We are now inside the installation by Dan Flavin, an American minimalist artist from New York who died in 1996 that was famous for creating sculpted objects and installations from commercially available flourishing light fixtures. With this basic line we cannot help from being immersed in the works of art. And even without reaching its extent entering a museum, listening to a music performance or in front of an archaeological site, we can be immersed. But what is consumer immersion? In order to understand what immersion is, we need to go back to 1999, when Pine & Gilmore wrote one of the pillars of the paper regarding experiential marketing, which is "Welcome to the Experience Economy." Pine & Gilmore described the experience according to two different dimensions. On one side, we have the customer participation, so the passive participation or the active participation, and then on the other side, the connection, so the absorption and the immersion. Passive participation, for example, is when we cannot do anything in front of the experience we are living. Active participation is when we co-create, we enter into contact with the experience we have in front of us. Then we have the typical example of going to a football match. If we are very close to the field, we are immersed, so connection immersion. When we are very far from the field, we are absorbing, we are not so close to the experience itself in order to see it from a very short distance. According to these two different dimensions of the experience, we can describe what Pine & Gilmore defined: the four realms of customer experience. The first one is entertainment. We can consider entertainment the experience that has high absorption and a passive participation, for example, watching TV. We are absorbing, and at the same time, we are passive. We cannot do anything, except for seeing it, and enjoy what there is on TV. Then we have education which is the second realm of experience. Education is—typically we use an example of going for a student to a class, being active and at the same time being absorbed, so not part and co-creator of the experience. We have the third one. What is the third one? The third one is escapist. Escapist is when, for example, we have a player of an orchestra. In the orchestra there are the people that are playing the instruments that are actively participating and at the same time they are immersed. We finally have the fourth realm, which is the aesthetic experience, the aesthetic experience is where we are now. Passive participation we can create anything the beautiful works of art we have in front of us but we are completely immersed. Now that we know what immersion is, we will enter in to detailing this concept of experiential marketing. Carù & Cova, in 2006, we will enter in to detailing this concept of experiential marketing. Carù & Cova, in 2006, described the two ways of being immersed in the experience: progressive immersion and immediate immersion. When can we have progressive and when can we have immediate immersion? Well, typically, it depends on our personal subjective characteristics. If we consider a museum for an example, the novice, the person that does not have any kind of education on the works of are that they are seeing is immersed in the experience through a progressive, step-by-step immersion in the context. On the other hand, if we are extremely competent on the works of art we are seeing, if we know, precisely, the stream of paintings that we are seeing, we enter, immediately, without any barrier, without any mediation, in the experience. This element that Carù & Cova pointed out is also connected to the fact that the experience is also a sort of creator and can define our own identity, because in the museum we want to enter the experience in order, in a way, to check to what extent we are competent or non-competent; and the more competent we are, the more immediate the experience itself is. and the more competent we are, the more immediate the experience itself is. After by Pine & Gilmore in 1999, and Carù & Cova in 2006 we have Hansen & Mossberg in 2013 that stated, clearly, that the expert immerses him or herself in the experience in an immediate way, the novice enters the experience in a progressive one. Well now we can conclude this focus on consumer immersion and understand how we can be inside the experience, how we can reach the proper immersion. The process is called "the appropriation of experience," and it is a sort of continuum of three steps, one connected with the other. We start with the one called nesting. What is nesting? Nesting is when we enter a context, we do not know anything about it, or we can know something, but we try to feel at home, we are looking for a point of anchorage, in order not to be floating in the air and absolutely outside the context we are seeing. When we enter a museum, for example, when we see a painting, typically the consumer is looking for elements, The person portrayed, the colors, the name of the painter, the landscape, something that gives some kind of familiarity. After nesting, we have the second step, which is investigation. What is investigation? Investigation, of course, is, after we know where we are, we want to investigate more, so we can enter in a sort of description of the product, in the works of art. In the music, we enter in a concept. We listen to music. We can recognize something which is nesting, we investigate more and that is investigating. Then we have the third part, the final part which is stamping. After we have got to the confidence of the product and the consumption, after we know that it is important to investigate, we decide to put our own idea and perception of the product in the works of art. And we want to stamp, give element that we be actually the element of the post-consumption, the memorabilia and souvenir that we have at the end of the beautiful experience that we are living.