Global Journal of Human-Social Science, A: Arts and Humanities, Volume 22 Issue 4

and satisfaction are still at the dawn of scientific knowledge. So what is the role of interactive arts/new media in promoting emotions/feelings of well-being in the user/creative tourist? The answer inevitably lies in the constancy of actively involving the user in identity experiences of discovery and creative self-realization of unprecedented narratives of aesthetic support that realize the power of their creativity. Gretzel et al. (2006) emphasize that the new models of tourism offer and differentiation must focus on the added-value components of symbolism and experience, key elements for the design of more competitive international tourism markets. This leads to the concept of the experience economy by Pine & Gilmore (1998), who emphasize the indisputable relevance of creative tourism to invest in the empowerment of new offers, embodying new products and services, which channel unique, authentic and memorable experiences to the viewer, which, from the point of view of the authors Andereck & Caldwell (1993), Woodside, MacDonald & Burford, (2004) can boost the competitiveness of tourist destinations and, in particular, decisively influence the desire and memory of the cultural tourist to revisit the tourist destination/site. According to Kim, Ritchie & Tung (2010), this again constitutes a vital challenge for the creative industries, aiming at the development of new innovative and differentiating products and services that promote the sphere of “pleasure-seeking” of the cultural tourist. Tung & Ritchie (2011) consider that this unpublished compendium of creative and aesthetic experimentation should still be constituted as a design of scientific research with regard to the understanding of factorial elements that can contribute to the exponentiation of memorable experiences in the user/cultural tourist. Csikszentmihalyi (1990) in this regard elaborates the “flow” concept, which resides in the balance between the desires aroused by the interaction in the task and the degree of difficulty in acquiring skills attached to the task itself, considering an optimal level of “flow” will contribute to the development of emotions of pleasure and satisfaction. The authors Holbrook and Hirschman (1982) add to the concept of “flow” the perspective of experience. From their point of view, it is in the experience that the component of pleasure and user satisfaction resides, and this experience should be noted as hedonic, symbolic and aesthetic. Again, it seems to us indisputable that this scientific evidence is echoed in the creation of interactive art/new media products and services, conceptualizing an aesthetic and co-creative representation for the formulation of positive emotions of pleasure and satisfaction in the user/cultural tourist, in projecting immersive audiovisual experiences, enabling their active participation and involvement in favor of the experiential task, desirably of a playful, educational and aesthetic-creative nature, elements that, according to the authors Pine & Gilmore (1999) constitute the referential axes of the creative experiential economy. The experiential component in creative tourism has aroused high interest in the scientific community, namely the assessment of the weight of the cognitive and affective sphere in the user's experiential-emotional domain, as highlighted by the authors Pearce & Foster (2007) and Noy (2004). In particular, it seems relevant to us to emphasize the unprecedented ability of the interactive arts/new media to request the construction of unprecedented narratives impregnated with subjectivity (Cutler and Carmichael, 2009; Ryan, 2002) and aesthetic ambiguity that results in the random elaboration of audiovisual meanings, preferably leveraged in an immersive nature, which promote intrinsic motivation and user involvement in actively building and interpreting aesthetic-creative events, bearing symbolic meanings and contributing to the user's/cultural tourist's self-expression and learning. As designated by authors Csikszentmihalyi (1990) and Mossberg (2007), the final “output” of creative realization inevitably results in a random construction that is updated in real time through human-computer interaction. The authors Kim, Ritchie & Tung (2010) again diagnose that the absorbing component of unique, authentic and memorable experiences constitute a new emerging paradigm of the tourist industry, and there are few studies capable of clearly substantiating the dialectical relationship between experience and experience, emotional embodiment of memorable pleasure and satisfaction. The authors Chandralal & Valenzuela (2013) list as factors that contribute to the effervescence of memorable experiences, surprise, novelty, stimulation of social relationships, intellectual development and self- discovery, based on the experience of positive emotions. The interactive arts/new media bring together the offer of these same characteristics, insofar as they elicit an interactive encounter with the unexpected, impregnated with unprecedented symbolic and aesthetic narrative representations that stimulate the user's agency power to engage cognitively in matrix discovery actions, a reflection in favor of decoding new artistic signs of audiovisual cognition. The interactive/ new media arts offer random narratives that are cumulatively constructed in real time, thus bringing together the effect of “novelty”. Another challenge for the interactive arts/new media is their involvement in enhancing social interaction between users, a key element for strengthening group cohesion/sense of social affiliation and above all for the collectively co- constructive design of new buildings. narratives combining aesthetic beauty with audiovisual immersion. Volume XXII Issue IV Version I 14 ( ) Global Journal of Human Social Science - Year 2022 © 2022 Global Journals A Interactive Arts and Creative Tourism