Art & Experiences; Do they sell

nebraskaslowΛογισμικό & κατασκευή λογ/κού

31 Οκτ 2013 (πριν από 4 χρόνια και 2 μήνες)

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Prelude


During part of the writing of my thesis, I happen to be in Bangalore, India, for my graduation project.
In Bangalore I am settled in a hostel room, where my bed is my chair and my laptop is set up on an
own made table. My room has no window; my la
ptop is my window. My graduation project is writing
an advice plan for D&A Solutions, a young company in New Media that’s doing a job in India.


My personal fascination for experiences comes from festivals and cultural events where experiences
and art are
at large.


I would like to thank Juriaan Moolhuysen for his constant feedback and India for it’s experience.

I also would like to thank my parents and Hans den Hartog for their feedback.

Thank you =)




1

Index


Page



Introduction




Question

2


Management
Summary

4


I.

Experiences



What are experiences?

7



Experiences: Possibilities and applications.

8



Second Generation Experiences

9


II.

Experiential Marketing



What is Experiential Marketing?

11


III.

Art & Art Experiences



What is art?

16



Art experiences

17


IV.

Experiential Marketing & Art

20


My future view

23


Conclusion

24


Sources

25



The End

2

2

Introduction


“There are two modes of knowing, through argument and experience. Argument brings conclusions
and compels us to concede them, but does not cause cer
tainty nor remove doubts in order that the
mind may remain at rest in truth, unless this is provided by experience”
1


Question

Can art contribute to experiences and be used as marketingtool?


In this thesis I will explain experiences; its characteristics
and differences, how experiences can be
marketed and how art combines with experiences. This will be explained with the help of some
examples.


To answer the question of this thesis, sub questions have classified the chapters:


-

What are Experiences?

-

What i
s Experiential Marketing?

-

What is Art?

-

How are Art and Experiential Marketing combined?


By the means of these sub questions the answer to the main question will be
substantiated.



1

Bacon, R.,
Opus Maius in Shah
, 1268


3


4

Management Summary


Experiences
are immediate and relatively isolated happe
nings with a complexity of emotions that
impress and represent a certain value for an individual in the context of the specific situation. They
come in various different forms and places and occur anywhere.
Customers are willing to pay for
experiences, and

market you afterwards.

Pine & Gilmore find that experiences come in four realms:


Entertainment:

Absorbing Passive. Enjoying, watching, and staying.


Educational:

Absorbing Active. Full participation. Engage the mind. Learning.

E
sthetic:

Immersing Passiv
e. Sensing surroundings. Being.

Escapist:

Immersing Active, Totally in the experience. Doing.


Second Generation Experiences

Experiences with dialog between organisation and individuals to form co
-
creation personalized
experiences. The consumer is involve
d in the processes of products, services and experiences and has
an active roll in creative processes. Better products, services and experiences that suit the needs and
wishes of the consumers is the result of good co
-
creation.


Experiential Marketing

Expe
riential marketing is where consumers interact with a product or a brand face to face. It doesn’t
focus on functional features and benefits of products; it focuses on the consumer’s experiences and
senses. It’s more engaging then other forms of communicati
on, inspires action, leads to
understanding and generates word of mouth. Sense, Feel, Think, Act and Relate are
five different
types of Strategic Experience Modules defined by Bernd Schmitt.



Art & Art Experiences

Art is a skill, has a sensual quality an
d is self
-
expression. Art can be used in experiences to enhance
the experience. Art is a creation from individuals and collaborations of individuals to express their
thoughts, feelings and visions in a creative way.
My art is not your art; different
people

have various
interpretations of art.


All arts can be experiences for individuals, for feelings to art are personal and provide various
emotions.
Art can be emotional and attract to feelings and senses of individuals and thereby enhance
the experiences in

positive and negative ways.
Diversity in art helps making the experience accessible
for more individuals.
Combined with experiences, stronger emotions are easier accessible.
Combinations can make an art experience emotionally heavier loaded, thereby leavi
ng a stronger
impression.


Experiential Marketing & Art

To make a meaningful experience in a commercial setting it is important to recognize experiences as a
form of behavior. Feelings play an important role and emotions determine how an individual deals
w
ith the environment and the people in it. The challenge herein to find art that shares the company’s
brand identity and connects to the users and customers. Research is needed when choosing the art
and is best done by co
-
creation.


Conclusion

Technical dev
elopments will increase the immersion and absorption of experiences, making them
spatial, virtual and tangible and easier accessible.


Art can definitely contribute to experiences and be used as a marketing tool. When used right, art
enhances an experienc
e and leaves a positive and deep impression.


5

I.

Experiences


An experience is an immediate and relatively isolated happening with a complexity of emotions that
impress and represent a certain value for an individual in the context of the specific situatio
n.
2

Experiences come in various different forms and places and occur anywhere: from an off road test
drive with a SUV
3

to a themed shopping mall, like the Forum Shop mall in Las Vegas. This shopping
mall displays an ancient Roman marketplace, with a totall
y integrated theme of events, architecture,
actors and ambiance. Even Caesar walks around.


“Experiences are private events that occur in response to some stimulation. Experiences involve the
entire living being. They often result from direct observation
and/or participation in events


whether
they are real, dreamlike, or virtual.”
4



“Human beings have always sought new and exciting experiences to learn and grow, develop and
improve, mend and reform.”
5


What are experiences?

There are many definitions of

experiences; one can be experienced (skilled) or something can be
experienced (go through mental or physical states or experiences). The definition that best suits this
subject is: “The sensation of interaction with a product, service, or event, through a
ll of our senses,
over time, and on both physical and cognitive levels. The boundaries of an experience can be
expansive and include the sensorial, the symbolic, the temporal, and the meaningful.”
6

All of these
core words determine the success an experienc
e and will be looked upon in more detail later on.


“By orchestrating several devices and goods, one can create, stage, and market experiences. Walt
Disney World’s Magic Kingdom is an experience, one of visiting a fairy kingdom, or a haunted house.
So are

Hard Rock Cafe and Planet Hollywood. There is a market for different experiences such as
spending a week at a baseball camp playing with some retired baseball greats, paying to conduct the
Chicago Symphony Orchestra for five minutes or climbing the Mount
Everest.”
7


Not only are customers willing to pay for experiences, they also market you by means of

mouth
-
to
-
mouth marketing and sharing their experiences on the internet.


Experiences are the next step in the progression of economic value, as seen in the

next image:



8



2

A. Boswijk, T. Thijssen & E. Peelen,
Een nieuwe kijk op de experience economy
, Pearson Education, 2005

3

Sport Utility Vehicle

4

Bernd H
.
Schmitt
.,
Experiential marketing: How to Get Customers to Sense,

Feel, Think, ACT, Relate
, 1999

5

Pine, J. & Gilmore, J.,
The experience Economy
. eBookMall/Lightning, 2000


6

http://www.nathan.com

7

Kotler, P.,
Marketing Management

England Cliffs: Prentice
-
Hall, 2003

8

Pine, J. & Gilmore, J.,
The experience Economy
. eB
ookMall/Lightning, 2000


6



Experiences are just as different from services as services are from commodities and have been
around for a long time, but have

often been misnamed as services. When a customer buys a service,
he buys a inseparable whole of linked opera
tions that are done for his request. But when the
customer buys an experience, he pays for the time enjoying impressive memories, staged by a
company


like in a play


to keep the customer engaged.


A nice example from The Experience Economy by Pine & Gi
lmore describing the difference between
the economic value chain is about coffee: The coffee beans are the commodity. The goods are what is
sold in the store: coffee, coffeepads, instant coffee, decafé, etc. Drinking a cup of coffee in the train
or at a ba
r or restaurant is a service and will cost increasingly more than the goods. But drinking that
same cup of coffee on a beautiful terrace on sunny day in Venice
-

Italy, is an experience and will
easily cost 15 dollars, which is totally worth it.


The four
realms of Experiences
9


Experiences come in different phenomena; you can lose yourself, learn things, feel it or see it.

Pine & Gilmore have called these the four realms of Experience.




The four realms of experiences differentiate from each other on two

levels:



Passive and active participation; guests either influence or don’t influence the course and
result of the experience.



Absorption and immersion; how guests stand in the experience. Absorption occupies a
person’s attention; the experience goes into

his mind. Immersing guests become physically or
virtually a part of the experience, they go into the experience.


Entertainment

is a passive realm, like watching a movie; guests do nothing but respond by
laughing, enjoying etc. The guests are here to
stay
.


The
educational

realm requires full participation of the guest. To truly inform a guest and
increase his knowledge and/or skills, this realm must actively engage the mind (for intellectual
education) and/or the body (for physical training). These guest
s are here to
learn
.


In the
esthetic

realm guests immerse themselves in an event or environment, sensing their
surroundings, without influencing the happening. An atmosphere is created for guests to
be
.


Escapist

is like educational: active, but immersed
. The guests are totally in the experience and
have an active roll in it. They want to
do
.


A rich, compelling and engaging experience is at its best when a guest can creatively explore the
aspects of each realm, thereby enhancing the particular experience
.




9

Pine, J. & Gilmore, J.,
The experience Economy
. eBookMall/Lightning, 2000


7

7



8

Experiences: Possibilities and applications


The possibilities with experiences seem endless and new experiences arise everyday. Experiences are
common and can be used for a whole rang of purposes, from attracting more customers and creating
a bette
r relationship with clients to a magic balloon ride and making your own fan video clip.

Experiences can take place in public and virtual spaces, but also in your own home. They can be used
for giving information, creating a nice feeling, selling products,

entertaining costumers, imaging the
brand, creating publicity, etc. A nice Dutch example is The Heineken Experience.



The Heineken Experience is located in an old Brewery in Amsterdam.

This experience let’s you look into the world of Heineken: Learning

the beer
making process, experiencing a movie
-
ride showing the life of a beer bottle,
interacting with video and audio installations and drinking beer.


From a huge beer, you have the possibility to email friends and family and inform
them about your expe
rience, with a a picture of you standing in the beer can.




The video installations
10

are modern designed chairs showing Heineken commercials. Within it’s roof is
the screen and in it’s arms the controls. The interaction is minimal: you can skip forward an
d back,
from commercial to commercial.


The audio installation turns you into a DJ,

with easy to handle buttons,

but absolutely no clear synoptic.

With the look of toy, it can be fun.




The Heineken experience costs € 11,
-

and is therefore not just a ma
rketingtool, but an economic
offering. This economic offering creates the possibility to put merchandise up for sale that is more
likely to be sold because since people feel more connected with the brand because of the experience.
Therefore it is more like
ly for them to buy Heineken merchandise. This experience also has
marketingtool function, it generates publicity by mouth
-
to
-
mouth (e
-
)marketing: guest from all over
the world blog about it, post reviews on websites, and talk about it to friends and family
.


With the Heineken Experience, you can touch all four realms of an experience:


The movie
-
ride “
Life of a beer bottle”
entertains

with its big
-
screen and interesting movie, and with
the video installation showing Heineken commercials. The
esthetics

are
formed by the smell of the
ingredients, the lightings, the floor in the movie
-
ride that simulates the movements from the visual
environment, and all the other surroundings. The tour
educates
about Heineken, with information on
the old
-
brewery and the brewi
ng process.
Escapism

is found by interaction at the video and audio
installations and from drinking at the bar, conversing, immersing.


These are some possibilities that are used at the Heineken Experience.

Further possibilities immerse, absorb and activa
te more. Entertainment is less interesting, for
entertainment can easily be found at home (internet, tv, dvd, etc) and is not activating or immersing.
The other three realms of experiences are heavier (learning, feeling and doing), thus creating a
greater
experience. Nevertheless, entertainment should not be left out; a combination of four is the
best.





10

Video Installation: Picture on previous page.


9

One way of having a greater experience is more interaction. More interaction can lead to higher active
participation, creating more immersion and absorptio
n with the guests. For example, with video:
instead of just skipping trough movies, you create your own movie from given material. The Pure
Nature project, discussed later on, has this increased interaction. Another way of creating interaction
is by co
-
cre
ation, which is used in Second Generation Experiences.



Second Generation Experiences

Second generation experiences are experiences where a dialog is made between the organisation and
individuals with the goal to form co
-
creation and make personalized exp
erience.
11


Due to the increasing availability of information, consumers are better able to make substantiated
decisions. Customers have access to information from anywhere in the world and are able to find out
what suits them best and is available at their

command. Customers form communities enlarge their
independence from organisations. The variety of informed customers whom are spread all over the
world form a potent source of skills, knowledge and interests that is available for every customer.

This cha
nges the roll of the consumers in relation to organisations. Customers strive for co
-
creation,
for a unique experience.


Co
-
creation

Co
-
creation means that the consumers are involved in the processes products, services and
experiences go trough. This way c
onsumers obtain a more active roll in creative processes with
organisations. This leads to better products, services and experiences that suit the needs and wishes
of the consumers.


According to C. K. Prahalad and V. Ramaswamy
12

there are four building bl
ocks for co
-
creation:




Dialogue (interactivity, deep engagement, and a propensity to act)




Acces (acces to products, information and lifestyle)




Risk
-
Management (chances on any harm of the consumer)




Transparency (availability of information)



Dialogue

at

every stage of the value chain encourages not just knowledge sharing, but, even more
importantly, understanding between companies and customers. It also gives consumers more
opportunity to interject their view of value into the creation process. A
ccess

ch
allenges the notion that
ownership is the only way for the consumer to experience value. By focusing on access to value at
multiple points of exchange, as opposed to simply ownership of products, companies can broaden
their view of the business opportuniti
es creating good experiences.
Risk

management
assumes that if
consumers become co
-
creators of value with companies, they will demand more information about
potential risks of goods and services; but they may also have to bear more responsibility for handli
ng
those risks.
Transparency

of information is required to create the trust between institutions and
individuals.”
13




11

Prahalad, C.K., V. Ramaswamy,
The Future of Competition.

Harvard Business School, 2004

12

Prahalad, C.K.,
V. Ramaswamy,
The Future of Competition.

Harvard Business School, 2004

13

Strategy+business; The Co
-
Creation Connection By C.K. Prahalad and V. Ramaswamy


10

Second generation experiences are being used by increasingly more
organisations. Examples range from banks to amusement parks.

A nice exa
mple of co
-
creation with a unique experience is
LEGO
. When
you visit the website, you can become a member of the LEGO community.
After joining the community, you can edit your club page, visit other club
pages, make buddy’s (friends), play games, post mess
ages, look at cool
designs and digitally design your own LEGO creation. LEGO supplies a
digital designer programme for computers on which you can design with
LEGO. This design can be shared with other users in the community. If
and when you want to build y
our own design, you can order the exact
amount of different bricks that you need. It is also possible to sell the design to LEGO.



With this form of co
-
creation there’s a low risk, because of the high transparency of information that
is needed by customer
s, and the customers carry no responsibilities.


Experiencing LEGO touches all four realms of an experience:
entertainment

is available in the forms
of online movies, comics and browsing. With designing and building your own creation you learn and
do, fin
ding yourself in the
educational

and
escapist

realms. And when you’ve finally finished
building your build creation, you can look at it, you immerse in it, you touch the
esthetics
.



The Red Bull Music Academy

is fine example of a second generation
experi
ence. The Red Bull Music Academy organizes workshops for
students with DJs, music producers and sound engineers from
various musical and cultural backgrounds to exchange ideas about
music and their knowledge of how life in the music industry works.


“The
Academy doesn't give out any certificates or diplomas, and
attending it won't buy anyone a career in the music industry. But it's
a valuable experience for everyone; sharing in the successes and
failures of the other guests and participants leaving them wi
th a new understanding and approach
towards music.”
14

Red Bull also uses this concept at some festivals with their Red Bull Music Academy
Radio stage, where they give a series of workshops.


The Red Bull Music Academy is about experiencing and sharing, co
-
c
reating your own experience and
contributing to the experiences of others. This experience has a high level of co
-
creation, without
involving in Red Bull’s products or services.


This Music Academy
entertains

by watching performances, lectures and documen
taries. Whilst
following
educational

workshops you learn by practice. When listening to someone making music
live, you can totally immerse in the
esthetic

realm.
Escapism

appears when you make your own
music, you’re actively and totally immersed in your ow
n creation.



Ben & Jerry’s have also created experiences for their customers. One
of these experiences is at the Ben & Jerry’s factory. When customers
visit their factory for an educational and fun tour, they get to see the
ice cream production and manuf
acturing process. The customers get
to taste samples and even make their own ice
-
cream. If it’s a good
ice
-
cream, Ben & Jerry’s can be interested in selling your flavour.
Making your own flavour is now also available on Ben & Jerry’s
website, although tast
ing it is not possible. This is a low level of co
-
creation, but does give a personal touch to the experience.


The
educational

tour teaches and
entertains
the guests. The
escapist

realm comes from making your own ice
-
cream flavour.
Smelling the ingredients

in the factory and tasting the ice
-
cream

are the
esthetics

of this experience.




14

http://www.redbullmusicacademy.com/


11

II.

Experiential Marketing


Whilst my stay in India, I have experienced a unique and special way of experiential marketing:


One night in Bangalore, around 0:15, we met a yo
ung man on the streets. He was buying
beer from a local beer seller. When he saw us, he started talking to us right away, asking who
we were and what we did and telling us about his job (some government job), his home
situation and his idea’s for the futur
e. He invited us to go to a club with him, to party. We
were surprised, because clubs usually close at 0.00. Although the party was finished when we
arrived, he said he would arrange something. He called his friends and a friend auto
rickshaw
15

driver. We m
et up with them and went, in a pimped auto rickshaw, to open club.


After having a great party, we exchanged numbers and they took us to various parties and
events. But now they asked us to pay their entrée fee and their drinks.


The first time out, was t
he marketing. After that, they sold experience tours.


“These days, experiential marketing is gaining in popularity because it leads to so many other
powerful marketing byproducts. When one customer has a successful encounter with experiential
marketing, s
he may then tell some friends (Word of Mouth), get them and bring them to the
marketing booth (Viral), post kudos on blogs (Blog Marketing), or even talk positively about the brand
in public settings (Buzz Marketing).”
16



What is Experiential Marketing?

“E
xperiential marketing is broadly defined as live events where audiences interact with a product or a
brand face to face.”
17

It is rather different from traditional forms of marketing, which focus on
functional features and benefits of products; experientia
l marketing focuses on consumers through
their experiences and senses. “Experiential marketing drives purchases, is more engaging then other
forms of communication, inspires action, leads to understanding and generates word of mouth.”
18


With standard marke
ting the goal is to convince a customer with your arguments. Using an experience
for marketing purposes can
root to more certainty in a customers mind and remove any doubts that
the customer might have.


Bernd Schmitt names four key characteristics for Ex
periential Marketing:
19




Focus On Customer Experiences

Experiences connect the company and brand to the customer’s lifestyle and make customers
actions and purchases more personal.




Examining the Consumption Situation

Look at events where products might be

used or seen and how, during these events, the
experience can be enhanced.




Customers Are Rational and Emotional Animals

Customers are both emotionally and rationally driven. They want to participate, learn,
daydream and want to be entertained and creati
vely challenged.






Methods and Tools Are Eclectic

The methods and tools for experiential marketing are divers and multifaceted.






15

Auto rickshaw: a motorized three wheeled vehicle for hire.

16

PD
F: Virtual test drive: Empowering The Experience., Kevin Glennon

17

PDF:
Jack Morton 2006 Experiential Marketing Study

18

PDF:
Jack Morton 2006 Experiential Marketing Study

19

Experiential marketing: How to Get Customers to Sense, Feel, Think, ACT, Relate.,
B
ernd H. Schmitt


12



Bernd Schmitt also identifies five different types of Strategic Experience Modules which can be used
for Experiential Mar
keting:

20


Sense

are the sensual and tangible aspects of a product or experience that appeal to the five
senses of sight, sound, scent, taste and touch. They are made up of styles and visual and verbal
symbols that create an overall impression. Sense exper
iences are particularly useful to
differentiate products or services, to motivate potential customers, and to create a sense of value
in the mind of the purchaser.


Feel

marketing is devoted to set up a creation of moods and emotions in guests minds. Thes
e
moods vary from joyful to sadness. Positive or negative feelings toward a product or service will
influence the extent to which it is consumed.


Think
marketing stimulates peoples intellect and creativity, it encourages customers to engage in
elaborativ
e and creative thinking that may result in a re
-
evaluation of the company and products.
When people start thinking, they tend to take positions. The danger with these positions is that
they can sometimes stand against the product, brand or experience.


Act

marketing is about getting people to express a lifestyle. It’s aim is to change the long
-
term
behavior and habits of the customer, by creation of experiences through behavior and lifestyles.


Relate

marketing is about relating to other people, cultures an
d groups. Products and services
are related to generations, nationalities or ethnicities. Relate marketing creates a sense of social
identity for the customer to identify themselves in.



Experiential marketing can be brought out by use of different means

of communication:


-

Advertising, external and internal company communications, public relations campaigns.

-

Visual and verbal identity and signage (names, logos, colors, etc.)

-

Product presence (design, packaging and display)

-

Co
-
branding (event marketing, sp
onsorships, alliances and partnerships, licensing, product
placement in movies, etc.)

-

Spatial environments (external and internal design of corporate offices, sales outlets,
consumer and trade fair spaces, etc.)

-

Websites

-

New Media (Bluetooth, wifi, etc)

-

Pe
ople (salespeople, employers, customer service providers, call centre operators, etc.)







20

Experiential marketing: How to Get Customers to Sense, Feel, Think, ACT, Relate.,
Bernd H. Schmitt


13

Example: Pure Nature Project; D&A Solutions
21




The Pure Nature project
is a new media & interaction design project from a new media company
called D&A Solutions. I
t’s
an interactive web
-
based documentary

exhibition on South America.

The Pure Nature project is used for marketing; people might be interested in working at D&A
Solutions, developing such a project with D&A Solutions or buying other products or events fro
m D&A
Solutions.



The Experience


As you enter the room, incense fills your nose, you are now somewhere else.

A big screen in the middle of the room catches your attention: fragments

of South America. Around it you see objects from places you’ve never
been. Three corners show three different area’s: adventure, nature and
culture. Two wristbands are put on your arms by a nice man with a beard.
He says: “purple is select, green is submit”.

You walk to “Nature”
and take place in a
beanbag. In front of you

is a
screen playing a movie and showing a map with a location marker.


Two coloured dots show beneath it: purple and green. As you stretch your
left arm a menu pops up, displaying videos and options. You choose the
movie “Amazon” and submit by stretching
your right arm. Instantly, the
video changes and the marker on the map moves to the Amazon. As you
watch the movie, information about the Amazon comes onto the screen.
You decide to tag this part of the video
22
.

You also try out the other two themes and are

amazed on how each
theme is unique, and forming one total movie together. After playing

around, you drink a cup of tea at the bar and share your experience with others.


The Pure Nature experience exists from a 25 minute documentary on South America. Thi
s
documentary features adventure (mountain climbing, racing, exploding TNT), culture (the Nazca
Lines, ancient buildings, locals) and nature (the Andes, the Amazon, beaches). This documentary is
shown on a big screen in the exhibition area. The rest of the

exhibition area is divided into three
unique themes, each with its own surroundings and themed video installation. At these themed video
installations, short movies linked to the timeframe of the main movie are available to watch. This
means that every 5
minutes, other short movies are available. Through the interaction with these
installations, is it possible to create your own version of the documentary.




21

For more information on D&A Solutions; visit www.dasolutions.nl

22

Information from tagged scenes is e
-
mailed to the guests.


14




The pure nature project touches all four realms of experiences:




Entertainment:


The main movie
entertains with the 25 minutes of South America, the short


themed movies and by watching others interact.



Esthetics:


South American
artifacts
, tea, incense and surroundings.



Educational:

Learning about cultural & geographical information of South Americ
a.



Escapist:


Interacting with the installation and altering the movie.


Pure Nature and the five Strategic Experience Modules:




Sense:

Seeing and hearing the movies, the lights, touching artifacts, smelling the incense.
Sensing the whole experience.



Feel:


Connecting to the main character and creator of the movie, compassion can be felt.
The total experience can relax you and give a joyful feeling. Of course, the opposite is
also possible: You might connect with the main character and find the experience
u
ncomfortable, annoying or scary.



Think:


Think can stimulate visitors to
engage in elaborative and creative thinking about
traveling, the world and the craving for adventure. Visitors might also re
-
evaluate the
company D&A Solutions, its products and its
experiences. Some of these people also
make these types of installations. This can be a good opportunity to find creative new
employees.



Act:

The pure nature project is not about getting people to express a lifestyle. However, if
people start to relate to
the lifestyle, enjoy the lifestyle and connect to the lifestyle;
they might follow the lifestyle.

These types of experiences are good for marketing a lifestyle, because it shows the
behaviors and lifestyle of a single person from different views (themes).
During this
interactive experience the immersion is high; people are really in the experience. This
creates the opportunity to change the behavior and habits of the guests in favor of
the company or a particular product or service.



Relate:

Viewers can rel
ate to all the cultures, people and groups that are displayed in the
main movie and short movies. Viewers can also relate to the filmmaker, who’s
comments are also heard in the documentary.


Giving the opportunity to create and see your own version of this

experience makes it more personal.
The art side of the project, its creative expression of the adventure and artifacts, enhance the
experience.


D&A Solutions will be working on more co
-
creation projects, where a customer who wants to create
an experience
, is totally involved in the process of a setting up the experience. Future user will also
have more interactivity with the experiences.


This experience isn’t finished yet and such experiences should be tested during the creating process,
minimize any pos
sible difficulties or errors.

15



Example Experiential marketing: Le Labo
23



Le Labo in New York is a good example
of experiential marketing. Le Labo is a
perfumery that looks like a bar and
creates a sensory experience around
perfume. Here salespeople spe
nd time to
talk to customers about their interests,
trying to discover which scent fits them
best. Customers get to know about the
people who run the shop because they
also tell a little bit about themselves.



Not only is it an experience to choose a sc
ent at Le Labo, but there’s also a possibility to co
-
create,

to go inside Le Labo’s laboratory and create your own personal perfume.


Divers artists that use Le Labo have made art with a little nod of acknowledgement to Lebo. These
arts market for Le Lab
o and due to the emotional and sensible touch of art, they enhance the overall
experience.


Whilst visitors of Le Labo talk to the salespeople and create their own perfume, they get
educated
on
the skill of smell and different uses of perfume. The “bar” a
nd all the different scents create the
esthetics

of this experience. The
escapist

realm comes from choosing your own scents, creating
your own personal fragrance. The only
entertainment

Le Labo has to offer, is found on the website:
short movies, texts and

pictures.



Le Labo and the five Strategic Experience Modules:




Sense:

The scent of perfume, the as a bar decorated
store.



Feel:


Feeling welcomed by the positive ambient in
the store created by friendly salespeople and
the appealing surroundings. Feelin
g taken
seriously by salespeople who really care.



Think:


People might start thinking about why raw
ingredients of fragrances are being used and
why fur is not allowed in the store. It can
stimulate visitors to
engage in elaborative and
creative thinking a
bout the ideas behind Le
Labo.



Act:

Le Labo

is against the mass
-
produced society
of this age, where advertisers are fooling
customers into thinking they are unique. It’s
about taking matters into your own hands.



Relate:

Visitors can relate to the salespeo
ple and
other customers, because of the transparency
and honesty.




Le Labo uses a unique concept, combined with a clear and striking identity, spatial environment,
product presence, website and art. All this combined makes Le Labo a strong and unique bra
nd.



23

www.lelabof
ragrances.com


16

III.

Art & Art Experiences


What is Art?

There are many forms of art that have shaped today’s and yesterday’s society:
From the pyramids in
Egypt and coins from ancient times to tuned cars, theatre spectacles and Andy Warhol. From the Eiffel
tower and
the Statue of Liberty to tattoo’s, piercings and experimental music performances. Arts are
as divers as human beings.


The development of art has had a strong influence on cultures and their communications. Art,
sometimes used as propaganda, has manipulate
d civilizations and build kingdoms.
24



My art is not your art.

Various people have different interpretations of art; some include whistling, dancing and children’s
drawings to art.
Some might say graffiti is not an art, whilst others see graffiti as a beau
tiful art style.


“Art” may refer to
skill

(e.g., finess and complexity of execution; cunning or craft

as in “artful
Dodger”; accuracy of imitation),
artifice

(something done to or added; “artifical” rather than natural),
beauty and pleasure
, the
sensual q
uality of things
(color, shape, sound), the
immediate fullness of
sense experience

(as opposed to habituated un
-
regarded experience),
ordering or harmonizing
(organizing, shaping, pattern
-
making; interpreting, giving unity; wholeness),
innovatory tendencie
s

(exploration, originality, creation, invention, imagination, seeing things a new way, revising the old
order, surprise), the
urge to beautify

(embellish, decorate, adorn),
self
-
expression

(presenting one’s
personal view of the world)
communication

(infor
mation; a special kind of language; symbolizing),
serious and important concerns
(significance, meaning),
make
-
believe

(fantasy, play, wish fulfillment,
illusion, imagination), and
heightened existence

(emotion, entertainment, ecstasy, extraordinary
experi
ence).

25



These core words of Art include characteristics of experiences. Art has used experiences to enhance
the art towards the public from the beginning of art creations. These experiences mostly included
combinations of music, dances, incense, storyte
lling and iconography.
26


I see art as a creation from individuals and collaborations of individuals to express their thoughts,
feelings and visions in a creative way.























24

How art made the World (BBC2)
-

5 DVD Set

25

What is Art For?
-

Ellen Dissanayake

26

How art made the World (BBC2)
-

5 DVD Set


17



Art Experiences

Every art can be an experience for an individual,

for an individual might connect to the art and feel
different emotions. Art experiences are experiences wherein art is presented, creating an experience
or where art enhances an experience. Art experiences can be theatrical shows, dance and music
performa
nces,
video and visual arts, spoken word, fashion, festivals, cultural events, etc.


Art can be very emotional and attract to feelings and senses of individuals. These emotions can
enhance experiences in positive and negative ways. Art touches every indivi
dual in a unique way;
therefore some people might feel negative about an art piece, whilst others have a positive feeling.
Some emotions triggered by art are: joy, sadness, anger, curiosity, fear, disgust, surprise and
comfort.
Diversity in art helps makin
g the experience accessible for more individuals. An art festival
(Todaysart) in The Hague did this with for example a grand orchestra on multiple floors in the town
hall and men in alien
-
like suits with screaming guitars in a small theatre.


Combined wit
h experiences, relatively stronger emotions like euphoria, love, melancholia and rage are
easier to feel. This can make an art experience emotionally heavier loaded, thereby leaving a stronger
impression with an individual.



A nice example of an Art Expe
rience is the 21c Museum
Hotel. This
91
-
room hotel is dedicated to world class luxuries,
Southern
-
style hospitality and contemporary art from living
artists. The hotel features nearby 900 square metres
contemporary art museum managed by the 21c Museum
Foun
dation. The museum hosts a series of dynamic group
and solo exhibitions with a diversity of different arts.


The high luxury rooms, peaceful lounge area, relaxing spa and modern design building give you
ultimate feeling of comfort and wealth. This experie
nce
entertains

with iPods customized to the
musical tastes of each guest, 42" HDTV flat screen televisions and WiFi. The
esthetics
come from
award winning design and décor, poster art, 500 thread count Egyptian cotton sheets for the exquisite
bedding, silv
er mint julep cups, gourmet coffee makers, mini
-
bar refrigerators and Malin + Goetz bath
amenities. The hotel also offers a full exercise facility with a steam room, sauna and spa services. The
arts and the museum are

both esthetical and
educational
. The o
nly
escapism

that can be found
here is conversing with other guests.




An inspiring and remarkable experience from the 60’s

was the “Exploding Plastic Inevitable”. These shows were
party nights organized by Andy Warhol.
They were
multimedia extravaganz
as, featuring Warhol’s experimental
films, elaborate light shows, shocking dance performances,
and the avant
-
garde rock ‘n’ roll of sound of the band
T
he
Velvet Underground
.
All these arts combined, made one highly
memorable theatrical experience. These sh
ows were very
intense and innovative. The show itself entertained and
creating a sensation of music, video and visual effects.


This show was
entertaining

with film and audio,
esthetics
came from visual effects, lighting, incense, feeling the music. Being

part of the audience meant being
part of the experience: The
escapist

was dancing, screaming and shouting. The only
educational
aspect of this experience was learning on how such an experience is done or by conversing with
others, resulting in knowledge t
ransfer.





18













19


19


TodaysArt 2006; Spuiplein


20

IV.

Experiential Marketing & Art


Experiential marketing and art combined are used a lot at live events, festivals and cultural
happenings. With these events, art experience can be used as marketing tool.
It is important that t
he
right art is chosen for the experience, since individuals have different interpretations of art.


In order to bring about a meaningful experience in a commercial setting it is important to recognize
that an experience is essentially a form of behavior.

It is a process in which feeling plays an important
role. The logic of emotions determines how an individual deals with both his or her environment and
the people in it, while looking for experiences that will give meaning to his or her life. The
characte
ristics of a meaningful experience are:
27




There is a heightened concentration and focus, involving all one’s senses.



One’s sense of time is altered.



One is touched emotionally.



The process is unique for the individual and has intrinsic value.



There is cont
act with the ‘raw stuff’, the real thing.



One does something and undergoes something.



There is a sense of playfulness



One has a feeling of having control of the situation.



There is a balance between the challenge and one’s own capacities.



There is a clear
goal.


TodaysArt

TodaysArt is an annual international multidisciplinary modern creativity festival in The Hague. The
festival offers a program at 20 venues (in
-

and outdoor) in the city centre with more than 200 artists
from over 25 countries. These artist
s present their own creative vision about what art is today in
terms of music, video and visual arts, film, photography, spoken word, fashion, performing arts,
theatre, dance and other disciplines and crossovers. The venues being used vary a lot: a library
, a
church, a theatre, a discotheque, clubs, bars, pubs, hotels and public squares.


At the TodaysArt festival you
sense

the music, the odors and
touch the installations. You can
feel

overwhelmed by a
scandalous

act or intriguing theatre piece. You can s
tart
thinking

about arts
and creativity, and reflected this to your own doings. The guests
can
relate

to behaviors, images, scenes and groupings posed in
arts. The art, music, interactive installations and documentaries in
which guests can immerse and abso
rb are
entertaining,
educational

and
esthetic
.
Escapism
comes from interacting
with installations and dancing.



This multidisciplinary art festival is a good example on how art
is combined with experiences and used for marketing.
Everything exposed at th
e TodaysArt festival is art and it’s all
an experience. This totality markets The Hague internationally
with Arts and New Media.


With Todaysart, art and experiences are used to put a city on a
cultural map.




27

PDF: A new perspective on the experience economy By A. Boswijk, T. Thijssen and E. Peelen.


21

Red Bull

Red Bull only has two products, Red
Bull energy drink and Red Bull energy
drink sugar free. But Red Bull does a lot more: Red Bull creates experiences
combined with the art and uses them as a marketingtool. The Red Bull
Music Academy mentioned earlier is a nice example. Music is the art and
the
experience of the Red Bull Music Academy is used as a marketingtool for
Red Bull. Red Bull also works with artists all over the world, helping them
expose their arts. Furthermore the Red Bull organizes dance competitions.


These Experiences are one way

of using them as a marketingtool. Though
what Red Bull does, looks allot like sponsoring, it is more than that. Red Bull
expresses a life style and shows people cultures and groups of people whom customers can
relate

to.
With workshops people are set up t
o
think

and be creative. People
sense

the music,
feel

the deep
bass, they dance, they
absorb

and
immerse
. They
taste

a very sweet drink, and they energize for
more action.


Red Bull Art Of The Can

“The Red Bull Art Of Can is a nationwide hunt for creativi
ty and is
open to everyone, from fulltime artists to simply those with a creative
flair. Build, sculpt, weld, glue, hammer, bend, fold, print, tame, and
paint. Whatever!”
28

The goal of The Red Bull Art Of Can is to make a
piece of art made from Red Bull can
s with a message or statement.
What Red Bull does captivates the experiential marketing and art
combination. Not only does this use the waste of its own products to
produce something new, it let’s the consumer produce its own
statement, its own art. And th
is art is then used as marketing event at
exhibitions all over the world, combining the experience, the art, and
marketing.



During the process of inventing an idea and creating it, “the artist” is in the
escapist
realm, he is the
active roll. During the

creation,
education
is possible by the means of trail and error: when building
your own art you might find difficulties in constructing with cans; creativity and elaborate
thinking

have to solve this. When the art is exposed, visitors occur in the
entert
ainment

and
esthetic

realm.


Art Experiences can be a powerful marketing tool. With the art experiences you can let guests
immerse and absorb in your experience, whilst arts enhance the experience.








28

http://redbullartoft
hecan.com/


22

Grolsch

A nice example of a company that uses ex
periences and art for
marketing is Grolsch.
Grolsch

is an International Premium Lager of
Dutch origin. Grolsch is active on the Dutch drinks market and a
large number of international drinks markets. Grolsch has its own
Grolsch Music Café. It’s a trendy lo
oking café with modern food
and the best music there is. It has an advanced audio installation,
16 modern lcd
-
screens, and frequently performances of prominent
DJ’s. Whilst immersing in the music, you can enjoy a beautiful
panoramic view with the pleasure
of nice cold beer, Grolsch.


At the Grolsch Music Café you can be
entertained

with one of the 16 lcd
-
screens or an performing
DJ. The totality of the Grolsch Music Café creates the
esthetics
, you smell the wood and the beer,
you sense the use of lighting a
nd other visuals. The
escapism
and
educational
realm are hardly
touched, only reachable by conversing with others attending the Grolsch Music Café.


A good example of Experiential Marketing combined with Art would be that of a fictional Grolsch
campaign. I
t would be like the Grolsch Music Café, only at different locations, locations that enhance
the
feelings

people get, locations that enhance the
senses
and
thinking
of people. These locations
can vary from museums to parks and public squares. At these venue
s artists would perform, concerts
given and paintings or other artwork exposed. The music and artists
entertain

and create an
esthetic

realm. Information on the different arts would be
educational
. Whilst dancing, conversing,
drinking beer and performing,
guests and artists can reach the
escapist
realm. The arts are the
enhancers of the experience; they can trigger emotional feelings, thus making the experience more
memorable.
















The challenge in marketing an experience combined with art is to

find art that shares the company’s
brand identity, and also connects to the users and customers. Research might be needed when
choosing and this can best be done by setting up small experiences for a small group of user, with
which the brand must co
-
creat
e to find the right art.

23

My future view


Experiences will become more real and more dreamlike. Experiences will become more realistic
because there will be more possibilities for the user and experiences will become more dreamlike by
technological visual
and audio development. Technology will play more and more part with
experiences by creating spatial, virtual and tangible environments. This will be done with technological
developments like 3D glasses, body sensors and body pads. The sensors sense your mo
vement and
apply them in the experience. Pads will pressure certain body parts, during certain events in the
experience to enhance feeling. Increasingly more art is digital and can be implied to enhance the
experiences. This can be done via music that adap
ts to changing environments and visual arts altered
according to moods. With these methods any kind of environment can be created anywhere: Space,
Jurassic Park, Mars, The Roman Empire, Caveman, highly interactive flight simulations, spatial music
composit
ion environments, etc.



That’s the future; totally designable architectural buildable extractable interactive environmental
experiences.

24

Conclusion


Experiences are more and more common in our daily life and have become an economic offering.
Experiences
can be parted in four different realms: Entertainment, Educational, Esthetic and Escapist.
With these realms an experience can be tuned to its best. Experiences combining all four realms
enhance it and create
rich, compelling and engaging experiences, whic
h the guest can creatively
explore. Experiential marketing is mainly live events with interacting audiences.
The five strategic
experience modules Sense, Feel, Think, Act and Relate are used in experiential marketing.


Co
-
creating an experience makes the
experience more personal for an individual.
Dialogues

encourage
knowledge sharing and understanding between companies and customers. It gives consumers more
opportunity to interject their view of value into the creation process.


Art is
a creation from in
dividuals and collaborations of individuals to express their thoughts, feelings
and visions in a creative way. Every individual has different
feelings when seeing art and experiencing
experiences.


Art experiences present art or enhances the experience by

use of arts. Art experiences
can be
theatrical shows, dance and music performances,
video and visual arts, spoken word, fashion, etc.
Experiential marketing and Art can be a powerful marketingtool. Art can enhance the experiences,
letting your guests imme
rse and absorb more.


To set up a meaningful experience in a commercial setting it’s important to recognize that an
experience is essentially a form of behavior in which feeling plays an important role. Emotions
establish how an individuals deal with thei
r environment.


Technical developments will increase the immersion and absorption of experiences, making them
spatial, virtual and tangible and easier accessible.



Art can definitely contribute to experiences and be used as a marketing tool. If used righ
t, art can
enhance an experience to give it a euphoric feeling which will leave a positive and deep impression.

The challenge herein is finding art that shares the company’s brand identity and connects to
customers. Research might be to determine arts that

enhance an experience.


25

Sources


Art



How art made the World (BBC2)
-

5 DVD Set



Sweet Briar College; Department of history: What is Art?

http://www.arthistory.sbc.edu/artartists/artartists.html

Date seen: 20.04.2007



What is Art For?
-

Ellen Dissanayake (G
oogle Scholar)



Warhol’s
Exploding Plastic Inevitable
:

-

http://smironne.free.fr/NICO/

Date seen: 23.04.2007

-

http://www.warholstars.org/

Date seen: 23.04.2007



PopMatters: Exploding Plastic Inevitable

Enhancement, Spectacle, Theatricality, Eye Candy!:

Dat
e seen: 23.04.2007

-

http://www.popmatters.com/music/col umns/falconer/040310.shtml



TodaysArt

-

http://www.todaysart.nl/

Date seen: 25.04.2007



Rembrandtjaar;

-

http://www.rembrandt400
-
leiden.nl/

Date seen: 25.04.2007

-

www.holland.com/rembrandt400

Date see
n: 25.04.2007





Experiences



The Experience Economy: Work is theatre & every business a stage

Pine & Gilmore



Een nieuwe kijk op de experience economy

A. Boswijk, T. Thijsen & E. Peelen



PDF: A new perspective on the experience economy

A. Boswijk, T. Thijss
en and E. Peelen.



PDF: Virtual test drive: Empowering The Experience., Kevin Glennon



PDF: Belevenis Entertainment (Daphne Dijkerman)

http://www.daphnedijkerman.nl

Date seen: 15.02.2007



http://experiencethemessage.typepad.com/

Date seen: 23.04.2007



PDF: The

Hub Roundtabel 17 (March/April 2007)



http://www.nathan.com

Date seen: 21.04.2007



http://economictimes.indiati mes.com/

Date seen: 26.04.2007



The Heineken Experience, Joost Bult




Marketing



The Marketing Gurus


Chris Murray
-

ISBN: 1
-
59184
-
105
-
4



Experiential marketing: How to Get Customers to Sense, Feel, Think, ACT, Relate

Bernd H
.
Schmitt



PDF: Jack Morton 2006 Experiential Marketing Study





26


27

The End.


Reading is also an experience and that’s why I’ve put some collag
es and pictures I made in my thesis.
That’s why I wrote, how I wrote, and why I wrote: To enhance the visual eye of your mind and
experience the lines of words in thoughts.


Dream of everything, for life, is an experience.









































Dream.