Emotional Tourism: Drifting Aimlessly in Love

Emotional Tourism: Drifting Aimlessly in Love

Emotional tourism, an incomplete grieving process

After a breakup, many people go through a long mourning process in which, bit by bit, they try to come to terms with what happened: the loss of a life partner. At first they refuse to accept it. Then hopelessness invades, possibly along with depression and severe anxiety.

The next phase of the process is acceptance . This is the return to the real world, and the realization that their hopes were just a distant utopia . It’s now time to rebuild and meet new people. Finally, if everything goes well, you’ll experience the feeling of having overcome the breakup. You will be able to analyze the previous relationship objectively and learn from past mistakes.

Emotional tourism develops in those who don’t complete this grieving process , either out of fear or as a defense mechanism. They get stuck in another stage and deny themselves the opportunity to have positive relationships in the future. They choose to become desensitized and use relationships just as a way of passing the time.

Travellers going nowhere

Emotional tourists jump from one person to another, one place to another, one port to the next. They just drift around without any direction in their lives. They get carried along exploring new sensations and consider themselves to be true adventurers. Always seeking  pleasure , joy and euphoria, but never feeling the need for commitment. They don’t feel any sort of responsibility towards the people they get together with.

We shouldn’t confuse these people with those who choose not to have a partner, preferring instead to be single. Emotional tourism is not the result of choosing to be single. It is more like emotional self-sabotage.

Man taking woman's hand

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Emotions in tourist experiences: Advancing our conceptual, methodological and empirical understanding

1. introduction.

The tourism industry has long been hailed as the ‘fun’ industry. Tourism is practiced for its hedonic benefits. Tourists choose to spend discretionary disposable income on holidays and travel essentially for the anticipated pleasure they will obtain. In that sense, the value proposition for tourism is significantly based on the emotions. This editorial addresses questions linked to the role of emotions in tourist experiences. The theorization of emotion has received much attention in the contemporary tourism literature and among destination marketers. Emotions, episodes of intense feelings associated with a specific situation or event ( Cohen & Areni, 1991 ), play a key role in understanding tourist behaviour. Studies have focused for example on positive emotional experiences associated with festivals, shopping, theme parks, holidays, heritage sites and adventure tourism, among others, and the links between emotional responses and behavioural outcomes, such as satisfaction and customer loyalty.

At a practical level, tourist destinations around the world emphasize the positive emotional connections they seek to make between visitors and places. For example, Slovenia uses the slogan “I feel s love nia” to convey a sense of warmth, and a deep connection among potential tourists to the country. Other countries highlight the ‘surprising’ component of the tourist experience in their branding strategies. Notable successful country campaigns include “Amazing Thailand” and “Incredible !ndia”, which have been built on associating a sense of positive surprise and delight with tourism visits. Other slogans highlighting positive emotional experiences include “It's more fun in Philippines", "Beautiful Bangladesh" and "Brunei: Abode of peace". These examples further emphasize the importance attached to positive emotional responses associated with tourist experiences.

However, whilst much of what drives tourist behaviour is a search for pleasure, it is a much more complex picture requiring the need for more detailed and theoretically driven research. In this respect, the literature on tourist's emotion has been significantly enriched in recent years. Tourist emotion research has drawn heavily on and applied concepts and measures from the psychology literature. For example, a growing body of studies (e.g. Choi & Choi, 2019 ; Hosany, 2012 ; Jiang, 2019 ) apply cognitive appraisal theories ( Roseman, Spindel, & Jose, 1990 ) to understand the antecedents and consequences of emotions to tourist decisions. In terms of measurement, and despite criticisms (see Hosany & Gilbert, 2010 ), many studies have adapted self-report measures of emotions from psychology and these remain popular in tourism. Emotions influence various stages of the tourist experience ( Prayag, Hosany, & Odeh, 2013 ). At the pre-travel stage, emotions play a fundamental role in activating tourist motivations and inputs in destination choice processes. During the trip, emotions can vary in intensity on a day-to-day basis. In addition, tourists' emotional reactions are fundamental in shaping post-travel evaluations such as satisfaction, destination attachment, perceived overall image and behavioural intentions.

The goal for this special issue is to further expand and enrich the literature on the role of emotions in tourist experiences by soliciting conceptual and methodological contributions that not only support but also challenge and develop our understanding of this important aspect of tourist behaviour. We were delighted to receive a diverse range of submissions, which contribute an array of original approaches and insights. The final collection of papers (n = 8) helps us to better understand the role of emotions across various settings such as casino resorts, theme parks, leisure and senior travellers, brand advertising and brand communication, and visiting friends and relatives (VFR). We were impressed to see that these papers advance conceptual and methodological approaches, in addition to their empirical contributions. The papers address measurement issues as well as identifying antecedents and outcomes of tourist emotional experiences in a range of novel contexts.

2. The papers in this special issue

Whilst most previous research on tourist emotions has focused on positive feelings, such as joy, love and positive surprise, negative emotions are also possible. The paper by Lai, Yang and Hitchcock provides important insights into the basic, excitement, and performance emotions that influence tourists’ satisfaction and dissatisfaction with destination casino resorts. Through the development of a measurement scale consisting of both positive and negative emotions, the overall satisfaction of gaming and non-gaming tourists was determined, contributing to our understanding on how to combine three-factor theory with emotion theory. Arguing that most of the negative emotions generated from gaming will not result in tourist dissatisfaction with destination casino resorts, the authors point us towards further investigations into the effects of negative emotions towards destinations in considering the three-factor theory.

Emotions are complex feeling states that result in psychological and physical changes that influence our behaviour. Our emotions change in response to stimuli and yet most research takes a simple snapshot of these states and reactions at a particular point in time. Stepping beyond the traditional static, cross-sectional approach used to measure emotions. Lin, Nawijn and Biran’s paper seeks to advance our understanding of how motivations are related to tourists' emotions, in a longitudinal study for the first time in tourism research on this subject. Questioning leisure travelers in the Netherlands over a nine-month period, results indicate that motivation does not have a significant impact on tourists' emotions over a relatively long period of time. Determining that travel motivations, or a cluster of travel motivations, do not seem to have significant within-subject or between-subject impacts on tourists' emotions reaffirms the complex relationships between tourists' travel motivation and emotions, providing important managerial implications for destination marketers to consider.

Emotions can also be recalled and associated with particular events in the memory. Since holidays and travel are often intense experiences that linger in the memory, it is important to look beyond the immediate, visceral emotional state to advance our understanding of the role emotions play in future decision making. The paper by Akgün, Senturk, Keskin and Onal provides important empirical insights into the relationships between nostalgic emotions, destination image and tourist behaviour within the particular destination context of Istanbul. Two studies are utilized to help shift debates into an understanding of the importance of post-visit experience on destination image. In the first study, the cognitive image of Istanbul was found to be a multi-dimensional construct composed of attractions, infrastructure, atmosphere, and value variables. In the second study, nostalgic emotion is found to positively relate to affective destination image, and to every component of the cognitive destination image of Istanbul. Conclusions indicate that destination image may partially mediate the relationship between nostalgic emotion and intention to revisit and recommend.

There is a greater need for cross-fertilization of theories and approaches to advance our understanding of the affective relationships between places and people, specifically visitors. Cabanas's paper seeks to better understand the interplay between emotions and space applying theory of sociology and the production and consumption of space, and experience, to experiences at theme parks. It applies symbolic interactionism to a critical literature review of research on experiences of theme parks, such as atmosphere design, experience control, and visitors' engagement and in so doing highlights the need for allowing greater agency amongst visitors to develop their own emotional narratives of their experiences of these experiences settings, which can be overly scripted and staged. Visitors' experiences can be explored from a deeper qualitative perspective, such as symbolic interactionism to draw out meaning-making processes, the situated and mixed emotional register of experience that takes place within theme park spaces, and that goes beyond simple evaluation of satisfaction and repeat behaviors. These novel approaches can add real value to the design of emotional experiences in a range of visitor settings.

Emotions form an important consideration in how destinations position and market themselves. For Lalicic, Huertas, Moreno and Jabreel, understanding the emotional brand communication of 10 of the most popular DMOs in Europe in 2017 according to TripAdvisor was a key objective. Through an analysis of user responses across Facebook and Twitter, this study identifies a matrix of successful and promising values that DMOs should integrate into their social media communication strategies regarding their destination brands. It visualizes a set of values that DMOs should either not include or try to avoid when aiming to successfully engage with their users. It identifies differences between the two social media platforms, providing DMOs with guidelines on how to effectively communicate their brands using specific emotional brand values on social media. In a related paper, Tercia, Teichert and Soehadi apply a generic experience economy framework to better understand advertisements in evoking emotions and communicating specific experience dimensions. Travel experiences are differentiated between passive and active participation, as well as between those with immersion and absorption experiences. Findings suggest that travelers’ emotional response to advertisements has a partially mediating effect on their effectiveness, dependent in part on the specific type of envisioned travel experience.

Finally, two papers examine emotions within specific consumer contexts. Ramer, Zorotovich, Roberson, Flanigan and Gao's study looks at emotions within a specific type of tourism experience, linking together two relatively understudied areas in travel research: the intersections between Visiting Friends and Relatives (VFR) and emotional experiences in the travel context. It does this by questioning the effects of pre-existing family dynamics on the emotional experiences of emerging adults traveling to visit families during the fall break. Findings uncover a significant impact of family dynamics on emotions during VFR trips, with positive emotions following a linear decline during the travel period, and negative emotions following a pattern consistent with the holiday happiness curve. Secondly, Pestana, Parreira and Moutinho's paper provides us with important insights into what motivates the senior tourism market, distinguishing between younger and older seniors. A model explaining the mediation role played by satisfaction in the relationship between motivation, emotion, and behavioural intentions is developed and tested through the application of structural equation modelling. Satisfaction is found to mediate the relationship between motivations and emotions, and behavioural intentions, simultaneously strengthening the positive association between push and pull motivations. Previous experience has a moderating effect. Managerial implications include questioning the usefulness of the model developed in different geographical settings.

3. Concluding remarks

Emotions are ubiquitous in tourist experiences and the papers in this special issue offer novel insights that advances this field of research. Despite much progress, several methodological-theoretical design considerations remain. For example, how best to measure emotions in tourism? A limited number of emerging studies have moved away from self-reports and embrace novel approaches such as Corpus Linguistics ( Rahmani, Gnoth, & Mather, 2019 ) to extract and analyze tourists' emotional experiences. Still, additional research is needed to, for example, directly compare verbal, non-verbal and indirect qualitative emotion measures. In addition, with some exception, tourism research predominantly focuses on positive emotional experiences. Recent evidence however suggests, in non-hedonic contexts, tourists purposely seek negative emotions ( Knobloch, Robertson, & Aitken, 2017 ; Nawijn & Biran, 2019 ). Negative emotions can lead to positive outcomes such as happiness ( Nawijn & Biran, 2019 ) and ethical choice formation ( Malone, McCabe, & Smith, 2014 ). More research is needed to expand our understanding of tourists’ negative emotional experiences in a post Covid-19 era. At the theoretical level, little is known about the interplay and hierarchy of cognitions and emotions in tourist behaviour models. Tourism researchers are encouraged to develop and test competing models. Emotion can be either an independent variable or a mediator between cognitions and outcome variables such as intention to recommend and perceived image evaluation.

We hope that articles in this special issue will encourage tourism scholars move this field of research forward. We would like to express our appreciation to Professors Alan Fyall, Brian Garrod and Youcheng Wang for the opportunity to guest edit this special issue in Journal of Destination Marketing & Management. Last but not least, we would like to thank the reviewers for providing constructive feedback during the review process. The authors and special issue guest editors appreciate their efforts for providing timely reviews.

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Design Science in Tourism pp 41–53 Cite as

Emotions in Tourism: From Consumer Behavior to Destination Management

  • Anna Scuttari 5 , 6 &
  • Harald Pechlaner 5 , 6  
  • First Online: 05 October 2016

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12 Citations

Part of the Tourism on the Verge book series (TV)

We argue in this chapter that tourism practice is emotionally charged, but tourism research is less so. In fact, emotion research in tourism was mostly borrowed from marketing studies, which limits its application mainly to customer satisfaction and customer loyalty issues. Little is known as yet about the complex nature of the emotion concept and the dynamic relationship between tourist experiences and emotional states. Therefore in this chapter we aim to: (1) clarify the emotional concept and the underlying theories in modern psychology; (2) identify the crucial connections between tourist experiences (pre-, on-, and post-trip) and emotional states; and (3) assess the main domains of interest for future emotion research in tourism. We propose a conceptual framework to bridge consumer behavior and destination management/marketing research through studying emotional states. Further, we argue that human interactions between host and guest (as well as among guests), emotional valence of tourism activities (and on-line behaviors), as well as attention to eliciting emotion in destination marketing/branding and service design are the main issues for a future research agenda. To investigate these issues, combined use of (qualitative) self-reported techniques and (technologically advanced) observation techniques will be crucial.

  • Tourism experience
  • Emotion design
  • Destination management
  • Consumer behavior

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Scuttari, A., Pechlaner, H. (2017). Emotions in Tourism: From Consumer Behavior to Destination Management. In: Fesenmaier, D., Xiang, Z. (eds) Design Science in Tourism. Tourism on the Verge. Springer, Cham. https://doi.org/10.1007/978-3-319-42773-7_4

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GW: At some point you were writing songs for the Scratch Band, which became the 77s.

SS: After I moved up from Los Angeles and began to get some music things going, Scratch Band came together. Sharon McCall was singing for them, with Mike Roe and Jan Eric Voltz and drummer, Mark Proctor (I think). They decided to cover one of my songs, “Different Kind of Light,” which was going to be on Moving Pictures. They also did live versions of songs like “Wild Boys” and “The Thief Song” both of which were on a CD called ‘Shirley, Goodness and Misery’.

GW:   Why didn’t Moving Pictures come out?

SS:. Things were getting increasingly foggy for me at Solid Rock

Records: finish/ mix down and release dates kept getting pushed back. I finally gave up and left the project before it was finished.

All that to one side, regardless of the pros and cons of Solid Rock and or the stories that swirl around Larry Norman, I do think he’s made an immensely valuable, foundational contribution to the whole contemporary Christian music industry…and I don’t understand how someone that everyone nods towards and acknowledges as seminal ends up apparently scrabbling to pay for medical bills.

In my opinion, the ccm industry owes that guy so much for opening the door for so many people. If there was some kind of royalty structure attached to pioneering things and creating a huge market, you wouldn’t think he’d be looking at any kind of financial worries.

GW:   He’s probably got post traumatic shock syndrome from being the visible target for anything and everyone from day one.

SS: The guy took all the bullets, created the market, and now (apparently) has to scrounge around to get money to stay alive. I’m not addressing the complex, legal, lawyer/ shark   business aspect, I’m just saying that in real world terms (or `preferred real world’), he’s owed a lot more than he’s currently getting from those parts of the machine that benefited the most from his pioneering work.

GW: Do you see any recurring themes in your art?

SS:   The constants are I like collage, I like juxtaposing things, in everything I was doing in film and poetry. I look for very simple rudimentary patterns and try and build around those patterns, whether it’s a bass guitar sequence or film clips or the use of words.

GW: You’re kind of minimalist in that respect.

SS: I wouldn’t use the word ‘minimalist,” because my understanding of that concept/ label in art/ historical terms is the attempt to try and get back to the essence of the object or strip the relationship between the object and the viewer back down to its core constituents. Yes, I use very limited or minimal means, but for different reasons. I like kaleidoscopes and collage. I look for patterns when I’m writing poetry or writing songs or attempting some kind of visual thing, whether it be film or even in a book. If I write a full length book I will be looking for some sort of symmetry, resonance, emerging pattern. I’m more interested in things that start small but end up having multilayered effects. Like The Butterfly Effect, as my first spoken word album was called.

GW: Somehow you started making record albums.

SS: I started to write songs about local situations and people I knew or books I was reading. I’d layer a book title over the top of a situation I was aware of with a friend, or if I’d been travelling, I’d layer in bits of travel journal or fragments of that at one point. Like in the song, “Emotional Tourist” on the Lost Horizon CD, it has bits from Berlin, bits from being in a taxi cab in Delhi, India. They’re all woven or stitched together.

The character in “Emotional Tourist” was probably the beginning of The Boundaries, which are poetry/ travel journals. That way of working was the beginning of the process for The Boundaries. Around the time that David Bowie’s album, Lodger, came out, there was an interview in some rock magazine, New Musical Express or Melody Maker, and he was asked at one point because of all his   exotic musical references whether or not he could be accused of just being an emotional tourist. And I thought, well that’s an interesting turn of phrase! At that time also, I’d just seen Bowie in the film, Merry Christmas Mr. Lawrence, the film based on the   Laurens Van der Post book.   This is where the ritual suicide image came from in the third verse. So I was just stealing stuff from really good people, mashing it together, hanging it on a sort of improvised framework of things I was going through. Things from here and there, fragments of travel journal, bits from a film I’d just seen, so the song process and the song content was very much about skipping from surface to surface.

GW:   But somehow having a visceral impact.

SS: I felt the song had a certain kind of impact. I felt it created a picture of someone who never gets beyond the surface of things. If my record, Love in the Western World set up certain kinds of personae and knocked them down, talking very glibly about romantic love or the collapse of language or what have you, all the big ideas, in a very glib, self-referential, poppy kind of way, then “Emotional Tourist” went further and began to probe the idea of geography as history. In the song, “This Sad Music,” I used a remote control to click between a TV preacher and a newscast on dying whales, and the extension or variation of that approach. At last, if we follow the line into `Emotional Tourist’ and some of the later spoken word stuff, we come up with a series of “wish you were here” postcards referencing other cultures. Although as my exposure to some of those cultures deepened, my work and ideas began to change.

Chronologically, Love in the Western World was the first album, released on the Exit label around 1983-’84. Moving Pictures was from the late ‘70s, and bits of it have leaked onto other projects. Then there was the Emotional Tourist album, which never came out as such, and turned into Lost Horizon. It was supposed to come out on Exit/ A&M, and at one point I think it was in the pipeline for Island Records. They did put out albums by the 77s and Charlie Peacock, who had both been on Exit. Magnificent Obsession came out with tracks that weren’t on Lost Horizon plus some live stuff. (Lots of hats off and applause to Randy Layton and Alternative Records for stepping in and resurrecting those projects and putting his muscle and money and stuff into being Alternative Records to get that stuff out). After that I did a spoken word project for Mike Knott’s record company, Blonde Vinyl Records, called The Butterfly Effect. And applause to Chris Rhumba for getting me to Blonde Vinyl!

GW:   That is an amazing album. What you call spoken word many people would call performance art.

SS:   Yes, that’s like throwing the word “minimalism” around. Performance art, as I recall, was where people stepped away from the canvas on the wall and actually put themselves in real time: Joseph Beuys living in a room with a coyote for three days, Christopher Burden having himself nailed to a volkswagen. At the more accessible end of performance art would be someone like Laurie Anderson, who came out of a hard core gallery approach to things into a more populist, mixed-media approach.

GW: Do you morph at all into your other spoken word albums? Is there any change or is it continuing down the same path?

SS:   It’s definitely changing, but all the art I do revolves around rudimentary patterns and approaches to collage. The Butterfly Effect began by creating these sound loops in the studio and reading poems over the top. By the time we get to my later spoken word album, We Dreamed That We Were Strangers, the work that I’m doing in The Boundaries, which is a collection of travel journals and poems or poetic commentary on those travel journals, that’s starting to shade into what I’m doing in the recording studio. I’m reading sections of The Boundaries over the top of sound loops, so the album begins to draw more on the prose and poetry of the emerging Boundaries sequence of books.  

After that I did a project called Empty Orchestra. While I was in Holland touring The Butterfly Effect we started playing back the backing tracks. And we said, wouldn’t it be great to put an album of real minimal, ambient loops out. So Empty Orchestra was that project, Empty Orchestra is the literal translation of ‘karaoke’. So I wanted to do an album where everyone could be Steve Scott for a day so long as the only part of Steve Scott you want to be is the person doing spoken work performances. We printed the poems on the sleeve so that people who were sick of the sound of my voice could be me for the day.

I think More Than a Dream came next. That was a side step back to the rock songs. Empty Orchestra, We Dreamed That We Were Strangers, More Than a Dream and Crossing the Boundaries were all projects taken on by the late, lamented Mike Lucci. Mike and Heidi Lucci, then living in Kansas City, got involved in putting on local events and they had me come out to Kansas to do something like a lecture on the arts and a poetry reading. They started a local ‘zine and they had me write some stuff for them. It was called Entire Vision. Mike got hooked up with Mike Delaney of Rad Rockers and brought my projects in under Rad Rockers. Mike Delaney, God bless him, stepped out and was no longer just a guy keeping a lot of really good alternative Christian music visible, but he also got into the business of putting out Steve Scott projects on Glow Records. Initially championed by the Lucci family, Delaney stepped in and put his shoulder to the wheel and his and was Mr. Record Label.

All these guys: Larry Norman, Randy Layton, Randy Stonehill, the Luccis, Delaney. They’re all due incredible amounts of adulation and applause and flowers and chocolates for what they did to basically keep Steve Scott artistically afloat. Along with Exit Records, and the Neelys and the Warehouse. All those things are very, very good and nothing would be happening without that, but I really think a lot of credit is due to the groupthought of Larry Norman, the enterpreneurial aspects of Randy Layton, the Luccis, Mike Delaney, and all guys on the cultural fringe who believe in something and just keep pushing to make it happen.

GW:   I still think, like I wrote in The Gargoyle, which is the journal of the Malcolm Muggeridge Society in London, that you really ought to be on Virgin Records or some label like that.

SS:   I’m ready when they are. Glow Records did put some albums out. There’s one called ‘More Than a Dream’ which we can describe as idiosyncratic.

GW: There’s an excellent song on that album called ‘Descending of the Dove’, and does it or does it not remind me of Charles Williams’ book, The Descent of the Dove?

SS:   That’s where I stole the title from. Someone wrote to me and said “We would be playing ‘Descending of the Dove’ in our church as a praise song, but for the out of tune singing in the chorus.”

GW: That’s of course the part I like.  

SS: Yes, it’s sort of like an Irish pub song, with me playing tin whistle.

GW: And how many churches have you been to where everyone’s singing on key? Completely off the track, will there be any Steve Scott downloads?

SS: I don’t know. What would be better is if bands wanted to do their own versions of my songs. I’ve got more book projects, one on the arts in progress called “In the Shadow of God”. It is a follow up to Like A House on fire and Crying for a Vision. What I really want to do is more spoken work projects. I have sound loops made from ambient recordings made in southeast Asia and eastern Europe. I’ve been combining these things and coming up with multilayered and multitextured sound beds, and I have the poems to read over the top. I need to finish the tracks and CDs and complete the cover designs and go. I also need to finish The Boundaries. About a third of it has been published in various volumes, but the new edition will be a one volume edition called The collected Boundaries.    

(A version of this interview appeared in “Crying for a Vision and Other Essays” (2007).

                   

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Emotional Tourist

Emotional Tourist

Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project’s aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones.

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Izhevski ,  Emotional Tourist

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Sound Avenue

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Noah & Luca (Emotional Tourist Remix)

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The Young Proprietor

8 Light Years From Here

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Azimuth

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The Day the World Meets You

The Day the World Meets You

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Blanche II

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Ours

LØC ,  Gabrielle Pollina

Akbal Music

Top Ten Tracks

Sittin' Here In Silence Emotional Tourist Reinterpretation

La Rambla Original Mix

In the Clouds Emotional Tourist 'Clouds in the Summer' Remix

Noah & Luca Emotional Tourist Extended Remix

Alchimie De L'Univers feat. Ondin Original Mix

Azimuth Emotional Tourist Remix

Purple Heys Original Mix

444 Emotional Tourist Remix

8 Light Years From Here Figueras Remix

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Steve Scott is a poet/artist/musician that was part of fringes of the CCM market (see: 77's, Exit Records, Larry Norman). He's recorded works span from the early 1980's-present. This is the first time a 'collection' of his 'music' has been in issued in the 'secular' market.

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  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 5.62 x 0.37 x 5.01 inches; 3.36 ounces
  • Manufacturer ‏ : ‎ Arena Rock Recording Company
  • Original Release Date ‏ : ‎ 2012
  • Date First Available ‏ : ‎ December 8, 2011
  • Label ‏ : ‎ Arena Rock Recording Company
  • ASIN ‏ : ‎ B006JIL2X6
  • Number of discs ‏ : ‎ 1
  • #6,711 in Oldies & Retro (CDs & Vinyl)

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Guy J - Small Alarms (Emotional Tourist Revisit)

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Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project’s aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones. ...   more

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IMAGES

  1. Emotional Woman Tourist with Raised Up Hands on Nature Horizon Sunset

    emotional tourist

  2. Premium Photo

    emotional tourist

  3. Emotional Young Tourist Blond Girl Taking Walk in Town Stock Image

    emotional tourist

  4. Emotional Woman Tourist with Raised Up Hands on Nature Horizon Sunset

    emotional tourist

  5. Emotional Woman Tourist with Camera Raising Fists Up Stock Photo

    emotional tourist

  6. Emotional Woman Tourist with Raised Up Hands on Nature Horizon Sunset

    emotional tourist

COMMENTS

  1. Emotional Tourism: Drifting Aimlessly in Love

    Emotional tourism, an incomplete grieving process. After a breakup, many people go through a long mourning process in which, bit by bit, they try to come to terms with what happened: the loss of a life partner. At first they refuse to accept it. Then hopelessness invades, possibly along with depression and severe anxiety.

  2. Urban Dictionary: Emotional Tourist

    An emotional tourist is one that goes from person to person and feeds off of their experiences and emotions to fill the emptiness inside of them.

  3. Emotional Tourist

    Crying for a Vision and Other Essays. Everyone does one or the other. Here at last is a book for those who both struggle with the Muse and wrestle with the Angel. a deep love and understanding of Scripture with a passion for the arts." -Steve Turner, author, The Gospel According to the Beatles.

  4. Emotional Tourist

    Emotional Tourist - The Day the World Meets You EP [XYZ031]Release Date - 03.19.21Stream - https://xyzlabel.lnk.to/EmotionalTouristEasing us through the dept...

  5. Emotional Tourist · Biography

    Emotional Tourist, also known as Cosmin Stroe, is a talented DJ/Producer hailing from Bucharest, Romania. With a penchant for deep, progressive house, and its sub-genres, he crafts original tracks and captivating remixes that exude soulful vibes. In 2016, under his previous alias, Andrew Case, he made his entrance into the electronic music scene.

  6. Emotions in tourist experiences: Advancing our conceptual

    These examples further emphasize the importance attached to positive emotional responses associated with tourist experiences. However, whilst much of what drives tourist behaviour is a search for pleasure, it is a much more complex picture requiring the need for more detailed and theoretically driven research. In this respect, the literature on ...

  7. Emotional Tourist

    Emotional Tourist. 1,767 likes · 1 talking about this. Turning emotions into sounds and sounds into emotions.

  8. Emotional Tourist

    Emotional Tourist - Moments Yet To Come [Bandcamp Exclusive] by Emotional Tourist, released 08 September 2023

  9. Emotions in Tourism: From Consumer Behavior to Destination ...

    Emotions that arise from this interaction have proved to be important for the satisfaction of tourists and relevant to their loyalty to destinations. Nevertheless, the interaction per se is scarcely explored in tourism literature or applied research. To fill this gap, we provide a framework to assess the emotion-based interface between consumer ...

  10. The experience of emotion: Directions for tourism design

    Research collaborations among tourism scholars, emotional theorists, neuroscientists, engineers and design experts can prove useful to design tourism experiences having in mind emotional outcomes. The mainstream literature also shows that emotional outcomes are culture dependent, thus more studies in different tourism settings (e.g. non-Western ...

  11. Emotional Tourist

    Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project's aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones. ...

  12. Emotional Tourist

    Chronologically, Love in the Western World was the first album, released on the Exit label around 1983-'84. Moving Pictures was from the late '70s, and bits of it have leaked onto other projects. Then there was the Emotional Tourist album, which never came out as such, and turned into Lost Horizon.

  13. Emotions in Tourism: Theoretical Designs, Measurements, Analytics, and

    Tourism researchers tend to borrow and adapt emotion measures from psychology. Since these scales are not developed for tourism research, they unlikely capture the entire domain (type, nature, and intensity) of tourism-related emotions. Emotional experiences vary from one situation to another and are reliant on the measurement tool.

  14. Understanding the Relationships between Tourists' Emotional Experiences

    Results show that tourists' emotional experiences act as antecedents of perceived overall image and satisfaction evaluations. In addition, overall image has a positive influence on tourist satisfaction and intention to recommend. The study expands current theorizations by examining the merits of emotions in tourist behavior models.

  15. Guy J

    Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project's aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones. ... more. discography. Guy J - Last Standing (Emotional Tourist 'Pure Joy ...

  16. Emotional Tourist Music & Downloads on Beatport

    Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project's aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones.

  17. Amazon.com: Emotional Tourist: A Retrospective: CDs & Vinyl

    Emotional Tourist (a Steve Scott Retrospective) is an essential album that everyone should own. Read more. 6 people found this helpful. Helpful. Report. Henry H. 5.0 out of 5 stars One of the great unknowns. Reviewed in the United States on January 18, 2014.

  18. Emotional Tourist (@emotionaltourist) • Instagram photos and videos

    Something went wrong. There's an issue and the page could not be loaded. Reload page. 1,847 Followers, 424 Following, 244 Posts - See Instagram photos and videos from Emotional Tourist (@emotionaltourist)

  19. EBTG

    Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project's aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones. ...

  20. Delerium feat. Sarah McLachlan

    Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project's aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones. ...

  21. Samantha Andrews on Instagram: "QOTD: What's the best part of your day

    684 likes, 36 comments - everlasting.bookworm on March 9, 2024: "QOTD: What's the best part of your day? No matter how busy my days can get I always looking for..."

  22. Music

    Emotional Tourist. Bucharest, Romania. Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project's aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones.

  23. Guy J

    Emotional Tourist is a project started with hopes and dreams carefully transposed into dreamy sounds and melodics. The project's aim is nurtured with soulfulness and goes right to the heart, accessing the timeline of memories through music and also creating new ones. ... more. discography. Guy J - Last Standing (Emotional Tourist 'Pure Joy ...