgia for intact systems is one of the main reasons for travel in new tourism: intact social systems at the holiday destination, intact ecosystems in the mountains or the Brazilian rainforest, intact urban city centres that have survived "museumification", or experience systems that have made the quantum leap from thematization to emotionalisation. Intact systems can not be transplanted or transferred as they contain too many well-evolved or authentic elements which could only be reconstructed in their entirety under extremely complicated conditions. Mikunda would call these places "third party locations" as they are capable of re-establishing primitive trust. In particular, regions with complex experience systems in their cultural variety have significant competitive advantages as the totality of the individual experiences greatly enriches the stay, particularly so where these are not presented as a sequence of individual offers but as a mutually beneficial and striking system. In the extreme, this would mean seeing and experiencing the whole of Europe as a theme park and leisure system which, in practice but not in theory, has already been achieved for centuries in various sectors.

On the other hand, completely new systems are emerging such as theme parks which create a new feeling of authenticity with their technical and organisational standards which makes international comparisons possible and intentionally controls and invokes emotions for astonishing and manageable periods. The authentic part of these facilities is, in addition to the expected emotions, the technical standard of the leisure technologies and the settings with which visitors are familiar which they expect and critically asses in these new experience systems (leisure literacy).

The presentation formats for these new locations: leisure worlds, malls, holiday parks, nature parks, theme parks and the numerous "mixed use centres" require new skills on the part of the tourism manager, including management of the emotions of internal and external customers. There is an increasing trend in complex systems towards the merging and deliberate production of the hard’ and soft’ aspects in order to generate emotions, which we would like to call experience systems.

Managers of experience systems, for their part, obtain new know how regarding the "hard" aspects, i.e. facilities and leisure and entertainment technologies, and regarding the "soft" aspects, i.e. employee management, leisure psychology, experience psychology, the sensorial intelligence[3] of the sociology of "lying", [4] and emotion management to successfully associate them with new productions of the leisure and consumption experiences. They tinker with and organise the "corridors of happiness" that transport individuals in the experience society[5]. They know then that an experience is always delivered if a city or a region intentionally uses services as platforms and products as instruments to serve individual visitors or users in such a way that a memorable experience results [6]. They have to know how emotions can be produced intentionally and maintained within service supply chains [7]. and should therefore be regarded as emotion managers [8].

According to Steinecke, the need for emotion management is becoming increasingly obvious if we analyse the new trends in tourism which we often regard as an increasing number of experience systems. These are characterised by global design and aesthetics and partially by thematization, emotions and experiences, security and convenience, individuality and spontaneity, resorts and offer combinations and exclusivity and privileges. In this sense, they are holistic systems as they appeal to the customers' abilities of perception and experience as a whole.

The experience manager should be aware that the motivation and decision to find an experience system are dependent on the number, variety and intensity (quality) of the "emotional impacts" that the systems are able to offer.

The beneficiary of these approaches is primarily the customer who not only wishes to see his needs and expectations fulfilled as viewed under traditional quality management, but also his/her unspoken desires, yearnings and irrational dreams and hopes that can not be realised through a purely functional management approach. In addition there is what we could call the consumer mood, the desire to seek out experiences in all as yet lively aspects of our activities. In future, it will be a matter of desire for consumers and for providers, in the form of amorphous and rapidly changing products and services.[9] Products that provide - in addition to the core uses - secondary uses in the form of experiences, practical knowledge and emotions are highly desirable. In this sense, culture's contributions must be defined in more detail. The decisive factor for the competitiveness of leisure providers is therefore becoming the so-called e-factor of the regions. [10]

This e-factor now is now characterised as the desire for entertainment, which, similarly to the mixed use centres, encompasses the widest variety of combinations and mergers and therefore has long since gone beyond the purely leisure-oriented sector. The need to feel desire has emerged as the overriding inclination of man at the beginning of the third millennium. "For many people today, the sensory capital on which they create their life consists purely of things they like and enjoy. If they had no desire to do anything, they would have no idea why they were here", according to Gerhard Schulz [11]. The experiences offered are therefore only judged based on whether or not we like them, whether we had fun, whether we felt something, i.e. were emotions triggered, but only rarely are they judged based on whether they are reminiscent of our own lives. Schultze calls this process the "theologisation of inner sensitivities". The "feeling" is the first and last court for the meaning of life, happiness and sensitivities.

The search for constant entertainment, which has and can have a self-alienating effect, on the other hand stands in the way of the search for the self. We can clearly show this using the example of happiness. The life of man is marked on the one hand by reluctance or the avoidance of pain, and on the other, by the striving for happiness, the Aristotelian "eudemonia’". While "happytainment" provides fleeting moments of happiness produced by chat show hosts in the short term, almost as a drug, this stands opposite the deep experience of "flow" moments, as happiness researcher Csikszentmihalyi describes in his book of the same name.[12] These are always associated with previous, often enormous mental or physical effort, and are found both in the leisure sector (mountain climbing, parachuting etc.) and the professional sector (heart surgeon, artist etc.). The experience is described in the same way, as the glowing and temporary transportation into an almost transcendental state. Let us start out with the assumption that visitors and users of experience systems expect escapism, alternatives to everyday life, thrills and entertainment, in other words adventures and experiences that carry us beyond the moment, our passing joy or our passing sorrow and our passing selves to enjoy brief moments of appreciation, satisfaction and happiness. This "holiday from oneself", which is also greatly associated with the surroundings and the environment, is also labelled as a transcendental experience which takes us beyond our own personal boundaries and allows us to experience more profound connections and gives us a foretaste for the unusual and the infinite within ourselves or in the world around us [13].

We could therefore regard the triggering of feelings of happiness as the ultimate business objective of an experience system, as Opaschowski already critically considered in 1993 and labelled experience systems as "harbingers of happiness"[14]. He took as an example the slogan for the Disney parks which, since their foundation, have promised moments of "rapture" and which were also exported to Europe with Disneyland Paris (originally Euro Disney). Since then, the systems have been consistently developed further and increasingly make promises of subliminal or direct happiness. In this sense, they have become "happiness maximisers". The search for happiness eclipses, though unspoken, all other reasons for going to or using an experience system, such as wanderlust, escapism from a rational normality, nostalgia (collective, individual), leisure, expansion of the self, adventure and surprise, shared experience (one shouts louder in a group), island adventure, rituals, pleasure experiences and fun etc.[15]. This approach is expanded upon in the work of Jensen. According to him, the result of the development seen in the last few years is no longer the search for products but identification with lifestyles, the search for stories, experiences and corresponding emotional products. He subdivides the latter into six separate "emotional markets": adventure, love and friendship, care and affection, the finding of one's self, peace of mind and belief systems or convictions [16] of the so-called third locations.

In addition, experience systems trigger intellectual and creative processes in the conscious and subconscious of the visitors through active and passive participation. They also seek to store awarenesses and emotions in the memory of customers, something which we could call "memory management". The aim of the experience manager is now to develop methods, such as thematization scenarios, which create lasting impressions and memories using magical operations. For this they must, as mentioned, encourage their visitors to participate both actively and emotionally in the experience. The more someone is involved, the more imprinted the impressions remain on the memory. The greater the enrichment of the memory, the stronger the desire to repeat the experience. The participation of a visitor in the experiences offered by an experience system can now be achieved by means of "external activity" such as separate physical activities (e.g. climbing), physical-passive experience (e.g. freefall and gravity), emotional participation (e.g. petting zoo) or intellectual-emotional activities such as discovery, surprise, enjoyment of music or "inner conduct" such as dreams. In this sense, the commercial aim of an experience system is regarded as the conveying of as many mini-experiences or sensorial stimulations as possible which must ultimately be "good". These good experiences, particularly those that trigger a strong emotional sadness, will encourage the desire to for repetition. These experiences ultimately bring about satisfaction and feelings of wellbeing, expend their value rapidly and end in familiarity and boredom.[17]

People, particularly when seeking experience systems, can not (and do not want to), following on from Watzlawick, feel nothing, that means in general, but primarily in particular situations, we will always produce inevitable emotions. The willingness to feel increases when we seek out experience systems and we therefore allocate a large budget to emotional energy when deciding where to go. We expect the manager there to offer sensorial arrangements in return for this budget. For the visitors this means they will exploit the experiences on offer sensorially (sensory exploitation’ as it is known in social anthropology. This can be harnessed using "sensorial marketing".[18] As previously mentioned, the object of any leisure or experience activity is the self, fulfilment and self-discovery, and seeks self-realisation. Now, the more densely and professionally packed an experience system is, the more intensive the self-awareness and personal experience for the visitor.

Thematization

While events develop into a "no place" or an "all place" economy because they can be produced everywhere and as required, is thematization developing [19] into a major component of the experience consumption as, through it, significant basic requirements for the experience can be satisfied. Their main product is the generation of feeling of "otherness" as new dimensions of experience can be created through access to elements from other cultures, elements from the past, the association of both or the production of new realities with conflicting dimensions (minute and enormous). For their part, these are intentionally animated by magical operations, as described by Mikunda [20].

Above all, thematization also means, particularly when we are talking about making historical city centres more dynamic, the conscious handling of the heritage of the cultures (heritage management). Thematization also means managing the impacts on the environment, from the creation of completely new and artificial leisure worlds through to thematic nature parks with relatively little impact to the environment, in the spirit of "sustainable tourism".

Wanderlust, Homesickness, Self-Pity

Because, in addition to tourism, thematizations also satisfy wanderlust and therefore everything that previously triggered yearning becomes accessible, it is now a matter of determining new experience pools. The experience of foreign parts has long since added to the three traditional S's of conventional southern tourism (sea, sun, sand), at least with the three L's of a new tourism experience ("leisure, lore, landscape"), and has even partially superseded them. The entertainment and leisure industries, the idiosyncrasy (culture, folklore, particular psychological characteristics etc.), the locals and the nature and landscape (from which sand, sea and sun are still preferred as previously) in tourist destinations are therefore developing into the new, basic motivations behind travel. On the other hand, extended long-haul journeys are being replaced by a new travel behaviour and the world is becoming increasingly familiar to us through mechanisms of globalisation such as television and the Internet, so that even our ultimate, and perhaps most exclusive personal experience, namely homesickness, remains the historical, psychological property of other experience or travel generations, if we discount the forced settlements, persecutions and starvation emigrations of our sorely afflicted contemporaries from Eastern Europe, Africa, Asia or Latin America. Wanderlust and homesickness, both regarded as the yearning for intense personal experiences, are now dying out. What remains is the yearning for these personal experiences which can no longer be satisfied by travel as the adventure of culture and civilisation-related novelties has been reduced by the standardisation and global characterisation of services. What remains are impressions which get caught on the surface of the self but no longer enter into the depths of a personal experience. The latter is and remains the first and foremost objective of an experience system. The more visitors experience of themselves or learn about themselves, the more positively they will regard and consider this experience system to be. The dimensions of the personal experience thus move into action fields such as the physical experience and within these, above all the enjoyment and excitement associated with fear, that of fantasy and dreams, which, among other things, is showing the greatest product potential.

"Self-ware" feeling

In addition to the conceptual approaches, disseminated worldwide by Goleman's emotional intelligence [21], in terms of products and services, there is a trend towards the social and human aspects in the economy, the "social ware" or the "self-ware", where self-oriented products or services are concerned. These social elements have crept into several types of consumption which do not fall under directly tangible quality aspects. Thus, the customer is becoming multi-sensorial, pluri-available or a consumer of multiple processes, a "simulator" of the parallel and, at the same time, can and wants to consume as many leisure or entertainment offers as possible in a short period of time. His leisure motivation, willingness and ability to undertake several, for the most part experience and self-motivated activities, are enormous. In this sense, according to the European Community, the modern culture tourist possesses at least two basic characteristics: the desire to become cultivated, in other words, the desire to get to know and understand objects, works and people, and the desire to exploit resources of cultural significance (monuments, works of art, events, concerts, debates etc.), for which cultural intermediary is required in the form of people or audiovisual, digital or printed documentation.

Appeal, Emotion, Style and Attitude

If we look at people's main motivations system and find that interest, excitement, fun, joy, surprise and fright feature among the ten concept pairs that make up this system, then we therefore have the basic motivations behind a visit to an experience system in the basic mental fabric of our human existence. We must now start from the assumption that emotions are mental and physical reactions, characterised by strong emotion and physiological responses that the body prepares for an action. For our purposes, emotions are considered inherent and acquired complex phenomena with neural, experience-rich and expressive elements. Experience systems such as bundled cultural offers therefore produce a spiritual-mental input (e.g. concerts, joint meditation) or a physical-sensorial input (e.g. making music or painting together, street theatre, competitions) which leads to emotions such as desire, love, anxiety, cheerfulness, affection, success or joy etc. Mikunda would call this "mood management". The uncontrollable physical reactions could be: increased production of adrenalin, higher blood pressure, sweating etc. Then follows the reaction, for example, laughing, crying, clapping, running away (needing to do something), screaming or insulting. In other words: the visitors want the experience manager to trigger controllable and uncontrollable, however socially acceptable, reactions in them. Grown men are permitted to behave as children (infantilisation) and through this, experience, for example, freedom. When you have experienced freedom, you are more likely to come back.

The first step is the analysis and compilation of an inventory, by an emotion manager (culture manager, tourism manager), of the internal conditions, the frequently unconscious and involuntary expectations of the visitors, and personal conditions ("brain scripts", "leisure literacy") for the enjoyment of an experience system: dreams, myths, memory, personal ideas, yearnings, desires and archetypes of the subconscious etc. Secondly, that manager would analyse and compile an inventory of the external elements or sensory experiences that an experience system is able to provide and breaks these down into their basic elements, e. g. into surprise, aesthetics, dizziness (gravity), speed, anxiety, joy, pleasure (laughing, crying = entertainment), participation or personal activity, kindness, sweat (physical challenge), light, night time, temperature (heat, cold), noise or silence, physical contact etc. Each one of these elements is organised with a certain quality, frequency and intensity and incorporated into the basic functioning of the experience system. This enhances and facilitates the sensorial exploitation of the attractions on offer for the customers. Thematization also creates possibilities of sensorial benefits for visitors when, for example, scenes of nature are thematized.

We must distinguish between emotional moments brought about by sensorial impressions and experiences in the short term and the mental condition resultant therefrom. While the initial feelings such as joy are short-lived, the secondary feelings last longer. During a stay at an experience system, it is possible to produce an emotional result which simultaneously generates a whole series of parallel emotions. The end result, upon leaving the holiday destination, is always, however, a so-called "state of mind", a state of emotions that can be preserved, which alters the experience period and is embedded deep in the emotional memory. Beyond the "state of the art", which is excellent in the most favourable situation, the manager creates temporary emotional states which, through a particular depth of appeal, encourage the desire for constant renewal. This would be the duty of a management team responsible for the sensorial, and therefore striking, appeal. A single negative experience (‘stuck state’ of an attraction, (a cable railway or a museum) would, for example, produce a shadow of reluctance that would change all preceding experiences in the emotional memory, and would have an impact on the overall impression of a service supply chain. As previously mentioned, at the end of a stay, a visitor is either completely and indiscriminately satisfied, delighted, unhappy or disappointed and takes this feeling home. The sum of the emotional experiences has transformed itself into an emotional state, into a lasting feeling. This feeling, for its part, hardens into a fixed attitude which is expressed in connection with certain brands or providers as customer loyalty. From a commercial standpoint this point is of the utmost significance as it is the decisive factor in determining whether or not a visitor returns.

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Albrecht, Karl : Total Quality Service, Düsseldorf 1993

Cooper, Robert K. : Emotionale Intelligenz für Manager, Munich 1997

Csikszentmihalyi, Mihaly : Flow. Das Geheimnis des Glücks, Stuttgart 1992

Csikszentmihalyi, M. The Evolving Self. A Psichology for the Third Millennium, New York 1993

Eiglier, P. and Langear, E. : Servuction. Le marketing des services, Paris 1987

Eyssartel, A. : Des Mondes Inventés. Les Parcs à Theme, Paris, 1992.

Flower, Joe : Disney. Les managers du rêve, Maxima, 1992

Gerken, Gerd : Geist. Das Geheimnis der neuen Führung, Dusseldorf 1991

Goleman, Daniel : Emotionale Intelligenz, Munich 1996

Gottdiener, Mark : The Theming of America, Boulder 1997

Hawes, Peter : “Holistic Vacations” in : Hemisphere, March 1995

Huete, Luis Maria : Servicios y Beneficios, Barcelona, 1997,

Jensen, Rolf : The Dream Society: How the Coming Shift from Information to Imagination Will Transform Your Business, McGraw-Hill, 1999

Jensen, Rolf : The Dream Society: How the Coming Shift from Information to Imagination Will Transform Your Business, McGraw-Hill, 1999

Kotler, Philip : Marketing for Hospitality and Tourism, Prentice Hall 1998

Mikunda, Christian : Der verbotene Ort oder Die inszenierte Verführung, Düsseldorf 1996

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Opaschowski, Horst W. : Freizeitökonomie: Marketing von Erlebniswelten, Opladen 1993

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Rückerl, Thomas : Sinnliche Intelligenz, Paderborn 1999

Scheler, Uwe : Management der Emotionen, Offenbach 1999

Scherrieb, Heinz Rico : “Künstliche Erlebniswelten” dans : Amusement, 2/2000

Schmitt, Bernd H. : Experiential Marketing: How to Get Customers to Sense, Feel, Think, Act, and Relate to Your Company and Brands, Free Press, 1999

Schmitt, Bernd H. : Experiential Marketing: How to Get Customers to Sense, Feel, Think, Act, and Relate to Your Company and Brands, Free Press, 1999

Semler, Gert : Lust an der Angst, Munich 1997

Senge, Peter M. : The fifth discipline, Doubleday, 1990

Steinecke, Albrecht : “Thematisierung und Inszenierung” dans : Amusement, 2/99, page 44

Steinecke, Albrecht : Erlebnis- und Konsumwelten, Paderborn 2000,

Wolf, Michael J. : Entertainment Economy: How Mega-Media Forces Are Transforming our Lives, Times Books, 1999

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Zohar, Danah and Marshall, Ian : SQ-Spirituelle Intelligenz, Bern 2000

Zukin, Sharon : Landscapes of Power: From Detroit to Disney World, Berkley, 1991

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Notes

[1] Jacques Brunhes, Secretary of State for Tourism, closing speech, Paris International Meetings "Tourism, Ethics and Globalisation", Paris-Expo, 14 March 2002. Back to the text

[2] Global Tourism Code of Ethics, WTO, Seoul, Osaka, 2001. Back to the text

[3] Rückerl, Thomas : Sinnliche Intelligenz, Paderborn 1999 Back to the text

[4] Cf. Eyssartel, A. : Des Mondes Inventés. Les Parcs à Thèmes Paris, 1992 Back to the text

[5] quoted by Heiko Ernst in Psychologie Heute, 11, 2000, page 3 Back to the text

[6] Cf. Pine, B. Joseph : The Experience Economy, Harvard Business School, 1999 Back to the text

[7] Eiglier, P. et Langear, E. : Servuction. Le marketing des services Paris 1987 Back to the text

[8) The concept and understanding of emotion management as and instrument for controlling and managing the emotions of others was first brought into the leisure economy by the author in 1998 at the TILE conference in Strasbourg. Since then the term has been used more and more without, in many cases, having understood the basic principle of the effect of e-management, cf. P.Probst: "Freizeit- und Erlebniswelten…" in : Steinecke, Albrecht: Erlebnis- und Konsumwelten, Paderborn 2000, page 115 and subs. For antithesis to this, cf. Preiss, Klaus : Management der Gefühle, Frankfurt 1997, and Scheler, Uwe: Management der Emotionen, Offenbach 1999. Back to the text

[9] Steinecke, Albrecht: “Thematisierung und Inszenierung” in : Amusement, 2/99, page 44 Back to the text

[10] cf. Wolf, Michael J. : Entertainment Economy: How Mega-Media Forces Are Transforming our Lives, Times Books, 1999 Back to the text

[11] quoted by Heiko Ernst in Psychologie Heute, 11, 2000, page 3 Back to the text

[12] Csikszentmihalyi, Mihaly : Flow. Das Geheimnis des Glücks, Stuttgart 1992 Back to the text

[13] Zohar, Danah und Marshall, Ian : SQ-Spirituelle Intelligenz, Bern 2000, page 81 Back to the text

[14] Opaschowski, Horst W. : Freizeitökonomie: Marketing von Erlebniswelten, Opladen 1993, page 275, 289 Back to the text

[15] Kotler adds to the list of motivations with : prestige, flight, opportunities for sex, education, social relationships, relaxation, family, self-discovery, in : Kotler, Philip : Marketing for Hospitality and Tourism, Prentice Hall 1998, page 659 Back to the text

[16] cf. Jensen, Rolf : The Dream Society : How the Coming Shift from Information to Imagination Will Transform Your Business, McGraw-Hill, 1999 Back to the text

[17] Cf. Semler, Gert : Lust an der Angst, Munich 1997 Back to the text

[18] Sensorial Marketing, the author's idea developed in his contribution at the "Marketing Tourism" conference for CEA (Confederación de Empresarios de Andalucía), for the Analucian business association, 1998. Bernd H. Schmitt builds upon similar ideas and postulates experiential marketing using emotional strategies for obtaining customer loyalty, as used for example, by Harley Davidson, Volkswagen, Celestial Seasonings and Taster's Choice. Schmitt, Bernd H. : Experiential Marketing : How to Get Customers to Sense, Feel, Think, Act, and Relate to Your Company and Brands, Free Press, 1999 Back to the text

[19] cf. Gottdiener, Mark : The Theming of America, Boulder 1997 Back to the text

[20] Mikunda, Christian : Der verbotene Ort oder Die inszenierte Verführung, Düsseldorf 1996 Back to the text

[21] Goleman, Daniel : Emotionale Intelligenz, Munich 1996 Back to the text

Cf. Cooper, Robert K. : Emotionale Intelligenz für Manager, Munich 1997