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

dependence resides in its empowerment to create “affordances” that self-fulfill the goals, desires, interests and needs of the creative user (Stokols & Shumaker, 1981). The identity of the place, in turn, impregnates the power of symbolic representation of the place as a determining axis for the experience of positive emotions, meeting personal self-fulfillment (Guiliani & Feldman, 1983). According to Chen & Tsai (2007), the image of the place built by the (creative) tourist will decisively influence their motivations for choosing a given tourist destination. The construction of a positive image of the tourist location/destination is associated with the experience of positive emotions of pleasure and satisfaction, which establish a synchronous interdependence with the user's self-fulfillment, considering the prisms of their cognitive and affective perception, both of the place and of the experience itself (Pike & Ryan, 2004). According to Beerli & Martin (2004), the image of the tourist destination is an important aspect for the tourist decision-making process. The positive perceptions of the tourist place/destination influence again the psychological variables of selection of that same place. This idea is reinforced by the authors Fakeye & Crompton (1991), according to which the image of the tourist destination is created from a mental picture of the user, feeding from his power of cognitive and affective perception (Pike & Ryan, 2004), indispensable for the development of a sense of connection to the tourist place/destination (Hulin & Morais, 2005). The basic motivations of the tourist reside in the satisfaction of new needs for relaxation, knowledge, escape from reality and the development of social relationships (Charters & Ali-Knight, 2002), in particular it becomes desirable to develop new tourist offers that enable (cognitive and affective involvement) of the user (Gursoy & Gavcar, 2002), opening new opportunities for the design of new tourism products and services (Park et al. 2002), making use of new computer art technologies. According to the same authors Park et al. (2002), the tourist involvement component with the tourist place/destination has aroused limited attention and interest. However, the referential axis of involvement referring to the tourist's active participation in the symbolic construction of new meanings and aesthetic representations increases the feeling of hedonic self- satisfaction with the tourist place/destination. Alvos et al. (2014) emphasize that the new creative tourist is eager to participate in new and unprecedented experiences that configure a power of seduction and attractiveness of new tourist destinations, contributing to the increase of competitiveness as well as the “branding” of the tourist destination's image, ensured by the innovation of new products and services. Sundbo (2009) focuses on the development of innovation applied to new paradigms of experiencing tourism, which constitutes a new and emerging field of investigation. This also constitutes a challenge for the creative tourism industries to continually embrace the principles and values of innovation, aiming to respond to new niche markets that embody the experience economy (Hall, Hall & Williams, 2008). According to Cooper (2006), the scientific community linked to creative tourism claims the need to generate and enhance new knowledge as critical factors for the design of new innovative products and services. This idea is based on a wide variety of empirical studies (Bertella, 2011). According to Newell et al. (2009), innovation presupposes the convergence of multiple fields of knowledge. The interactive arts/new media correspond to this same proposition, insofar as its symbiosis incorporate the creative computational R&D of artists, designers and computer engineers with the humanities and the social and human sciences. The reference work by Pine & Gilmore (1999) attests to the centrality of the new paradigms of creative experimentation as driving elements of new models of creative innovation, intersecting tourism, art, culture, entertainment, education and branding. According to Hjalajer (2002), knowledge is a prerequisite for innovation in creative tourism, constituting a critical factor for the development of both the creative industries (interactive digital arts) and the competitiveness of tourist destinations. The same author points out that the tourist industry has a mediocre reputation in terms of implementing innovative processes and the authors Carlisle et al. (2013) emphasize that innovation lies in new opportunities for the construction of differentiating products and services from the tourist point of view. Hjalajer (2002) infers the potential horizon of opening up to innovation in new tourism niche segments (read enabling the user's cognitive and affective experiential involvement) that is characterized by the resurgence of new and radical technological innovations (Carlisle et al., 2013). Thus, innovation must focus on the offer of new products and services that enable the participation and active involvement of users in favor of building new experiences, appealing to the sense of capturing memorable events, enhancing learning, emotional involvement and also the social interaction (Prebensen et al., 2013). Pine & Gilmore (1999) increase the aesthetic component, entertainment, the feeling of escape and learning/education to the universe of involvement. According to authors Chapain & Comunian (2009), the scientific community has shown little interest and attention for the dialectical relationship that can be established between cultural production and the promotion of the tourist image of places, which according to Echtner & Ritchie (1991) the convergence of these two dimensions can help to leverage the Volume XXII Issue IV Version I 16 ( ) Global Journal of Human Social Science - Year 2022 © 2022 Global Journals A Interactive Arts and Creative Tourism