The use of technology-based self-service on assessments of consumer satisfaction and consumer commitment

Technology-based self-service (TBSS) enables consumers to complete services themselves using a technological interface. As evaluations of consumer satisfaction and commitment have typically focused on interpersonal interactions, the effect of TBSS on these is under researched . This paper explores the impact of TBSS on consumer satisfaction and on a multidimensional measure of consumer commitment.Data are collected from 241 hotel guests. The results suggest personal-service is more important for satisfaction and commitment. This has implications for marketing as the benefits of adopting TBSS are not clear. Multi-dimensional commitment provides some interesting findings and suggests the need for further research into TBSS and commitment.

E-marketing : the impact of self-service technology on consumer satisfaction and consumer commitment

Traditionally, service encounters have included an interpersonal interaction between the service provider and the customer. The introduction ofself-service technologies to the service encounter, however, is reducing and in some cases, eliminating this interpersonal interaction. Self-se rvice technology is where the customer delivers the service themselves using a technological interface. This CIM funded research programme investigates the effect of self-service technology on the service encounter, and in turn on consumer satisfaction and consumer commitment. This paper reviews the literature relevant to the current study and outlines the constructs of interest in this study. The resear ch hypotheses and conceptual model are also introduced.Finally, the agenda for future research is presented.

Tensions, transisitions and triumphs : examining the transitional experience of fashion students between school and university

Joining any new community involves transition and adaptation. Just as we learn to adapt to different cultures when we choose to live abroad, so students learn the language and culture of an academic community in order to succeed within that environment. At the same time however, students bring with them individual learning styles and expectations, influenced by their prior experiences of learning and of life more generally. Some have excelled at school; others have come to fashion seeking something in which to excel for the first time. Commencing a degree in fashion design brings students into contact with peers and lecturers who share their passion, providing them with a community of practice which can be both supportive and at the same time intimidating.----- In Queensland where university level study in fashion is such a new phenomenon, few applicants have any depth of training in design when they apply to study fashion. Unlike disciplines such as Dance or Visual Art, where lecturers can expect a good level of skill upon entry to a degree program, we have to look for the potential evidenced in an applicant’s portfolio, much of which is untutored work that they have generated themselves in preparation for application. This means that many first year fashion students at QUT whilst very passionate about the idea of fashion design are often very naïve about the practice of fashion design, with limited knowledge of the history or cultural context of fashion and few of the technical skills needed to translate their ideas into three dimensional products.----- For teachers engaging with first year students in the design studios, it is critical to be cognizant of this mix of different experiences, expectations and emotions in order to design curricula and assessment that stretch and engage students without unduly increasing their sense of frustration and anxiety. This paper examines a first year project designed to provide an introduction to design process and to learning within a creative discipline. The lessons learnt provide a valuable and transferable resource for lecturers in a variety of art and design disciplines.

The experience of waterfalls

Landscape beauty has long been a concern of geographers and other scholars, but relatively little work has been done on the aesthetic analysis of specific landscape features such as mountain peaks and waterfalls. In Australia, as in many other parts of the world, waterfalls are popular scenic attractions, and this paper attempts to explain the widespread appeal of these landforms by examining them in the light of theories of landscape aesthetics, from the Picturesque and Sublime to arousal and prospect-refuge. While no single theory offers a complete explanation of our experience of waterfalls, this paper suggests that by using several theoretical approaches to the subject we are more likely to gain a full understanding of the way we respond to these landscape features.