Coalition formation during technology adoption

The Technology Acceptance Model (TAM) is a prominent framework that addresses the challenge of organisations to understand and promote the factors that lead to acceptance of new technologies. Nevertheless, our understanding of one of the model's key variables – social influence – remains limited. Drawing upon earlier studies that address the role of referent individuals to technology acceptance, this paper introduces the notion of ‘coalition’ as a social group that can affect the opinion of other members within an organisation. Our empirical study centres on an organisation that has recently decided to introduce Big Data into its formal operations. Through a unique empirical approach that analyses sentiments expressed by individuals about this technology on the organisation's online forum, we demonstrate the emergence of a central referent, and in turn the dynamics of a coalition that builds around this referent as the attitudes of individuals converge upon the Big Data issue. Our paper contributes to existing TAM frameworks by elaborating the social influence variable and providing a dynamic lens to the technology acceptance process. We concurrently offer a methodological tool for organisations to understand social dynamics that form about a newly introduced technology and accelerate its acceptance by employees.

Art museums and the global tourist: Experience centres in experience-scapes

In the experience economy, the role of art museums has evolved so as to cater to global cultural tourists. These institutions were traditionally dedicated to didactic functions, and served cognoscenti with elite cultural tastes that were aligned with the avant-garde’s autonomous stance towards mass culture. In a post-avant-garde era however museums have focused on appealing to a broad clientele that often has little or no knowledge of historical or contemporary art. Many of these tourists want art to provide entertaining and novel experiences, rather than receiving pedagogical ‘training’. In response, art museums are turning into ‘experience venues’ and are being informed by ideas associated with new museology, as well as business approaches like Customer Experience Management. This has led to the provision of populist entertainment modes, such as blockbuster exhibitions, participatory art events, jazz nights, and wine tasting, and reveals that such museums recognize that today’s cultural tourist is part of an increasingly diverse and populous demographic, which shares many languages and value systems. As art museums have shifted attention to global tourists, they have come to play a greater role in gentrification projects and cultural precincts. The art museum now seems ideally suited to tourist-centric environments that offer a variety of immersive sensory experiences and combine museums (often designed by star-architects), international hotels, restaurants, high-end shopping zones, and other leisure forums. These include sites such as Port Maravilha urban waterfront development in Rio de Janiero, the Museum of Old and New Art in Hobart, and the Chateau La Coste winery and hotel complex in Provence. It can be argued that in a global experience economy, art museums have become experience centres in experience-scapes. This paper will examine the nature of the tourist experience in relation to the new art museum, and the latter’s increasingly important role in attracting tourists to urban and regional cultural precincts.