1.
the
power
of
emo+ons
in
post-­‐modern
society
!
experien+al
marke+ng
in
art
and
culture
Antwerp
March
24,
2014

2. Prof.
Jean-­‐Pierre
Baeyens
Solvay
Brussels
School
of
Economics
&
Management

3. Pre-­‐modern
era:
religion
is
the
source
of
truth
Modern
era:
science
is
predominant
source
for
truth
&
reality
Post-­‐modern
era:
no
single
defining
source
for
truth
&
reality
beyond
the
individual

4. «
modernity
was
confident
postmodernity
is
anxious
»
«
modernity
had
all
the
answers
postmodernity
is
full
of
ques+ons
»
«
modernity
beleived
in
reason,
science
and
human
ability
postmodernity
wallows
in
mys+cism,
rela+vism,
and
the
incapacity
to
know
anything
with
certainty
»
Steven
W.
Cornell,
2007

5. First
phase
of
postmodernity:
crucial
cultural
explosion
of
the
six+es
the
babyboom
genera+on
demanded
entrance
into
poli+cal,
cultural
and
educa+onal
power
structures
Second
phase
of
postmodernity:
digitality
digital
produc+on
of
informa+on
allows
individuals
to
manipulate
virtually
every
aspect
of
the
media
environment.
wikipedia

6.
Lyotard
CHANGE
Modernity:
constant
change
in
the
pursuit
of
progress
Postmodernity:
change
has
become
the
status
quo.
The
no+on
of
progress
is
obsolete

7. POSTMODERNITY
From
knowledge
to
doubt
From
op+mism
to
nihilism
From
reason
to
emo$ons

8. (Maya
Angelou)
8

9.
TRANSACTION
USAGE
RELATIONSHIP
MARKETING
3 levels of action

10.
10
Experien+al
Marke+ng
is
rela+onship
marke+ng.
It’s
about
building
an
emo+onal
connec+on
with
consumers
leading
them
to
become
«
brand
advocates
»
by
sharing
their
experiences
with
others.

11. Experien+al
Marke+ng
a
new
way
to
conquer
the
five
senses
of
audiences:
see,
hear,
smell,
taste
and
touch
to
get
them
Sense
Feel
Think
Act
Relate
Schmi_
(1999,2010)
11

12. Experien+al
Marke+ng
Examples:
Disneyland
Southwest
airlines
Samsung
smartphones
Heineken
Haagen
Dasz
Abercrombie
&
Fitch
Singapore
Experien+al
Mari+me
museum
Rolling
Stones
tours
….
h_ps://www.youtube.com/watch?
v=f4iQ3TCbqTk&list=PLxHOUpBObAw7L9GIz
HK7hCDU1qxjmBb2&index=9
12

13. Experien+al
marke+ng:
empowering
art
&
culture
?
13
Performing
art
vs
heritage
Ins$tu$ons
vs
events
(fes$vals,…)
«
commercial
»
objec$ves
vs
ar$s$c
goals
Visitor
access
vs
preserva$on
Scien$fic
mission
vs
entertainment
“Staging
the
past,
enac+ng
the
present”
Experien+al
marke+ng
in
the
performing
arts
and
heritage
sectors
Tony
Conway
and
Debra
Leighton
Welcome
to
cultureland
???

14. Experien+al
Marke+ng
What
should
you
care
for
?
1. Building
and
increasing
engagement
2. Increasing
rela$onship
and
loyalty
3. Crea+ng
emo$on
and
memories
4. Increase
awareness
via
buzz
5. Increasing
ac$on
desire
14
Experien+al
marke+ng
aims
to
provide
consumers
with
compelling
and
memorable
experiences
that
emo+onally
connect
them
to
a
brand
each
+me
they
buy
a
product.
(Pine
and
Gilmore,
2002)

15. Experien+al
drivers
1. Street
Com
2. Web
2.0
3.
Spa$al
environments
4.
Events
5.
People
6. Etc.
15
WOW
EFFECT
SENSE
&
MEANING
MEMORIES

16. 16
A
vision
and
a
philosophy
A
clear
view
of
your
target
audience(s)
A
value
proposi+on
In+mate
knowledge
of
your
audience
segments
Day
to
day
interac+ons
on
line
and
off
line
Ac+ve
listening,
smart
observa+on,
ongoing
curiosity
ACTION
PLAN
NOW,
JUST
DO
IT
!
STRATEGY
EXPERIENCE
MIX
AUDIENCE
INSIGHT
Based
on
touchpoint
and
moments
of
truth
analysis:
Marcom
Event
Physical
sesng
Web
2.0
People
What
?
When
?
Where
?
Who
?
With
whom
?
For
how
much
?

17. Prof.
Jean-­‐Pierre
Baeyens
Holder
of
the
Marke+ng
Chair
Solvay
Brussels
School
of
Economics
&
Management
Mobile:
+32
(0)
475
25
66
31
Follow
me
on
h_ps://www.facebook.com/proup.baeyens