Digital Multiplatform for e-Storytelling in Tourism in Creative Territories in Portugal
Technical glossary
- e-Storytelling is defined as telling stories in interactive and multimedia supports and platforms and tools of digital media and animation features, reinforced with virtual and/or augmented reality (VR/AR) elements and blocks (Psomadaki et al., 2019), to attract, engage and retain their tourism audiences (Katifori et al., 2020).
- Creative city: defined as a pluralist, multi-faceted and attractive place, arose from the need to conceive new models of urban organization and, thus, generate opportunities and a competitive advantage over other destinations (Ashton, 2018; Kabra & Singh, 2023, Richards, 2020).
- Creative events/festivals: act as concentrators of time and space, forming nodules in creative networks and providing a direct link between creative industries, creativity and tourism (Carvalho, 2020).
- Creative networks: Network focused on creative communities, ICC-based enterprises along with public and third sector on creative processes which can act as a catalyst for the formation of local innovation networks or clusters (Adapted from Carson, 2017; Potts et al., 2008; Richards, 2010).
- Creative territories: have authentic and unique cultural characteristics, capable of promoting sustainable development, through new local business opportunities, with creative and dynamic actions, which use experience design to enable local communities to expand tourism supply (Podestà & Richards, 2018).
- Creative Tourism: Special interest tourism alternative to massive forms of cultural consumption of tourism, where the tourists can develop their creative capital through engaging with locals (Carvalho & Reis, 2022).
- Digital Plataform: Digital platforms, as softwarebased platforms, combine and deploy a range of new technologies comprising the ecosystem of supply and demand (Hein et al. 2019a), in extensible codebases providing core functionality, supplemented by modular services (Tiwana et al. 2015).
- Entrepreneurship of creative communities in tourism: refers to the innovative and business-oriented activities undertaken by groups or collectives of individuals within the tourism sector who harness their creative talents, tangible and intangible cultural assets, and local creative resources to develop and offer unique tourism experiences, products, or services (Carvalho & Reis, 2024).
Referências
Ashton, M. S. G., (2018). Cidades criativas: contexto histórico e conceitual. In Ashton, M. S. G., Emmendoerfer, M. L., & Emmendoerfer, L. (Eds), Cidades Criativas: vocação e desenvolvimento (13-30). Novo Hamburgo: Feevale.
Carson, S. (2017). Methodologies of touristic exchange: An introduction (editorial). In S. Carson & M. Pennings (Eds.), Performing Cultural Tourism: Communities, Tourists and Creative Practices (pp. 1–9). Routledge, Taylor and Francis Group. https://doi.org/10.4324/9781315174464
Carvalho, R. (2020). Understanding the Creative Tourism Experience in Cultural and Creative Events/Festivals. ISLA Multidisciplinary E-Journal, 3(1), 1–18. http://www.islae-journal.com/index.php/isla/article/view/39
Carvalho, R., & Reis, P. (2022). Surfing the creative wave: Designing surfing as a creative tourism experience. In R. Augusto Costa, F. Brandão, Z. Breda, & C. Costa (Eds.), Planning and Managing the Experience Economy in Tourism (pp. 189–214). IGI Global. https://doi.org/10.4018/978-1-7998-8775-1
Carvalho, R., & Reis, P. (2024). Creative communities entrepreneurship in tourism. In V. Ratten (Ed.), International Encyclopedia of Business Management. Elsevier.
Hein, A., Schreieck, M., Wiesche, M. et al. The emergence of native multi-sided platforms and their influence on incumbents. Electron Markets, 29, 631–647 (2019). https://doi.org/10.1007/s12525-019-00350-1
Kabra, S., & Singh, P. (2023). Envisaging creative tourism through boutique hotels: an integrated framework of transformative experience. Tourism Recreation Research. https://doi.org/10.1080/02508281.2023.2235783
Katifori, A., Perry, S., Vayanou, M., Antoniou, A., Ioannidis, I. P., McKinney, S., Chrysanthi, A., & Ioannidis, Y. (2020). “Let Them Talk!” Exploring Guided Group Interaction in Digital Storytelling Experiences. Journal on Computing and Cultural Heritage (JOCCH), 13(3), 1-30. https://doi.org/10.1145/3382773 .
Psomadaki, O. I., Dimoulas, C. A., Kalliris, G. M., & Paschalidis, G. (2019). Digital storytelling and audience engagement in cultural heritage management: A collaborative model based on the Digital City of Thessaloniki. Journal of Cultural Heritage, 36, 12–22. https://doi.org/10.1016/j.culher.2018.07.016
Podestà, M., & Richards, G. (2018). Creating knowledge spillovers through knowledge-based festivals: the case of Mantua, Italy. Journal of Policy Research in Tourism, Leisure and Events, 10(1), 1–16. https://doi.org/10.1080/19407963.2017.1344244
Potts, J., Cunningham, S., Hartley, J., & Ormerod, P. (2008). Social network markets: A new definition of the creative industries. Journal of Cultural Economics, 32(3), 167–185. https://doi.org/10.1007/s10824-008-9066-y
Richards, G. (2010). Tourism development trajectories – From culture to creativity. Encontros Científicos – Tourism & Management Studies, 6, 9–15. https://doi.org/10.4324/9780203933695
Richards, G. (2020). Designing creative places: The role of creative tourism. Annals of Tourism Research, 85, 102922. https://doi.org/10.1016/j.annals.2020.102922
Tiwana, A. (2015). Evolutionary competition in platform ecosystems. Information Systems Research, 18(1), 7047-7047. https://doi.org/10.1287/isre.2015.0573
Multiplataforma Digital para e-Storytelling no Turismo em Territórios Criativos em Portugal
Glossário técnico
1. e-Storytelling define-se como a narração de histórias em suportes e plataformas interativas e multimédia e ferramentas de media digitais e recursos de animação, reforçados com elementos e blocos de realidade virtual e/ou aumentada (RV/RA) (Psomadaki et al., 2019), para atrair, envolver e fidelizar os seus públicos turísticos (Katifori et al., 2020).
2. Cidade criativa: definida como um lugar pluralista, multifacetado e atrativo, surgiu da necessidade de conceber novos modelos de organização urbana e assim gerar oportunidades e vantagem competitiva em relação a outros destinos (Ashton, 2018; Kabra & Singh, 2023, Richards, 2020).
3. Eventos/festivais criativos: atuam como concentradores de tempo e espaço, formando nós em redes criativas e proporcionando uma ligação direta entre indústrias criativas, criatividade e turismo (Carvalho, 2020).
4. Redes criativas: Rede focada em comunidades criativas, empresas baseadas em ICC, juntamente com o setor público e o terceiro setor, em processos criativos que podem atuar como catalisadores para a formação de redes ou clusters locais de inovação (Adaptado de Carson, 2017; Potts et al., 2008; Richards, 2010).
5. Territórios criativos: possuem características culturais autênticas e únicas, capazes de promover o desenvolvimento sustentável, por meio de novas oportunidades de negócios locais, com ações criativas e dinâmicas, que utilizam o design de experiências para possibilitar às comunidades locais a expansão da oferta turística (Podestà & Richards, 2018).
6. Turismo Criativo: Turismo de interesse especial alternativo às formas massivas de consumo cultural do turismo, onde os turistas podem desenvolver o seu capital criativo através do envolvimento com os locais (Carvalho & Reis, 2022).
7. Plataforma Digital: As plataformas digitais, enquanto plataformas baseadas em software, combinam e implementam uma série de novas tecnologias que compreendem o ecossistema da oferta e da procura (Hein et al. 2019a), em bases de código extensíveis que fornecem funcionalidades essenciais, complementadas por serviços modulares (Tiwana et al. 2015).
8. Empreendedorismo de comunidades criativas no turismo: refere-se às actividades inovadoras e orientadas para os negócios realizadas por grupos ou colectivos de indivíduos no sector do turismo que aproveitam os seus talentos criativos, bens culturais tangíveis e intangíveis e recursos criativos locais para desenvolver e oferecer experiências, produtos ou serviços turísticos únicos (Carvalho & Reis, 2024).
Referências
Ashton, M. S. G., (2018). Cidades criativas: contexto histórico e conceitual. In Ashton, M. S. G., Emmendoerfer, M. L., & Emmendoerfer, L. (Eds), Cidades Criativas: vocação e desenvolvimento (13-30). Novo Hamburgo: Feevale.
Carson, S. (2017). Methodologies of touristic exchange: An introduction (editorial). In S. Carson & M. Pennings (Eds.), Performing Cultural Tourism: Communities, Tourists and Creative Practices (pp. 1–9). Routledge, Taylor and Francis Group. https://doi.org/10.4324/9781315174464
Carvalho, R. (2020). Understanding the Creative Tourism Experience in Cultural and Creative Events/Festivals. ISLA Multidisciplinary E-Journal, 3(1), 1–18. http://www.islae-journal.com/index.php/isla/article/view/39
Carvalho, R., & Reis, P. (2022). Surfing the creative wave: Designing surfing as a creative tourism experience. In R. Augusto Costa, F. Brandão, Z. Breda, & C. Costa (Eds.), Planning and Managing the Experience Economy in Tourism (pp. 189–214). IGI Global. https://doi.org/10.4018/978-1-7998-8775-1
Carvalho, R., & Reis, P. (2024). Creative communities entrepreneurship in tourism. In V. Ratten (Ed.), International Encyclopedia of Business Management. Elsevier.
Hein, A., Schreieck, M., Wiesche, M. et al. The emergence of native multi-sided platforms and their influence on incumbents. Electron Markets, 29, 631–647 (2019). https://doi.org/10.1007/s12525-019-00350-1
Kabra, S., & Singh, P. (2023). Envisaging creative tourism through boutique hotels: an integrated framework of transformative experience. Tourism Recreation Research. https://doi.org/10.1080/02508281.2023.2235783
Katifori, A., Perry, S., Vayanou, M., Antoniou, A., Ioannidis, I. P., McKinney, S., Chrysanthi, A., & Ioannidis, Y. (2020). “Let Them Talk!” Exploring Guided Group Interaction in Digital Storytelling Experiences. Journal on Computing and Cultural Heritage (JOCCH), 13(3), 1-30. https://doi.org/10.1145/3382773 .
Psomadaki, O. I., Dimoulas, C. A., Kalliris, G. M., & Paschalidis, G. (2019). Digital storytelling and audience engagement in cultural heritage management: A collaborative model based on the Digital City of Thessaloniki. Journal of Cultural Heritage, 36, 12–22. https://doi.org/10.1016/j.culher.2018.07.016
Podestà, M., & Richards, G. (2018). Creating knowledge spillovers through knowledge-based festivals: the case of Mantua, Italy. Journal of Policy Research in Tourism, Leisure and Events, 10(1), 1–16. https://doi.org/10.1080/19407963.2017.1344244
Potts, J., Cunningham, S., Hartley, J., & Ormerod, P. (2008). Social network markets: A new definition of the creative industries. Journal of Cultural Economics, 32(3), 167–185. https://doi.org/10.1007/s10824-008-9066-y
Richards, G. (2010). Tourism development trajectories – From culture to creativity. Encontros Científicos – Tourism & Management Studies, 6, 9–15. https://doi.org/10.4324/9780203933695
Richards, G. (2020). Designing creative places: The role of creative tourism. Annals of Tourism Research, 85, 102922. https://doi.org/10.1016/j.annals.2020.102922
Tiwana, A. (2015). Evolutionary competition in platform ecosystems. Information Systems Research, 18(1), 7047-7047. https://doi.org/10.1287/isre.2015.0573