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

economic value potential of so-called creative economies. In this case, and according to Chapain & Comunian (2009), culture can be an engine of dynamism, contributing to the improvement of the image of a city and at the same time providing added economic and scientific value. The development of creative arts industries can enhance the creative capacity building/empowerment of cities and potentiate new models of creative-aesthetic intervention in cultural heritage facilities and thereby generate new economic dividends. Florida (2002) contemplates the emergence of a new creative class with the capacity to generate economic growth in cities by opening horizons to new frontiers of knowledge, ideas and innovation. This new cultural and scientific capital generated feeds the innovation circuits in new products and services. Montgomery (2005) emphasizes that there is a fertile field for the resurgence of new products/services and technological innovations/inventions, particularly in the field of visual and performing arts, meeting the creative city of the future that contains within itself the cross congregation, knowledge and skills in the field of arts, design and computational aesthetic technology. In this regard, we return to the work of Florida (2002), which points to the emergence of a new “creative class”, capable of regenerating the production and cultural diversification of creative cities, in particular referring, according to the author’s point of view, to the high technology provision. Garnham (2005) points out that the new economy resides in the convergence of the knowledge economy, the competitiveness economy and the creative economy. The focus on the interactive arts/new media industry is of paramount importance, insofar as it is self- referential in offering creative experiences, constituting, according to Mehmetoglu & Engen (2011), a new paradigm that ends a rupture with business models based on unique offer of interactive products and services, devoid of the capacity to involve the user agency in the intellectual, self-reflective and creative discovery of new and unprecedented narratives of an aesthetic computational nature. Prahalad & Ramaswamy (2003) call for the emergence of a new paradigm of interactivity that contemplates the user as an active agent co-builder of knowledge, through the participation in fertile experiences of personalized sensorial immersion. The development of the capacity of the user's creative imagination is also of paramount importance for the design of unique, authentic and memorable experiences, containing in themselves the impulse of creativity (Richards & Wilson, 2006). In addition to creativity, other critical factors contribute to the increase in experiential added value such as the intrinsic satisfaction of being involved in the task, the desire and escape from reality/sense of escape, the visual aesthetic appeal and the perception of meaning by novelty (Okazaki, 2008). The interactive arts can decisively contribute to the development of new models of production and cultural enjoyment, enhancing the experiential creativity of users (Pantzar & Shove, 2005). Richards & Wilson (2006) highlight the new trends in cultural enjoyment based on the emerging role of creativity in forging new enriching sensory experiences, based in particular on the following factors: manifestation of displeasure for contemporary models of cultural consumption/enjoyment; increased desire to engage in actions that promote self-development and the acquisition of skills/learning; participation in unprecedented constructive manifestations of narratives; attraction to new forms of self-expression fostering creativity. Numerous studies have laid the theoretical foundations that establish a new symbiotic relationship between creativity and tourism, based on the development of business models pointing to the differentiation of tourist locations/destinations from the perspective of creative tourism (Richards & Wilson, 2006), based on the development of the creative empowerment of the user to co-create new audiovisual forms of knowledge (Binkhorst & den Dekker, 2009). The paradigm shift no longer erupts at the heart of cultural tourism, but rather at the heart of the new tourism of a creative nature (Jelincic, 2009), meeting new postmodern consumerist styles of cultural enjoyment (D'Auria, 2009). Fernandez (2010) points out that the new creative tourism contains in itself an evolution in relation to cultural tourism and, to that extent, constitutes a niche market. However, according to Miles (2010), the development of creative tourism is currently even more an aspiration/expectation than a palpable and concrete reality (Miles, 2010). The UNESCO reference document (2006) defines creative tourism as “travels aimed at enabling user involvement in authentic experiences, including the educational aspect of arts and heritage”. Runco (2004) defines the new contemporary creative tourist as someone who seeks cultural refinement, self-expressive creativity, interpersonal creativity and the sophistication of cultural enjoyment through “new media”. Selstad (2007) defines the main motivations that assist the development of new tourism models based on creative experimentation: escape; education; relaxation; strengthening of social relationships and social interaction; exploration of the I/"self" and novelty. It is particularly important to emphasize that the knowledge and experientially-based education segments are basic elements of the experiential creative economy, although there is currently little evidence that explores the interconnection between these two dimensions: knowledge and education (Li, 2000). This same author elucidates us again on the priority of © 2022 Global Journals Volume XXII Issue IV Version I 21 ( ) Global Journal of Human Social Science - Year 2022 A 17 Interactive Arts and Creative Tourism