Conclusions and Outlook

PurposeThe purpose of this study is to explore digital financial services experience, investigate the antecedents to digital financial services experience and examine familiarity as a moderator.Design/methodology/approachThe study uses dual methods: qualitative and quantitative. Multiple case studies are applied as a qualitative method to explore and capture recent development in rapidly changing digital finance. An empirical, survey-based approach is used to collect data from 258 respondents about their experiences with digital financial services experience using constructs, such as perceived ease of use, timeliness, lifestyle and digital financial element. The study used structural equation modeling using smart-PLS.FindingsUsing word count, hierarchy chart, items clustered by similarity and qualitative analysis by applying NVivo 12, the study validates the constructs and captures recent developments. Using smart PLS, the structural equation model reveals that the digital functional element positively affects the digital financial services experience. It is observed that lifestyle mediated between perceived ease of use and timeliness with digital financial services experience. Further, familiarity moderates the relationship between the digital financial element and digital financial services experience. Moreover, while this research analyzed the relationship regarding financial services customers, we suggest a comparative study between different entities.Originality/valueThe study can be considered one of its kind using qualitative and quantitative research methods. It integrates theory from both the information system and marketing domain. As the increased number of digital channels and interfaces has increased, companies need to understand how to improve the digital financial services experience.

One of the most important issues for museum curators today is to enhance the digital experiences of visitors. Multimedia and hypermodal resources have been tailor-made to meet the expectations of modern audiences, or so the curators have perceived. With a view to investigating the effectiveness of museum-based multimodal devices in Hong Kong, this chapter uses a case study evaluation approach to examine the visitors’ digital experiences in “Claude Monet: The Spirit of Space” (May to July, 2016), a much-acclaimed exhibition held at the Hong Kong Heritage Museum. To find out the museum visitors’ perception of the multimedia setting and their multimodal experiences in the Monet exhibition, the authors invited 12 Hong Kong adult visitors to participate in the case study. Findings from the small-scale opinion survey and focus group interviews revealed that digital devices, multimedia platforms, and resources do enhance visitors’ engagement, regardless of the different education levels or fine arts backgrounds of the exhibition visitors. However, in terms of narrative design and meaning making, most visitors reflected that digital platforms may sometimes overwhelm the core content they represent. Whether the aura of the masterpieces can be fully captured and/or enhanced by the digital tools has also aroused concerns. The gap between the exhibition content and the digital design has to be bridged. Based on the findings, this chapter explores how images, sounds, words, and designs interact and integrate in constructing a coherent discourse in the exhibition. This chapter also discusses ways to craft a focused, specific, and coherent narrative as learning experiences at museums become more and more digitized.

Covid-19 and the digital experience in education for older adults are analyzed. To this end, we examine those elements that could favor the continuity of distance programs; in this case the UANL University Program for the Elderly was taken as a case study. The UANL University for the Elderly Program was taken as a case study. The conclusion highlights that the digital experience during the pandemic was successful, however in considering a continuity of the program, risk factors associated with environmental factors, technical factors: education and information technology, and interest should be taken into account. in classroom education.

Tox and Detox

The rapid evolution of digital technologies has led to the emergence of "Phygital Marketing," a strategic blend of physical and digital experiences designed to enhance customer engagement. The term 'phygital' represents a seamless integration of physical and digital experiences, leveraging innovative technologies such as artificial intelligence (AI), augmented reality (AR), virtual reality (VR), the Internet of Things (IoT), and blockchain to transform the way consumers interact with brands. As digital transformation accelerates, businesses are increasingly adopting phygital strategies to provide an enhanced and immersive customer journey. The retail sector, hospitality, banking, and entertainment industries are at the forefront of implementing these strategies, using digital tools to complement and improve in-person experiences. The shift toward phygital marketing is largely driven by changing consumer expectations, where customers demand real-time, personalized, and frictionless interactions across multiple touch points. This research paper explores the fundamental concepts of phygital marketing, its significance, and the technological advancements that drive its adoption. It also evaluates real-world implementations, challenges, and future trends shaping the evolution of customer engagement. Additionally, the study highlights potential barriers to adopting phygital strategies, including high implementation costs, privacy concerns, and integration complexities. Through an extensive review of literature, industry case studies, and emerging trends, this paper provides insights into how businesses can effectively integrate phygital marketing to enhance brand loyalty, improve conversion rates, and create long-term customer value. The findings suggest that as technology continues to evolve, the future of marketing will be increasingly driven by the convergence of the physical and digital worlds, providing consumers with more engaging, intuitive, and seamless brand interactions. The rapid evolution of digital technologies has led to the emergence of "Phygital Marketing," a strategic blend of physical and digital experiences designed to enhance customer engagement. As consumers demand seamless interactions across multiple platforms, brands are increasingly integrating digital tools into physical environments to create immersive and interactive experiences. This research paper explores the concept of phygital marketing, its key components, and the factors driving its adoption. Through a review of secondary literature, case studies, and market trends, the paper highlights successful implementations of phygital strategies across industries, including retail, hospitality, and entertainment. The study further discusses the challenges brands face in implementing phygital marketing and offers strategic recommendations to optimize customer engagement. The findings suggest that businesses adopting phygital strategies can achieve higher customer satisfaction, brand loyalty, and competitive advantage in the digital age.

Inrecent years, the global luxury market has undergone significant changes as a result of shifting economic trends, evolving consumer values, and accelerating digitalization. This has led to significant changes in the global luxury market. While luxury brands are defined by exclusivity and heritage, luxury brands are now under greater pressure. As a result, brands need to adapt to a new generation of consumers, particularly Millennials and Generation Z. These consumers are looking at social responsibility and digital experiences. They value social responsibility and digital experiences over traditional status symbols.These shifts have reshaped the way luxury marketing is done, with trends now favoring flexible, transparent, and personalized strategies. Past research has focused on brand values, the relationship between consumers and brands, and the role of social media in luxury marketing. However, this article focuses on how luxury brands can find a balance between remaining exclusive and becoming more inclusive in today's digital environment. Through case studies and market analysis, the article examines how luxury brands are addressing the challenges of culture and sustainability while staying true to their brand identity. The study finds that the key to effective luxury marketing is to strike a balance between tradition and innovation. Brands that can skillfully combine technology and social engagement are more likely to thrive in the long term. This research will help us better understand the changing luxury consumer and provide some practical advice for marketers.

The modern university has the potential to turn into a nexus of digital embracement and innovation, thus responding to both strategic planning for higher education and societal demands. Priorities in digitalisation strategies (White Paper ‘Bologna Digital 2020’, Rampelt et al. 2019) for higher education institutions (HEIs) are actively promoted, and their implementation is in progress throughout Europe. However, the embedding of the digitalisation reform at the institutional level is considerably uneven from one country to another, with Eastern European HEIs lagging behind (Conrads et al. 2017). The aim of this position paper is to present and discuss the case of digital humanities (DH) as an incentive for digitalisation strategies at Eastern European universities. We briefly contextualize the configuration of DH initiatives in the region by using the results of the Digital Humanities Survey and propose the case study of Romania, where we investigate the implementation status of such initiatives. We further exemplify the process of developing a DH centre and evaluate the institutional impact of the recently created research centre CODHUS, from the West University of Timişoara, Romania, the second DH centre in the country. The strength of the new centre relies on its capacity to converge cross-disciplinary expertise with digital technologies. The centre intends to develop computational solutions and digital tools for research, course development and assessment. CODHUS is also a digital-competence training centre for teachers and students, with the purpose of bridging the gap between teaching strategies and goals, on one hand, and students’ digital experiences and expectations from HEI, on the other. The study offers a multiple-lens perspective on the integration of digital-intensive research initiatives, such as DH, into the Bologna process. We argue that DH centres can support further HE developments which contribute to building “new learning ecologies” (Galvis 2018) and creating an “education area with digital solutions” (Rampelt 2019).

TikTok has evolved as one of the most influential internet platforms in recent years. TikTok, recognized for its brief videos and viral phenomena, provides a diverse array of audio-visual content, including music-centric material that frequently incorporates popular English songs. This study investigates the use of popular English TikTok songs as authentic digital materials to enhance vocabulary retention in an EFL (English as a Foreign Language) context. With the growing integration of digital media in students’ daily lives, platforms like TikTok offer engaging and context-rich opportunities for language learning. Adopting qualitive method through case study design, this research explored the experiences, perceptions, and learning behaviors of students at SMAN 1 Pamekasan who actively used TikTok and engaged with English songs on the platform. Data were collected through semi-structured interview with 3 participants, Thematic analysis revealed three main findings: (1) the songs significantly increased learners’ motivation and engagement; (2) vocabulary retention improved due to repeated and contextualized exposure to language; and (3) emotional and social interactions supported deeper learning. The results suggest that integrating familiar and enjoyable content such as TikTok songs into classroom instruction can bridge the gap between formal education and students’ digital experiences, leading to more meaningful and effective vocabulary acquisition. These findings highlight the pedagogical value of leveraging students' media habits to support learner-centered and engaging language instruction.

Purpose The purpose of this paper is to understand mobile device (MD) use in a festival context. Festivals offer a range of opportunities and activities to use a MD making this context ideal for understanding digital experiences during leisure. The guiding research question asked how do festival attendees use MDs at festivals. The Typology of Human Capability (THC) provided a framework to enhance the understanding of digital experiences at festivals. Design/methodology/approach This research involved six festival case studies where semi-structured interviews were conducted with attendees on-site. Interview questions focused on how festival attendees used MDs during the festival. Data were analyzed using directed content analysis guided by the THC. Findings On-site interviews with 168 attendees revealed that data support the THC dimensions and constructs (sensing, linking, organizing and performing). This typology advances the understanding of the range of digital customer experiences currently available at festivals. Research limitations/implications The addition of context to the THC is recommended to enhance its utility in application. As a limited number of festivals were included, the specific findings may not apply to all festivals but the implications are relevant to a range of festivals. Practical implications Operational definitions of the THC constructs within the festival setting were identified and provide opportunities for developing digital experience offerings. Originality/value This study provided the first comprehensive examination of MD use in festival contexts and in so doing offered data in support of Korn and Pine’s (2011) THC. The findings reveal opportunities for modifying the THC to increase its applicability in a range of settings.

In the landscape of smart city development, older adults in China have often been overlooked due to their limited digital presence and the reliance on big data by city planners. This study addresses this gap by employing a time-geographic diary survey and semi-structured interviews to explore the spatiotemporal dynamics of ICT use among older adults during COVID-19 in Chinese urban context. The findings reveal that while the home remains central to ICT engagement, smartphones introduce hybrid activities that blur the boundaries between leisure and essential tasks. These activities demonstrate older adults' adaptability in balancing offline routines and digital interactions. Government-driven digital initiatives, such as health code systems, accelerated smartphone adoption during the pandemic. However, it was the assistance provided by cross-generational social networks, particularly family members, that played a pivotal role in sustaining older adults’ digital participation. The study also highlights how smartphone use, while enriching older adults' daily lives with increased connectivity and entertainment options, contributes to time fragmentation and new forms of dependency. By leveraging small data, this research sheds light on the overlooked everyday ICT practices of older adults, offering a geographic perspective that underscores their digital vulnerabilities within smart city environments. This study emphasizes that social dynamics, rather than technological infrastructure alone, shape older adults' digital experiences. While the findings are not exhaustive, they suggest practical strategies for policymakers and community organizations to enhance digital inclusion and address the specific challenges encountered by older adults, contributing to more supportive and inclusive smart city ecosystems.

Digital technologies are increasingly used in the interpretation and presentation process at cultural heritage sites, shifting the manner of heritage display from previous ways, which tended to be monolithic and static, to a more diversified, experiential, and interactive approach and enabling new connections between heritage and the public. Digital experience is gradually becoming an important component of visitors’ heritage experience. However, little attention has been paid to the influence and effects that these technologies have on the visitor experience, and a corresponding measurement framework for the heritage digital experience is still lacking. To contribute to the design, implementation, and management of digital display systems at cultural heritage sites, this research aims to evaluate visitors’ expectations, acceptance, and experience of digital interpretation and presentation technologies. A mixed methodology, combining questionnaires based on a digital experience evaluation framework and semi-structured interviews, was adopted and used in Old Zuoying City (OZC), a typical heritage site for the application of digital display technologies in Taiwan. Our study indicates that digital display technologies received high acceptance from heritage visitors and had a positive impact on some specific aspects, such as encouraging their exploration of and further learning about the site, helping them better visualize the richness of heritage, and creating new experiences of perceiving, engaging, and communicating with history. In addition, based on the survey findings, a number of recommendations for the current stage of digital display design are presented. The survey results and evaluation framework can be used as a reference for other research on heritage visitors and to improve digital interpretation and presentation design.

In times of converging and diversifying audiovisual (AV) industries, digitising health sector and the increasing phenomenon of cross-sectoral innovation, the question arises about the state of affairs between the health and AV sectors. The chapter aims to explore what the main modes of cross-sectoral cooperation between the health and AV sectors are and what supports and hinders the emergence of a related cross-innovation system. The chapter introduces two case studies carried out in Estonia and the wider Aarhus region (Midtjylland) in Denmark. At each site representatives of the main stakeholders of both sectors were interviewed – policy makers, entrepreneurs, educators and professionals. The results demonstrate the crucial role of path-dependencies – in terms of both hindering and enabling cross-sectoral dialogues – and also the importance of effective coordination in supporting cross-innovation. Keywords Cross-sectoral dialogues Path-dependence Health sector Audiovisual media industries Cross-innovation Innovation systems Citation Tafel-Viia, K. (2019), "Health and Audiovisual Sector: A Meso-analysis of How Systemic Coordination of Sectoral Cooperation Leads to Convergence", Ibrus, I. (Ed.) Emergence of Cross-innovation Systems, Emerald Publishing Limited, Bingley, pp. 121-144. https://doi.org/10.1108/978-1-78769-977-920191015 Publisher: Emerald Publishing Limited Copyright © 2019, Külliki Tafel-Viia. Published by Emerald Publishing Limited License This chapter is published under the Creative Commons Attribution (CC BY 4.0) licence. Anyone may reproduce, distribute, translate and create derivative works of this chapter (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this licence may be seen at http://creativecommons.org/licences/by/4.0/legalcode Introduction In this chapter, we introduce developments in the field of cross-sectoral dialogues between the health and audiovisual (AV) media sectors. We use Estonia and the Aarhus region in Denmark (Midtjylland) as case studies. We chose these cases as our observations identified that amongst the six countries we studied at the initial phase of the study, the manifestations of these sectors’ convergence in these two countries was most visible and/or offered the most interesting initiatives to explore. In Aarhus, we observed the emergence of new convergent enterprises, and in Estonia, the overall systemic development of information and communication technology (ICT) infrastructures and e-governance systems offered a promising starting-point for cross-innovations. The empirical study consisted of 36 interviews with sectoral entrepreneurs, professionals and policy makers of both countries. We start the chapter with an overview of the sectors’ development stage where we outline the main changes that influence the sectors’ current and future development and their overall readiness to adapt to these changes. Thereafter, we describe the current institutional landscape that supports the sectors’ cooperation. In the second part, we continue with the sectors’ general openness to cooperation and describe the common modes and peculiarities of cross-sectoral dialogues. The chapter ends with challenges for policy makers by outlining the main shortcomings that policy could address to better support cross-boundary innovation between the health and AV media sectors. The Changing Face of the AV Media and Health Sectors AV Media Sector The interviews revealed the changing nature of the AV sector – this applies to both Estonia and the Aarhus region. In Aarhus, the AV content and services sector has a rather strong position (2nd place in Denmark after Copenhagen) with a large-scale concentration of AV industries, which are divided into four main categories: films and animation, video games, television production and production of commercials. In Estonia, the main hub of the AV sector is the capital Tallinn. Estonian interviewees were troubled in defining the scope and borders of the AV sector, which demonstrates that sectoral identities remain an important issue. Different opinions existed in terms of what to consider as part of the AV sector and what not, including whether video games are part of the larger AV sector and what fractions of the IT sector should be included. These discussions reflect well both the overall mediatisation trend and convergent processes (discussed in Chapter 1) which have given to the increase in the AV modes used in different sectors and to the borders between different media and creative sectors becoming blurred. Estonian and Danish interviewees acknowledged that the AV sector is growing and expanding. Growth is particularly noticeable in certain subfields of the AV sector, for example, animation, games, etc., which have gone through a tremendous change from a marginalised sector to a globally ascendant industry. However, micro and small-sized companies (one man to 20–25 employees) still dominate in this sector. The growth of this sector is also reflected in its internationalisation. In particular, the Danish interviewees stated that the sector has heavily internationalised during the last decade. On the one hand, there are increasing numbers of expatriates working in AV companies and, on the other hand, the majority of local companies have ties with big international corporations. The growth of the sector also means that the amount of AV content is increasing. The interviewees (in particular, the representatives of the AV sector) highlighted the belief that the importance of AV content and tools will continue to grow – thus, the interviewees pointed to the mediatisation trend. The other important key characteristic of the AV sector is, paradoxically, its both converging and diversifying nature – the multi-directionality of convergence, that Ibrus discusses in Chapter 1; the borders between different sub-sectors are blurring and the intra-sectoral convergence of the AV sector can be observed; the amount of different kinds of cross-, trans- etc. type of content is increasing, the channels and formats have changed, the business models have altered (e.g. emergence of VOD providers as crucial players in the industry), technologies are used more mixedly, the audiences are changing and attracting their attention is becoming more challenging. In addition, the AV sector is also converging with other fields. The importance of augmented reality (AR) and virtual reality (VR) is expected to increase. The interviewees emphasised that the technology is still rather immature; there are plenty of unused opportunities and less successful solutions. However, quite unanimously, the interviewees argued that the technology will become cheaper and more user-friendly. VR and AR were also seen as engaging technologies that will blur the borders between different AV subfields. As the head of a Danish AV incubator described: VR and AR call for people from both worlds […] we work with these new technologies in an engaging way. That’s why we work with the term ‘digital experiences’ instead of ‘films’ or ‘games’ or ‘audio’. As flexibility and fast learning ability were seen as main keywords to adapt to the changes in the future, we may argue that social capacities were considered important in coping with (technological) changes. In the light of those changes, the orientation towards constant product and service innovation was also rather obvious. The interviewees highlighted the fact that innovation process is a daily practice. One Estonian AV company CEO discussed that almost everything they do is experimental. He considered this a challenge, because trying out new things is always money- and time-consuming. Although the interviews pointed to innovation examples across the sector (across companies of different development stages), still, in case of Estonia, we can see that innovativeness, especially innovating in new convergent areas, is more common among younger companies. More traditional and long-term AV companies, including production companies, are somewhat more reserved when it comes to innovation in terms of entering new fields. The matured content production companies also did not consider themselves to be innovative. An owner of a company producing films and commercials explained: ‘the answer to that, how we feel, we do not feel that we are innovative […] the [audio-visual] sector is not innovative’. Several Estonian AV sector interviewees argued that innovativeness (in Estonia) is first and foremost associated with the ICT sector and with the start-up world. Quoting the owner of an Estonian AV company: At the moment in Estonia, there is a hype that all IT and start-ups are innovative and awesome […] How are feature films related to innovation? If you don’t come up with a new ID card or Skype, then you are just doing your movies […] despite the fact that, in my opinion, it is innovative to create a world-class film and bring out a new story and thought. These attitudes reflect that AV media companies, especially those working on film production, often find it difficult to think beyond their traditional practices. The novelty they work towards is usually their next film, but not a new type of cooperation or cross-innovation initiative outside the AV sector. Awareness of development opportunities that cooperation with other sectors would offer is low. Estonian public sector and sectoral umbrella organisations’ representatives also stated that the older companies are in something of a comfort zone and do not see the ultimate need for innovation. As the representative from the Estonian Ministry of Culture remarked: ‘the situation [is] not bad enough that something new should be developed’. The situation is somewhat different with broadcasting companies. The focus on cross-media output was obvious in the case of large Danish broadcasters. To quote the programme manager of a Danish TV production company: They’re also looking for unique formats, unique content, produced straight for the big internationals – Facebook, YouTube, stuff like that, but also for their own digital platforms. Two of the major broadcasters in Denmark have their own digital platforms, where they put all the flow TV, but they want unique content there as well. They want new ideas and the stuff that’s produced directly for their own platforms as well. The public media and broadcasting sector has also become more interactive in Estonia; producing content for different platforms has become an everyday practice. The Health Sector The health sector in Estonia and the Aarhus/Midtjylland region is predominantly public. The share of private sector involvement in the health sector is growing, particularly in Denmark. Differently from the AV sector, which was seen as rather progressive, the health sector was often described as old-fashioned and slow to respond to changes. However, the interviewees stressed that a certain shift has already occurred and the health sector is becoming more open, including in terms of its readiness to cooperate with other sectors. The topic that the interviewees very often addressed was the need to change current medicine education. The interviewees emphasised the need to make it more interdisciplinary and facilitate the connections between students of different fields already during the studies that would facilitate their cooperation in the future. As to the trends, both Danish and Estonian interviewees highlighted several changes that significantly influence the sector’s future development, including those that may also facilitate the emergence of cross-innovations between the health and AV sectors. One of them is the overall change towards a user-centred approach in health care: to put the patient at the centre of the health care system and increase the responsibility of the user for his/her health. Several interviewees also talked about the need to refocus the patient–doctor relationship. The doctor needs to ask the patient what she/he needs (not to define patient’s needs by him-/herself). This in turn presumes that the patient should be ready to take active position about her/his health behavior, including to answer about his/her needs, goals in life, etc. Related to that, the interviewees referred to the necessity for new types of personal assistants and new types of ‘help-desks’ that will change the communication between the patient and the doctor. The CEO and founder of Danish AV + health company remarked: the trend is maybe that […] actually resonates with people. So building feelings into the product, building personality, building character into the product […]. We don’t have an avatar that speaks to you, but we do have character. The trend that is already happening in the health sector is the strategic refocusing towards rehabilitation and prevention. As most of the cooperation with the AV sector predominantly happens in this field of the health sector then this can be seen as a good precondition for cross-innovations to emerge. Another trend that is expected to positively influence cooperation between the AV media and health sectors lies in the generational shift. Future patients are also expected to be more prone for gamified solutions. The changing technology was also seen as the main trend influencing the sector’s development. The driver is the sensed feeling that as technologies evolve one needs to keep up to stay relevant in the marketplace. But the new technologies were also seen as offering opportunities for solutions that were not possible before. Especially, health sector representatives emphasised that the sector’s innovativeness lies primarily in the usage of new cutting-edge technology and related infrastructure. Technology-centeredness in innovation (or technological innovation) was explicitly brought out by Estonian interviewees, but it was highlighted also in Aarhus. As part of technological change, the interviewees also discussed more personalised patient information systems and software developments. Cooperation with the technology-intense AV sector would amplify the technological shaping of the health sector. Health sector representatives also expressed the expectation that the world would become more diverse when the sectors’ borders become more blurred and the mixture of different competences, including social and technological competences, are highly valued. Institutional Landscape for Cross-sectoral Dialogues The current supportive institutional attitudes towards cooperation between the health and AV sectors in Aarhus and Estonia reflect several understandings in contemporary innovation theories. On the one hand, we can notice developments expressed in contemporary cluster-development theories that focus on cross-sectoral cooperation and social and interaction processes that support it (Granovetter, 1985; Harrison, 1992). On the other hand, for policy developers also, the stream of innovation studies that focus on space and proximity issues has been relevant as they attempt to understand how innovations emerge and develop in particular places (e.g. Asheim, 2012; Florida, 1995; Hassink & Klaerding, 2012; Healy & Morgan, 2012). As demonstrated below, the institutional landscape supporting the sectors’ cross-innovation in both studied cases is not limited to the narrow models of ‘innovation system’ (Edquist, 1997; Nelson, 1993), but also encompasses actors other than research institutions and firms. However, it is interesting to point out that research institutions may not be part of the landscape when it comes to the Estonian case. We shall now describe the institutional landscape of cooperation in more detail, starting with Aarhus. As to Aarhus, the key players of the supportive institutional landscape are: (a) higher education institutions (HEIs) as regional sectoral hubs, (b) private sector organisations and community-based initiatives specially targeted to foster intersectoral cooperation and (c) public sector measures that facilitate cooperation and partnerships. HEIs have had a special role to play in supporting the clustering of the AV sector and being the central hub that attracts different actors into the region. Quoting the interviewee from one Danish production company: Because we have the school in Viborg, the animation school, and they have this environment around school with the companies […]. People graduating from schools, […] some people coming back to Viborg starting [their own business]. Because it’s very convenient to be very close to truly educated animators and have access to them. The main ways that private sector organisations and community-based initiatives support the sectors’ cooperation are via creation of physical environments that include (a) labs, incubators, etc., and (b) the organisation of events that aim to bring actors physically close and support face-to-face meetings of different actors. One example here is Interactive Denmark, which is a non-profit organisation. Its mission is to accelerate, coordinate and support the development of the Danish game and interactive cluster by focusing (among others) on the interaction between what they call Digital Visual Industry (DVI) and health. 1 The other example relevant to highlight is the Filmby Aarhus Incubator located in Aarhus, which is a new incubator for start-up companies working within DVI and is aimed at matching them with companies from other sectors and public organisations that have specific challenges for which they need digital visual solutions. The importance of these kinds of initiatives and physical environments, in particular, were highly emphasised both by companies and policy and sector representatives. Quoting the CEO and founder of the Danish AV + health company: We are there [in IdeaLab] because we want to be a part of something bigger. There’s several considerations in it. One is like it’s awesome to go to work and there’s more people than us. So it is nice to have a lot of people to talk to, but it’s also a part of our identity that we are at a place with people who build digital experiences. So that works really well, just the story about it. […] And then we use people sometimes – […] [when] we are testing the product. We have a few conversations with some of the game developers about technical stuff or sometimes they look at it and comment on what we’re doing. So, basically, it’s really, really good to have this option of talking to other people about what we do. In Aarhus, the AV sector is the active player in pursuing cross-sectoral cooperation; AV sector organisations build the partnerships and find ways to facilitate cooperation with other sectors, including the health sector. One of the latest examples is the creation of the Vision Denmark alliance, 2 which has been established by seven AV sector organisations and actors, and is to support the growth of digital visual Quoting the representative of a Danish AV sector umbrella Vision Denmark […] the aim of this is to focus on how we can develop the between the sectors. We call them the Digital Visual […] both […] their but also with other industries – for […] software for or VR for in other sectors. Danish interviews highlighted several relevant innovation support but also targeted sectoral including AV from which the companies can for One of the central health sector initiatives is the Innovation which was in in to from and companies in the Denmark region as part of the business development private sector for example, the and the have had a special role to play in supporting cooperation between the health and AV sectors, as they support different cooperation it comes to support for the health and AV sectors’ the general is that, to Aarhus, the support is more and the main is the public sector. of Estonia is the policy focus on support measures and of private sector The main actors in the cooperation are: public sector) sectoral cluster organisations and public sector measures that facilitate cooperation and partnerships. As to the clustering the is put on the AV sector. Estonia supports creative industries development the development of different and in the AV sector that to the sector in include an incubator for AV sector start-ups in and an often highlighted as a good example that cooperation between the AV and technology fields. As to the health sector, a new has been – an innovation – to better and support innovative solutions in the health sector. In to Denmark, in Estonia the active who cooperation with other sectors are health sector the Health by public Estonia has also a support for creative industries cooperation which aims at supporting the growth of to other sectors through the development of business and by building on the specific and from the creative that this has not on there has not been enough initiatives to make use of the The fact that institutions do not play an important role in the cooperation landscape to argue that this could be one of the why cooperation between the health and AV sectors has rather in to and and as discussed in Chapter systems play a crucial role in the of innovation systems and are among the first of intersectoral to that, to to the in the institutional landscape is important from the point of we may that the of actors in the institutional landscape has been the hindering of sectors’ cooperation in Estonia and will also slow changes in the future. In addition, when about public sector we may argue that, despite the creative policy in Estonia for more than the of its policy has including to to other industries and and growth in them. We may argue that the development of cross-sectoral that are associated with creative industries policy by & have not become common practice. and of Cross-sectoral Dialogues This the different modes of dialogues and cooperation between the health and AV media sectors. We start with the sectors’ general openness towards cooperation and describe the main challenges that cross-sectoral which also the peculiarities of sectoral innovation practices. for and Sectoral In contemporary innovation innovation is as an interactive process and interactive learning (Edquist, 1997; is considered an important for innovation. study, highlighted certain of sectors’ capacities and readiness to At first the results of the study that, in both sectors are to cooperation with other sectors. The of cooperation both In particular, Danish AV and health sector companies that, as a are to them to cooperation. One Danish production company representative remarked: actually like of the it’s the people come to However, in the case of Estonia, the question about cooperation with other sectors to AV companies or related sector organisations and public sector representatives usually to an answer about cooperation with other creative industries sectors. The answer was for that films and games need and actors. after did a about cooperation with other sectors creative is, to consider these kinds of cooperation was somewhat with The for cooperation are very both in Estonia and in the Aarhus it is a of certain type of some cross-sectoral for with technology is term the work on innovative out new from other sectors. The study also demonstrated that the of cooperation is by the stage of development of the companies. are more active in looking for cooperation and trying it out in convergent and than more matured companies. As described by an interviewee a start-up working on a VR in we have to make some on the just the to see they have some in This especially applies to companies that are active in convergent fields and that still have to their and find their place in the The in convergent health gamified also create the need for new type of interdisciplinary and new type of cooperation Quoting the CEO of a Danish VR company that for the health care don’t really have a in related But in each that we there’s a very big on a […] it was an in the case of a it was a […] and in the case of these it was some people that care of the at the […] As to the health sector, the interviewees about its – the of very strong of the sector as described in Chapter The results of the interviews that the health sector to have its own & that do not sectoral and that be by from other sectors. The interviewees expressed rather explicitly that it is to to do you do not have connections within the health sector. The is by the fact that different do not understand each other As described by a Danish health sector organisation have to be very in how you to close to especially the Because you don’t their you don’t what understand what you Estonian interviewees that – those who do not have or in the health sector – have to the health sector to new solutions. The crucial that the sectors’ cooperation is a with a health sector in the development Quoting an Estonian health sector umbrella organisation innovation a technology an then and in the of sector. But an is in cooperation with health sector, then you don’t need the works […] it is that one of the for health sector start-ups is whether a health sector is or not in your have to be a they may also be a or in field […] as it is […] a not from we may that the health and AV sectors have to become important to each they still have to as the two sectors have not The study results also demonstrate that dialogues across sectoral are as the sectors are still learning to each their needs and practices. that, we may the for cross-innovations is This from by Ibrus in Chapter that the more the – as the health sector and AV are – the the innovation may be when these up in a of Cross-sectoral Dialogues The study results demonstrate that between the AV and health sectors do not the of

This paper models the pricing of digital experience goods such as online video in a vertically segmented market under threat of piracy. By definition consumers know the true fit of an experience good only after they have consumed it and piracy offers an illegal consumption method. We develop a two-stage model of piracy where some consumers pirate in the first stage thus updating their perception of a product's fit while deciding to keep the pirated copy or buy a legitimate one in the second stage. Our results show that the effect of piracy can be mitigated by suitable pricing strategies and some externality benefits of piracy can be internalized through product sampling. Counter to intuition, we show that losses due to piracy are more severe for products that don't live up to their hype rather than for products that tend to be valued in the market, thus requiring a greater investment in deterrence for the former. Further, our analysis points out that sampling strategies are optimal only under narrowly defined conditions for vertically segmented digital experience products, unlike physical goods where sampling is always beneficial when valued attributes have been underestimated by consumers.

The thesis shows the study behind the design process and the realization of the robotic solution for museum purposes called Virgil. The research started with the literature review on museums management and the critic analysis of signi cant digital experiences in the museum eld. Then, it continues analyzing the museum and its relation with the territory and the cultural heritage. From this preliminary analysis stage, signi cant issue related to museum management analysis comes out: nowadays many museum areas are not accessible to visitors because of issues related to security or architectural barriers. Make explorable these areas is one of the important topics in the cultural debate related to the visiting experience. This rst stage gave the knowledge to develop the outlines which brought to the realization of an ef cient service design then realized following robot ethical design values. One of the pillars of the robot ethical design is the necessity to involve all the stakeholders in the early project phases, for this reason, the second stage of the research was the study of the empathic relations between museum and visitors. In this phase, facilitator factors of this relation are de ned and transformed into guidelines for the product system performances. To perform this stage, it has been necessary create a relation between all the stakeholders of the project, which are: Politecnico di Torino, Tim (Telecom Italia Mobile) JOL CRAB research laboratory and Terre dei Savoia which is the association in charge of the Racconiggi's Castle, the context scenario of the research. The third stage of the research, provided the realization of a prototype of the robot, in this stage telepresence robot piloted the Museum Guide it is used to show, in real time, the inaccessible areas of the museum enriched with multimedia contents. This stage concludes with the nal test user, from the test session feedback analysis, many of people want to drive themselves the robot. To give an answer to user feedback an interactive game has been developed. The game is based both on the robot ability to be driven by the visitors and also on the capacity of the robot to be used as a platform for the digital telling. To be effective, the whole experience it has been designed and tested with the support of high school students, which are one of the categories less interested in the traditional museum visit. This experience wants to demonstrate that the conscious and ethical use of the robotic device is effectively competitive, in term of performances, with the other solutions of digital visit: because it allows a more interactive digital experience in addition to the satisfaction of the physical visit at the museum.

The effective components of creativity in digital game-based learning among young children: A case study