旅遊·把故事說好的快意

尋回最早最單純的遊學情趣,

“寓教於樂”的個人意義,

就是玩出一片天,

在陌生的城市,

用另一種材料思考,

用好奇,觀察後再現另一層面現實的自我

韻味悠長、情在詞外。

體驗跟著自己一輩子。

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Comment by 馬來西亞微電影實驗室 Micro Movie Lab on December 12, 2021 at 9:00pm

陳明發《學習團體動力學》

1981年開始接觸企業/組織培訓,打從開始便采用敘事方法。有的自己寫,有的則是改編自過去聽過的材料。但說故事的目的不是為了讓參與者有故事聽,好叫「上課」時段不沈悶。因為這些到來一起學習者都是成人,性別、年齡、宗教、文化程度、工作崗位、人生歷練都不一樣,打大家踏進課堂坐下來那一刻起,如何激發、建立與凝聚大家作為一個學習過程的一份子,在接下來的時段(從幾小時到幾天)裏可以把本身的感性與認知與所要探討的事物有機地結合上來,達到學習的效應,需要大量的團體動力(group dynamics)。故事是一個極有效的媒介。

一般培訓的基礎都建立在正規教育cognitive,affective and psychomotor的基礎上,所以激勵部分也很重要。Group Dynamics有這個群體激勵的作用。(12.12.2021)

陳明發《私人演練》 在臉書所發表的《世說新語》系列文字,就是將平日的尋常聽聞與經歷,用本身說故事的方式寫成小段子。一是總結成自己所了解/把握的感悟;二是有機會公開分享時,在有趣的氛圍裏帶動大家去思考、參與和討論;三是聯系到更大的關切議題/學習主題。過去主持了四十年(1981年始)各領域的培訓,我發現這個私人演練對我個人很有幫助。(24.4.2021) 


                                                                            (姐姐說,她正在上電視。)


體驗設計·延續閱讀 》

陳明發臉書學習主題貼子

陳明發博士《文創技能系列 2 》:一切生意都是演出事業

《叙事行動公共藝術》觀察


旅遊·把故事說好的快意

玩得哥和妹

文化旅遊

DESIGN-DRIVEN 設計力創新

福建惠安美女文創

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on December 7, 2021 at 9:25am

攝影· 主題提詢

arcasaman 人才 / 學習 / 地方 / 文化遺產 

Beluran 西洋文學 / 幽默 

CERI 海絲路·文化·軟實力

Corps Sans Organes 美學 

Curation Nation 策展國 體驗經濟 / 旅遊 / 遊學 

Dr Tan 抗疫文創 / 地方誌 / Tourism / 旅遊

Gai Lan Fa 生死學 / 生命

Host Studio (LD)設計 / 體驗 / 哲學 / 柏格森 / 後現代 / 布爾迪厄 / 文化研究 


iki kia kiak 陳博士談榴槤/福柯

iPLOP 詩性 / 媒軆 / 慢活 / 藝頻道 / 沙巴民族

                                                                              (Photo Credit:sid·zeroing by Stephane Benedett)

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on December 7, 2021 at 9:23am

Johore 詩性 

卡萊爾的書包 叙事學

開篷樂勢力 樂趣 

Khalak Khalayak 地方

Kota Belud 陳明發創作 / 詩性 / 散文詩 / 學習 

Kundasang 地方 / 文學 /旅人凝視


Margaret Hsing 散文詩 / 詩性 

美索 布達米亞 一帶一路 / 歴史 

Momogun 沙巴 

Moooi 埃及 / 詩性 / 散文詩 / 地方 / 

O noc Sob 美食 

Ovepi 地方營銷 / 藝頻道 

Panfilov 詩性 / 生態 / 柏格森 / 遊記 / 美學 

Paris 沙巴 / 歴史 / 旅遊 / 地方

Passion for Form 文學 / 神话 / 古代遊走 

Penambang 自我開發 / 五行 / 讀書筆記 / 


Ra Zola 詩性 / 海德格爾 / 地方 / 詩學 

Sinakut 鮮拿哥 玩得哥與妹

Sandakan 新加坡回憶

Sentul 藝頻道 / 商韻敘事 

SRCE沙巴 / 福柯 + 德里達 / 後現代 

Suan Lab 詩性動漫/生態

誰還記得北婆羅州? 鄉韻 / 鄉頻道 / 一帶一路 / 地方文化營銷 

Suyuu 媒軆 / 文化遺産 / 地方营销 

Trengganu (旅遊 / 文學 / 美學 / 都德)

TV Plus 電影 / 媒軆 

Yanlianke 堅硬如水 文學/

用心涼Coooool English

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on November 17, 2021 at 3:02pm


COVID-19 and the Rise of the New Experience Economy by Gurleen Kaur, Chanpreet Kaur

Abstract 

This article aims to highlight the new experience economy upsurge amidst the coronavirus disease 2019 (COVID-19) outbreak. Undoubtedly, businesses will not be the same post the COVID-19 era, as it brings with itself both a threat and a cautious optimism as far as market offerings are concerned. Making a real difference to the landscape of experiences, therefore, requires a revisit. A ‘Needs-based, Action-oriented and Affiliation-centric’ strategy mix is proposed to be the central plank of any survival design during and after the COVID-19 pandemic. Further, based on the experience economy framework, we present a toolkit that the businesses can use as a blueprint for revival in the long term. The article suggests that the pandemic is here to teach the lesson of building experiences that are robust enough to survive the plunges in the market, personalized enough to retain loyalties, cohesive enough to not get diluted with a change in channel of offering and dramatic enough to keep the engagement alive at all times. Seen in this light, this article is first-of-its-kind attempt to chronicle the potency of the new experience economy measures in navigating through the COVID-19-induced business crisis and envisioning it as a framework pushing for a frugal approach.

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on November 17, 2021 at 3:01pm


Introduction


Back in 1998, Pine and Gilmore defined experiences as real and distinct offerings. The experience economy (EE) framework, as postulated, revolves around the inherent attribute of the experiences to be personal and residing in the minds of the individuals. The framework envisaged an exemplar shift from delivery dedicated service economy to experience-centred memorable consumption of commodities. The framework spells out four realms of experience—Education, Entertainment, Escapism and Esthetics—popularly known as the 4 Es.

With the coronavirus disease 2019 (henceforth, COVID-19) engulfing the globe, making a real difference to the landscape of experiences requires a revisit. The way global events and scenarios have shaped in the past couple of months has been incredible. The times are almost as strange as the virus itself. Travel around the world has been halted, most of the countries are facing lockdowns, hospital beds are in shortage and store shelves are getting emptied faster than the COVID-19 updates.

Countries across the globe are at variegated stages of the said pandemic. For instance, China, after a rigorous lockdown, is reopening its economy with a series of calculated moves; parts of Italy, India and the UK are still observing stringent measures of lockdown; and each state in the USA has its own protocols of observing the distancing measures (Al Jazeera, 2020). Understanding their unique manoeuvres to combat and shield their economies during and after this catastrophe will provide a holistic perspective and serve as a template for other countries to (not) follow.

The rest of the article is organized as follows. The second section outlines the concept of EE from the standpoint of literature. The third section describes how market offerings are shaped now and what is happening to the experience economy (EE), given the spate of COVID-19 transmissions. The fourth section highlights the insights EE offers to reinvent businesses in the wake of the COVID-19 pandemic and the ensuing segment contours the managerial implications of embracing the new EE attributes. Lastly, the final section spells out concluding remarks based on the factual findings. COVID-19 and the Rise of the New Experience Economy by Gurleen Kaur & Chanpreet Kaur. First Published September 29, 2020 in https://doi.org/10.1177/2319714520958575

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on November 17, 2021 at 2:56pm

Experience Economy

The EE has been crafted into four sub-segments (see Figure 1) based on the scales of customer participation and the environmental build-up. Educational experience helps in stimulating the curiosity of the visitors, increases their knowledge and enables them to share their experiences with family and friends. The next ubiquitous realm of experience embedded in the business environment is entertainment (Pine & Gilmore, 1999). This experience involves observing activities or performance of others. Escapism, on the other hand, necessitates that the visitors affect actual performances in the real or virtual setting (Oh et al., 2007). This experiential domain lets them imagine living in a different time and place, sometimes avoiding interaction with others in the process, which enables them to get away from reality, boredom and stressful lives. Lastly, the events that enrich and sooth sensory occurrences and are not affected by the participation of the visitors are aesthetic in nature. Such aesthetic experiences empower visitors to feel a sense of harmony with their senses, get closer to pleasing surroundings and even get to appreciate diversity.

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on November 17, 2021 at 2:54pm

                                          Figure 1. The Four Experiential Domains of Experience Economy
                                          Source: Pine and Gilmore (1998).

(Con't)Nearly two decades later, in 2019, Pine and Gilmore made irrefutable extensions to the same theory by describing in detail the core characteristics for creating and sustaining an experiential offering. The first one involves building a cohesive experience based on a theme and devising the complete offering, including the memorabilia around the same theme. Additionally, personalized experiences are more valued than one-size-fits-all approach. Furthermore, experiences that are robust will be able to withstand the test of time and customer acquisition and retention in the wake of fluctuating customer preferences. Interestingly, an experience gets elevated to the stage of being a transformation when it has life-altering impact on the customer.

The experience is like a journey. It is obvious each person wants a fulfilled journey. Pine (2020a) expounds how each organization can pass through five stages of interaction with any consumer. Enticing (pre-purchase marketing measures), entering (admission and affiliation gateways), engaging (the consumption of the experience), exiting (the signature moment) and extending (embedding the experience in a memory to increase its longevity). He advocates that each experience needs to be dramatized in a manner where all the pre-engagement stages are an uphill and built to the point of climax. The climax has to be the high point of the experience. The exit and extension strategies help in building associability and create memorability in the minds of the consumers. This approach proposes to present experiences like a dramatic theatrical performance and build it in strategies starting from enticing the customers till the exit from the doors of the experience provider.

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on November 15, 2021 at 8:18pm

Rise of The New Experience Economy Amidst COVID-19

Ever since the World Health Organization (WHO) officially declared COVID-19 as a pandemic, businesses all over the world have witnessed disruptions in terms of plunging demand, growing threat of closures, numerous event cancellations, proliferating digital activities and cogent work-from-home vigour. Undoubtedly, businesses will not be the same post the COVID-19 era, as it brings with itself both a threat and a cautious optimism as far as market offerings are concerned. This has a direct connect with certain experiences becoming more important than the others, strengthened due to the contagion.

Experiences are not a luxury but a necessity, thus, making consumers crave for experiences in all situations. This format puts experiential offerings at the centrepiece in the value proposition set-up. Interestingly, this set-up is spreading rapidly but, under ‘essentials only’ regime, the consumption patterns are being dictated by the trajectory of the pandemic. The budget constraints and social distancing are the two forces, which are pulling levers in either direction of every business in action. Following is an account of how COVID-19 is prompting the rise of a novel EE age in select business segments (see Figure 2).

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on November 15, 2021 at 8:17pm

Digital (Re)discoveries

The current scenario is indicative of the possibility that virtual EE maybe the next big thing. The video conferencing applications and digital games are thriving on this fundamental principle. While the digital platforms like Zoom, Slack and Microsoft’s Teams have made remote working and schooling more purposeful and feasible, the facets of experiences are also oscillating along the paradigm of connection. They have aided in establishing seamlessness in experiences of maintaining professional and personal relations. Being detached from the conventional brick and mortar campuses, the education sector is evoking and engaging all the participants by clutching onto the contemporary digital structure. With consumers having no access to immerse themselves in experiences such as going to Broadway or location-based live concerts, artists are resorting to more absorptive offerings like live shows being telecast on their personal social media handles or TV channels. The big names coming up are The Berlin Philharmonic, New York’s Metropolitan Opera and 100 Hours 100 Stars, among others. Obviously, such a model is not sustainable, but it does help in bringing robust and dramatic experiences at the disposal of customers. An interesting observation is the fact that numerous passive experience providers are resorting to innovation in keeping the engagement alive. The increased circulation of e-books, e-magazines and e-newspapers are striving on the same phenomenon. E-commerce service delivery by Bigbasket, Amazon, Zomato etc., have enabled consumers to get the products they desire, while still adhering to social distancing norms. Dunzo has tied up with Cipla and Britannia to deliver products to people’s doorsteps directly from these companies’ warehouses, thus, eliminating the middlemen. At the face of it, this brings us back from the theme-based experiences as outlined in the second section to commodification. However, in the background of the pandemic, building memorability in the minds of consumers has become synonymous with the arrangement of providing commodities at the doorstep. In the transport space, both Ola and Uber have started providing cars for emergency services. The feature Uber Medic ensures that the listed cars have ‘roof-to-floor plastic sheeting’, acting as a barrier between the passenger and the driver. During the normal course of business, many ‘time-well-saved’ strategies specific to service companies never qualified for being tagged as worthy of offering distinctive experience (Pine, 2018). Albeit, now, how people get timely access to need-based commodities turns out to have a direct bearing on their level of memorability. The new EE proffers the businesses to build long-term customer experience with theme-based memorabilia.

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on November 15, 2021 at 8:16pm

Hassled Hospitality——The unprecedented disruption, owing to the spread of coronavirus pandemic around the world, has brought the worldwide hospitality industry to an unexpected halt. The global hospitality industry broadly encompasses segments on travel and tourism, food and beverages (F&B) and lodging and recreation. With all the travel seeming like a dream more than a reality, the airlines are offering vouchers in lieu of returning the sold ticket amount to travellers with a view of keeping cash flows in their hand. The strategy, signifying optimism, is a part of their revival plan, as the travellers will eventually fly with the same airlines. To encourage adherence to social distancing and building on providing theme-based experiences, the F&B industry is offering emended experiences with participation levels rotated 180 degrees. For instance, Burger King is openly spilling the ingredients of the famous ‘Whopper’ all over its social media to ensure consumers get a taste of the same experience in the confines of their safe homes. On similar lines, East London Brewery Co Ltd, Signature Brew (The Drum, 2020) is launching ‘The Pub in a Box’ kit, which contains beer mats, beer glasses, a vinyl record, a playlist, a pub quiz and pub refreshments for individuals to re-create the pub experience at home.

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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