Academic literature on the topic 'Arts Sponsorship'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Arts Sponsorship.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Arts Sponsorship"
1
Vance, Lenny, Maria M. Raciti, and Meredith Lawley. "Beyond brand exposure: measuring the sponsorship halo effect." Measuring Business Excellence 20, no. 3 (August 15, 2016): 1–14. http://dx.doi.org/10.1108/mbe-07-2015-0037.
Full textAbstract:
Purpose Global spending on sponsorship continues to rise and many companies now establish portfolios containing a range of sponsorships across sport, arts and cause-related activities. Yet a lack of practical methodologies for the measurement and comparison of sponsorship performance within a portfolio context remains a challenge. Sponsors often rely solely on proxy measures for brand exposure drawn from advertising. These do not capture the higher-level outcomes of sponsorship awareness and goodwill transfer, often attributed to sponsorship as a ‘halo effect’. This paper aims to present a matrix tool that combines consumer awareness of and goodwill for a sponsorship so the halo effects of sponsorships within a portfolio can be quantified and compared. Design/methodology/approach This archival analysis study is based on six years of brand tracking data (comprising some 15,500 consumer surveys) supplied by a large Australian company. A sponsorship portfolio matrix is developed to measure the halo effect. Findings This study demonstrates that a sponsorship’s halo effect can be measured and comparisons can be drawn across sponsorship types within a portfolio. The study shows that despite the significantly higher levels of brand awareness achieved by commercially oriented professional sports sponsorship types, community relations oriented sponsorship types achieve a greater halo effect because of their more positive impact on the sponsor’s brand attributes. Originality/value The matrix provides a valuable tool by which sponsorships can be compared, evaluated and managed to meet the longer-term brand and marketing objectives of a company.
2
Daellenbach, Kate, Lena Zander, and Peter Thirkell. "A sensemaking perspective on arts sponsorship decisions." Arts and the Market 6, no. 1 (May 3, 2016): 68–87. http://dx.doi.org/10.1108/aam-05-2013-0006.
Full textAbstract:
Purpose – The purpose of this paper is to better understand the sensemaking strategies of managers involved in making decisions concerning arts sponsorship. Design/methodology/approach – A qualitative, multiple case method is employed, using multiple informants in ten arts sponsorship decisions. Within and between case analyses were conducted and examined iteratively, along with literature to generate themes to guide future research. Findings – This study finds art sponsorships may be seen as ambiguous, cueing sensemaking; the sensemaking strategies of senior managers involve response to pro-social cues while middle managers draw on commercial benefit cues; sensebreaking and sensegiving are part of the process; and the actors and their interpretations draw from cues in the organisational frames of reference which act as filters, giving meaning to the situations. Research limitations/implications – This study presents a novel perspective on these decisions, focusing on the micro-level actions and interpretations of actors. It extends current understanding of sponsorship decision making, contributing to a perspective of managers responding to cues, interacting and making sense of their decisions. Practical implications – For arts managers, this perspective provides understanding of how managers (potential sponsors) respond to multiple cues, interpret and rationalise arts sponsorships. For corporate managers, insights reveal differences in sensemaking between hierarchical levels, and the role of interaction, and organisational frames of reference. Originality/value – This study is unique in its approach to understanding these decisions in terms of sensemaking, through the use of multiple informants and multiple case studies.
3
Jalleh, Geoffrey, Robert J. Donovan, Billie Giles-Corti, and C. D'Arcy J. Holman. "Sponsorship: Impact on Brand Awareness and Brand Attitudes." Social Marketing Quarterly 8, no. 1 (March 2002): 35–45. http://dx.doi.org/10.1080/15245000212545.
Full textAbstract:
Sponsorship is a rapidly growing tool in both commercial and social marketing areas, in Australia and overseas. Australian health promotion foundations distribute substantial funds to arts, sports, and racing organizations for the opportunity to have these organizations' events sponsored by health promoting organizations. However, in spite of substantial commercial and health expenditures, there has been little published systematic evaluation of sponsorship. Recent years have seen far more attention to this area. This article presents the results of a study designed to evaluate sponsorship effectiveness in terms of its two main communication objectives: brand awareness and brand attitude. Two health and four commercial sponsorships were evaluated at two major sporting events. Overall, the data suggest that sponsorship can influence both brand awareness and brand attitude, and that the health sponsorships had more impact than the commercial sponsors studied. These and other data confirm the potential usefulness for greater use of sponsorship in social marketing campaigns.
4
Rumball, Daphne. "Tobacco sponsorship and the Arts." Addiction 110, no. 12 (November 9, 2015): 2038. http://dx.doi.org/10.1111/add.13074.
Full text
5
Nickson, John. "Arts Sponsorship. An Unholy Alliance?" Musical Times 132, no. 1779 (May 1991): 237. http://dx.doi.org/10.2307/965693.
Full text
6
Toscani, Giulio, and Gerard Prendergast. "Arts Sponsorship Versus Sports Sponsorship: Which Is Better for Marketing Strategy?" Journal of Nonprofit & Public Sector Marketing 31, no. 4 (October 9, 2018): 428–50. http://dx.doi.org/10.1080/10495142.2018.1526748.
Full text
7
Eccles, Terry. "Opportunities for brands through arts sponsorship." Journal of Brand Management 1, no. 3 (December 1993): 157–62. http://dx.doi.org/10.1057/bm.1993.22.
Full text
8
Schiller, Herbert I. "Corporate Sponsorship." Art Journal 50, no. 3 (September 1991): 56–59. http://dx.doi.org/10.1080/00043249.1991.10791461.
Full text
9
Colbert, François, Alain d'Astous, and Marie‐Agnès Parmentier. "CONSUMER PERCEPTIONS OF SPONSORSHIP IN THE ARTS." International Journal of Cultural Policy 11, no. 2 (July 2005): 215–28. http://dx.doi.org/10.1080/10286630500198245.
Full text
10
Tweedy, Colin. "Is there a crisis in arts sponsorship?" International Journal of Nonprofit and Voluntary Sector Marketing 1, no. 2 (April 1996): 121–26. http://dx.doi.org/10.1002/nvsm.6090010205.
Full textDissertations / Theses on the topic "Arts Sponsorship"
1
Beggs, Jennifer C. "Understanding corporate motivations and trends in sponsorship /." Philadelphia, Pa. : Drexel University, 2004. http://dspace.library.drexel.edu/handle/1860/461.
Full text
2
GOMES, PAULA CRISTINA DA CUNHA. "CORPORATE SPONSORSHIP FOR ARTS: THE MAIN DIFFICULTIES COMPANIES FACE IN SELECTING PROJECTS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=3198@1.
Full textAbstract:
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOO patrocínio cultural desempenha um papel cada vez mais importante como ferramenta de comunicação de marketing nas empresas.Dentre seus atrativos, destaca-se a capacidade de comunicar-se com os mais variados tipos de público e de fortalecer a imagem institucional da empresa. Estudos têm sido realizados abordando os efeitos do patrocínio, mas pouco tem sido pesquisado a respeito do processo de escolha dos patrocínios pelas empresas. Este trabalho pretende preencher parte desta lacuna. Através de estudos de casos, a pesquisa identifica quais as principais dificuldades enfrentadas pelas empresas na condução do processo de seleção de projetos culturais. Os dados foram coletados por meio de entrevistas com pessoas-chave, cuja experiência no setor foi preponderante para a escolha. As entrevistas realizadas sugerem que os principais problemas são gerados por dois fatores principais: o despreparo dos profissionais envolvidos no processo, interna ou externamente, e as falhas de comunicação existentes entre as partes envolvidas. O estudo não tem a pretensão de abordar todos os aspectos relacionados, mas apontar os entraves a uma condução mais eficaz do processo e,deste modo, servir de base para que futuras pesquisas apresentarem soluções para as questões aqui levantadas.
Corporate sponsorship is growing in importance as a form of marketing communication. The role of sponsorship is particularly relevant to bridge the gap between a wide range of publics and the corporate image. This work intends to narrow that gap. Through case studies the research identifies the difficulties companies face in selecting projects to receive sponsorship. Data were gathered through interviews with experts with experience with that process. Results suggest that problems are generated by two major factors: Professionals both from arts business and from the sponsoring companies seem unprepared for dealing with the process altogether. In addition, communication between both parts are rather cumbersome. As it shows the major obstacles to an efficient approach to the problem, this study subsidizes not only more immediate solutions but future studies on the subject.
3
Backhouse, Peter. "The political significance of business sponsorship of the arts : does business shape art? /." Title page only, 1986. http://web4.library.adelaide.edu.au/theses/09AR/09arb126.pdf.
Full text
4
Thomas, Mark P. "Schuylkill County Community Chorus promotional video." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1989. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M.S.)--Kutztown University, 1989.Source: Masters Abstracts International, Volume: 45-06, page: 2722. Abstract follows appendices. Typescript. Includes bibliographical references (leaves 50-51).
5
Siani, Sergio Ricardo. "Marketing no MMA: a identificação dos atributos do esporte para captação de patrocínio e as possíveis associações com potenciais marcas patrocinadoras." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20430.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-28T12:41:24Z
No. of bitstreams: 1
Sergio Ricardo Siani.pdf: 7044998 bytes, checksum: e120d7062b2b4b12844db4afacf01331 (MD5)Made available in DSpace on 2017-09-28T12:41:24Z (GMT). No. of bitstreams: 1 Sergio Ricardo Siani.pdf: 7044998 bytes, checksum: e120d7062b2b4b12844db4afacf01331 (MD5) Previous issue date: 2017-09-14
The fight sport known as MMA – Mixed Martial Arts, which in Portuguese corresponds to Artes Marciais Mistas, has lived in the last decade a very successful trajectory of increase and sustained, since the beginning, a singular relationship with Brazil – country that originated in the 20th century a kind of fight known as “Vale Tudo”, “Anything goes”, in English – being such modality the start of what is worldwide conceived as MMA. In the field of marketing management, the interest of sports marketing on such modality of sport is focused not only in the aspects provided by events related to that, but mainly in the increase potential of its globalized market. Defining a marketing strategy for such modality is still a challenge, since not all brands are willing to sponsor a fight event. The present study, which aims to investigate with attributes of MMA sport can establish a synergy with potential brands of interest of event organizers, with the intent to contribute to the theory of sports marketing and also contribute to the MMA event’s organizers may have sponsorship for their events, is not an easy task, because apart from being a good product to offer (event, athlete, location and so on) the promotor company “must define its own action strategy”. In both qualitative and quantitative nature, this research was carried out in three different phases: first, it was searched among MMA event’s organizers, by semi-structured interviews, to understand which brands or sponsors would be present in the dreamed events. The second phase, with was quantitative, applied a survey questionnaire, along with the audience of three MMA events and the motives behind the intention to watch such events. The results obtained in the first phase of the study, that is, the identification of the favorite brands of the event’s organizers were: Nike, Coke, Reebok, Banco do Brasil and Honda; the data obtained in the second phase consisted of getting the MMA attributes which were: adrenaline, emotion, joy, pleasure and aggressiveness, propelled the third and last phase of this study, in which, again, by the application of survey questionnaires, there were associations between brands and attributes. After carrying out four statistical tests, this researchwork reaches the conclusion that the atribute most linked to MMA was adrenaline and as for brand Nike was chosen. The aggressiveness was pointed out as a kind of attribute in which the audience related to this kind of sport, what generated the hypothesis of considering such modality as an aggressive one both in a view that only people who had never had any connection with MMA at all
O esporte de lutas MMA - Mixed Martial Arts, em português, Artes Marciais Mistas tem vivenciado na última década uma bem sucedida trajetória de crescimento e mantém desde a sua origem uma relação singular com o Brasil - país que deu origem, no século XX, a um tipo de luta conhecida como “Vale Tudo” – sendo esta modalidade a precursora do que hoje é mundialmente conhecido como MMA. No campo da gestão de marketing, o interesse do marketing esportivo sobre este esporte está focalizado não apenas nos aspectos decorrentes dos eventos que ele propicia, mas principalmente, no potencial de crescimento do seu mercado globalizado. Definir uma estratégia de marketing para essa modalidade ainda éum desafio, pois nem todas as marcas querem patrocinar um evento de lutas. O presente estudo tem o objetivo de investigar quais são os atributos do esporte MMA capazes de estabelecer sinergia com potenciais marcas de interesse dos organizadores de eventos. Com a intenção de contribuir para a teoria do marketing esportivo, mas também de auxiliar os organizadores de eventos de MMA a obter patrocínio para seus eventos; tarefa fácil, pois, além de um bom produto a oferecer (evento, atleta, local, etc), a empresa promotora “deve definir para si uma estratégia de ação”. De natureza qualitativa e quantitativa (quali-quanti), a pesquisa foi realizada em três fases distintas: na primeira buscou-se, junto a organziadores de eventos de MMA, por meio de entrevistas semi-estruturadas, entender quais marcas e/ou patrocinadores estariam presentes, no evento dos seus sonhos. Na segunda fase, quantitativa, usando questionario survey, buscou-se compreender junto à platéia de três eventos de MMA, a motivação para assistir presencialmente tais eventos. Ao apurar os dados da primeira fase do estudo, conclui-se que as marcas favoritas dos organizadores de eventos foram: Nike, Coca Cola, Reebok, Banco do Brasil e Honda. Os dados da segunda fase que apuraram os atributos do MMA, destacaram-se: adrenalina, emoção, alegria, prazer e agressividade. Após as apurações, deu-se inicio à terceira e última fase do estudo, onde, novamente com base em questionários survey, buscou-se associações entre marcas e atributos. Após realizar quatro testes estatísticos, conclui-se que o atributo mais associado com o MMA foi a adrenalina e a marca foi a Nike. A agressividade foi apontada como o atributo que a platéia menos associou a este esporte, o que gerou a hipótese de que considerar este esporte agressivo configure-se com uma visão que apenas de pessoas que nunca tiveram ligaçao com o MMA tem sobre ele
6
Casal, Bouzon Manuela, and Magnus Orestig. "Bortom Kultursponsring : En studie av samarbeten mellan teater och näringsliv." Thesis, Linköping University, Department of Management and Economics, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2423.
Full textAbstract:
Bakgrund: Den svenska teaterscenen befinner sig i vad som tycks vara en ständig ekonomisk kris. De offentliga medlen räcker inte längre till, vilket har fått till följd att teaterinstitutionerna har blivit tvungna att söka sig nya inkomstkällor. Kultursponsring är en alternativ finansieringsform som har blivit allt vanligare. Vi vill undersöka kultursponsringens möjligheter för svensk teater.
Syfte: Syftet med uppsatsen är att undersöka möjligheterna att gå bortom den traditionella definitionen av kultursponsring för att skapa ett helhetsperspektiv på utbyten mellan teater och näringsliv.
Avgränsningar: Vi utgår ifrån Sveriges teaterinstitutioner och de kulturpolitiska målen som är uppställda av Sveriges Riksdag.
Genomförande: Vår undersökning bygger på sju intervjuer med representanter från teatrar och företag.
Resultat: Idag ses kultursponsring främst som ett marknadsföringsverktyg, där det sker ett utbyte av image mot pengar. Vi anser att med denna begränsade definition förbises den största potentialen, vilken återfinns i själva mötet mellan teater- och affärsvärlden.
7
Souza, Eduardo Fragoaz de. "A moeda da arte: a dinâmica dos campos artístico e econômico no patrocínio do CCBB." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-12022009-172021/.
Full textAbstract:
A pesquisa teve como objetivo compreender as motivações que sustentam o patrocínio artístico do Banco do Brasil, a partir da análise dos critérios utilizados na seleção dos projetos e na estruturação da programação do Centro Cultural Banco do Brasil (CCBB) São Paulo, nas áreas de artes cênicas e artes plásticas, nos anos de 2005 e 2006. Identificou-se que o CCBB situa-se na intersecção dos campos econômico e artístico que, não obstante obedecerem a normatividades muitas vezes antagônicas, estabelecem, na ação de patrocínio, dinâmica de interdependência, que também é permeada por conflitos. Para o mantenedor, as ações de patrocínio se justificam por quatro razões fundamentais: a busca pela melhoria de sua imagem diante de seus públicos de interesse, a necessidade de se afirmar como empresa socialmente responsável, a utilização do patrocínio como instrumento de marketing de relacionamento e a obtenção de benefícios tributários. Essas justificativas se ancoram em universo valorativo próprio do campo econômico, calcado em racionalidade que se sustenta pela busca constante de lucratividade e conquista de mercados. Por outro lado, na qualidade de instituição cultural, o CCBB seleciona os projetos a serem patrocinados e estrutura a sua programação, a partir de juízos próprios do campo artístico (inovação, relevância conceitual e temática, grau de consagração de obras e artistas, dentre outros). Se houvesse a preponderância dos julgamentos econômicos na seleção das obras, a arte patrocinada perderia a sua moeda de troca, já que seu capital simbólico decorre justamente da negação de qualquer constrição externa ao campo artístico. Analisando a programação do CCBB nas áreas pesquisadas, identificamos que o resultado das escolhas é coerente com o principal eixo curatorial da instituição que é a diversidade. Apesar do destaque dado a nomes consagrados, artistas menos conhecidos também são contemplados, ainda que em menor número e com espaços reduzidos. Nas artes cênicas, a preocupação central é com a presença de atores renomados, sendo que sua programação não se qualifica nem como teatro comercial, nem como teatro experimental. Nas artes plásticas, aparece também uma posição dúbia, já que ao tempo em que promove a arte contemporânea, correndo certa dose de riscos em suas escolhas, privilegia, por outro lado, formas de patrocínio menos arriscadas, como as mostras museológicas e coletivas (essas abrangendo outras manifestações que não apenas as contemporâneas). A exposição nos meios de comunicação de massa e a quantidade de público nos eventos patrocinados são os principais fatores considerados na qualificação do patrocínio como bem sucedido. Isso revela características eminentemente narcísicas que envolvem as ações de patrocínio, nas quais a repercussão na mídia garante a amplificação da imagem benevolente e pretensamente desinteressada da empresa, mesmo junto aos públicos não fruidores das artes patrocinadas. A preocupação com a percepção desse público foi decisiva na opção da empresa em retirar uma obra iconoclasta da exposição Erotica, no momento em que a instituição foi confrontada por segmentos da população que julgaram que seus símbolos religiosos haviam sido vilipendiados.This study aims to explore the reasons behind Banco do Brasils sponsorship of the arts. To this end, an analysis of the criteria used both for selecting theater and visual arts projects and designing Banco do Brasils Cultural Center (CCBB) program of cultural activities between 2005 and 2006 was carried out. It was found out that the CCBB lies at the interface between the economic and artistic fields, which, albeit governed by conflicting normativities, become interdependent when it comes to sponsoring, but not without dispute. Justification for the banks sponsorship activities is fourfold: as an attempt to improve its image with the banks various stakeholders; the need to become publicly known as a socially responsible company; the use of sponsorship as a tool of relationship marketing; and the possibility of earning tax benefits. These reasons stem from a set of values that are typically from the economic field. The rationality behind them is an ongoing search for profit and the conquest of new markets. As a cultural institution, however, the CCBB uses artistic criteria such as innovation, conceptual and thematic relevance, and the reputation of art works and artists to select artistic projects for sponsorship and to design its own program of cultural activities. If economic criteria prevailed, the sponsored art, whose symbolic capital stems precisely from the denial of any external restraint to the artistic field, would lose its role as a medium-ofexchange. By analyzing CCBBs theater and visual arts programs, the choices that were made were found to be consistent with its main curatorial policy, namely, that of promoting diversity. Although highly renowned artists prevail, minor artists are also present but in smaller numbers, and taking less space. As for theater projects, the CCBBs main concern is to ensure that widely acclaimed actors are included in its theatrical program, which can be neither regarded as purely commercial nor experimental theater. In the visual arts, the institutions position is also ambivalent. Although it promotes contemporary art, which includes a fair amount of risk-taking, sponsorship of less risky pieces, such as museum collections (including art from other historical periods) and group shows, prevail. Media exposure and the number of viewers attending sponsored events are perceived as the main indicators of a successful event. Sponsoring therefore can be seen as highly narcissistic: media repercussion ensures that the companys supposedly unbiased benefactor image is widely spread, even among those who do not attend the sponsored events. Concern about the perception of the latter group was critical when the company chose to withdraw an iconoclastic piece from a show called Erotica. The institution had been challenged by members of the public who believed their religious symbols had been profaned.
8
Carrillat, FrancoÌ?is Anthony. "The effect of perceived entitativity on implicit image transfer in multiple sponsorships." Scholar Commons, 2005. http://scholarcommons.usf.edu/etd/2812.
Full textAbstract:
This dissertation proposes that in the case of multiple sponsorships (i.e., brands sponsoring concomitantly the same event), the group constituted by the sponsoring brands and the sponsored event will be perceived as an entity; a phenomenon that Campbell (1958) called entitativity. The extent to which a group of brands and a sponsored event is seen as being entitative will result in stereotypic processing of the group members (Brewer and Harasty 1996). Information about an entitative group is abstracted and used to form judgments about every group member (McConnell, Sherman, and Hamilton 1997). Characteristics tied to one brand or to the event will become associated to the other brands due to category-based information processing (Fiske and Neuberg 1990).
As a result, images associated with a brand or an event that belongs to an entitative group will be transferred to other brands of that group due to stereotyping.Image transfer effects were investigated through an experiment. Image transfer in sponsorship occurs primarily at an implicit level because sponsorship messages are subtle (Pham and Vanhuele 1997). As a consequence, the savings in relearning paradigm (Ebbinghaus 1885/1964) was the methodology used. It allows investigating implicit memory by comparing the recall of paired-associations between brands and image-traits across a multiple sponsorship and a no sponsorship condition. The findings confirmed that the event and the concomitant sponsoring brands were perceived as an entitative group, which resulted in an implicit transfer of image among the brands (Brand Image Transfer, BIT) as well as from the event to the brands (Event Image Transfer, EIT).
9
Masè, Stefania. "Art & Business : from sponsorship and philanthropy to the contemporary process of artification." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040011.
Full textAbstract:
Cette thèse bilingue (anglais-italien) en deux volumes est consacrée aux relations que les entreprises tissent avec le monde de l’art. Nous rendons compte du phénomène dans une Revue Systématique de la Littérature qui a permis l’identification de la relation Art & Entreprise selon neuf axes de recherche, qui vont de la philanthropie au parrainage et à l’artification. Nous définissons ce nouveau concept d’artification en tant que relation entre les artistes contemporains et les entreprises appartenant au secteur luxe de la mode. Pour elles, les arts visuels deviennent une troisième source capable de préserver, aux yeux du consommateur, une valeur de marque minée par les effets de la mondialisation et des fusions acquisitions qui ont transformé le secteur luxe de l’industrie de la mode. Les entreprises adoptent un Processus d’Artification visant à transformer leurs produits en œuvres d’art, et deviennent des acteurs nouveaux dans les arts. Après une étude de cas consacrée à l’entreprise française Louis Vuitton, nous testons ce que nous nommons un Effet d’Artification, par le biais d’une expérience-sondage, qui a pris la forme de questionnaires distribués à un échantillon de 880 consommateurs français, au sein du laboratoire INSEAD SORBONNE BEHAVIOURAL LAB. Nous avons testé l’Effet d’Artification en utilisant le modèle de Customer-Based Brand Equity et de la mesure de l’échelle esthétique. Les résultats et leur analyse statistique détaillée montrent que les arts visuels jouent le rôle de troisième source capable de changer la valeur de la marque. Le Processus d’Artification a donc la capacité d’agir en tant que stimulus sur la perception du luxe auprès du consommateur final, réel ou potentielIn a two-volume bilingual dissertation in English and in Italian, we research the way companies weave relationships with the art world. First, we account for this phenomenon through a Systematic Literature Review. It allows us to identify the relational Art & Enterprise forms in nine areas of research spanning from sponsorship to philanthropy and to artification. We define this new concept as a specific relational mode between contemporary artists and business enterprises which is frequent in luxury fashion. The visual arts become a viable third source capable of maintining brand value for consumers who are ever more sensitive to a loss in luxury brand value. It is caused by globalization and the frequent mergers and acquisitions that are transforming the luxury sector in the fashion industry. Luxury businesses’aim is to elevate their products into objects of art. Process of Artification additionally results in their acting as key players in the art world. After a case study of French company Louis Vuitton, we finally test what we term Artification Effect by carrying out a consumer-based survey: with the help of INSEAD-SORBONNE BEHAVIOURAL LAB, we designed a survey with questionnaires distributed to an 880 French-consumers sample. We tested the Artification Effect through the model of Customer-Based Brand Equity and The Measurement of the Aesthetic Scale. The results and our in-depth statistical analysis prove that the visual arts effectively play the role of third source capable of changing the value of a brand. The Artification Process therefore acts as stimulus eliciting the perception of luxury in the end or potential consumer
10
Yang, Hui-Chun, and 楊惠鈞. "A study of the effectiveness of consumer to corporate sponsorship in arts events." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/34977204043249570152.
Full textAbstract:
碩士淡江大學
國際貿易學系國際企業學碩士班
97
Many companies use sponsorship to increase the awareness and image of the brand. Previous findings show that through sponsorship and corporations can improve brand awareness and strengthen brand image to influence consumers’ buying behaviors. This research will discuss factors which affect art events sponsoring efficiency through consumers’ attitude, and expect this research can help firms in marketing affairs. The study choose consumer awareness of the sponsor motives, consumer attitudes to sponsored enterprises, consumer attitudes to sponsor events, fitness between corporate and sponsoring event, and art events involvement as independent variables and sponsoring efficiency as dependent variables . There are four findings from this research: 1. Consumer awareness of the sponsor motives to sponsoring efficiency has a direct impact. 2. Consumer attitudes to sponsored enterprises to sponsoring efficiency have a direct impact. However, consumer attitudes to sponsor events to sponsoring efficiency have no direct impact. 3. Fitness between corporate and sponsoring event to sponsoring efficiency has a direct impact. 4. Art events involvement to sponsoring efficiency has a direct impact.
Books on the topic "Arts Sponsorship"
1
Arts Council of England. Library. Sponsorship of the arts. 3rd ed. London: Arts Council, 1994.
Find full text
2
Greer, Catherine Sarah. Corporate sponsorship of the arts. (s.l: The Author), 1996.
Find full text
3
England, Arts Council of. Sponsorship of the arts: Bibliography. London: The Council, 1997.
Find full text
4
Bovaird, A. G. Arts sponsorship: The case for & against. Birmingham: Aston Business School Research Institute, 1997.
Find full text
5
(Organization), Healthway. Healthway sport/arts/racing sponsorship guidelines. [West Perth, WA]: Healthway, 1990.
Find full text
8
Association For Business Sponsorship Of The Arts. Association for business sponsorship of the arts: W.H. Smith sponsorship manual. London: ABSA, 1985.
Find full text
9
Shepard, Fairey, Arcabascio Tony, and BLK/MRKT Gallery, eds. Sponsorship: The fine art of corporate sponsorship : the corporate sponsorhip of art. Corte Madera, CA: Gingko Press, 2005.
Find full text
10
Bergin, Ron. Sponsorship and the arts: A practical guide to corporate sponsorship of the performing and visual arts. Evanston, Ill. (P.O. Box 6487, Evanston 60202): Entertainment Resource Group, 1990.
Find full textBook chapters on the topic "Arts Sponsorship"
1
Corti, Billie, C. D’Arcy, J. Holman, Robert J. Donovan, Shirley K. Frizzell, and Addy M. Carroll. "Using sponsorship to create healthy environments for sport, racing and arts venues in Western Australia." In Debates and Dilemmas in Promoting Health, 271–83. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-25349-4_30.
Full text
2
Howes, Anton. "Rise of the Managers." In Arts and Minds, 242–72. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691182643.003.0011.
Full textAbstract:
This chapter analyzes why the Royal Society of Arts never had a permanent function but was instead meant to find new things to improve. It discusses the utilitarian-supported reforms of the late nineteenth century that laid the foundations for state systems of education, health, and welfare to grow in size and complexity. It also points out changes in the membership of the Society that reflects the growth of both government and corporate bureaucracies. The chapter describes Society's new members in the mid-twentieth century that were increasingly drawn from the civil service, middle management, and chairmen or directors of companies. It also conveys how the Society reacted to the trend of bureaucracies by increasingly appealing to large firms for the sponsorship of its industrial design bursaries.
3
Podro, Michael. "Thomas Monrad Puttfarken 1943–2006." In Proceedings of the British Academy, Volume 166, Biographical Memoirs of Fellows, IX. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264751.003.0013.
Full textAbstract:
Thomas Puttfarken was one of the most accomplished and original art historians of the last quarter century. His enormous contribution to the life and work of the University of Essex, where he spent nearly all of his academic career, included vigorous sponsorship of the arts on and off campus (including the University choir), and support for the preservation of the built and natural environments. He was a lover of good food, good wine, good company, and a wide range of music–as well as a talented painter and furniture-maker.
4
De Lucca, Valeria. "The Colonna, Aristocratic Culture, and the Display of Power in Seventeenth-Century Rome." In The Politics of Princely Entertainment, 13–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.003.0002.
Full textAbstract:
Patronage of the arts and the sponsorship of events that attracted public attention were essential tools for the Roman elite to negotiate their position within the complex social and political structure of the city. This chapter introduces Lorenzo Onofrio Colonna, Maria Mancini, and their cultural milieu in Rome. Their palace in piazza Santi Apostoli became the stage for their support of conversazioni, music-making, and intellectual gatherings. The palace and its collections of paintings, antiquities, arts, and the cycle of frescoes that began to be executed during Lorenzo Onofrio’s life were also essential elements of their self-fashioning and family myth-making.
5
Turanci, Eda. "Consumption in the Digital Age." In Advances in Media, Entertainment, and the Arts, 266–86. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8491-9.ch016.
Full textAbstract:
In today's world, the digital environment has an influence on consumers' lives, in terms of attitudes, preferences, habits, likes and dislikes, and purchasing practices. It is also observed that throughout history, a variety of professionals have been utilized to influence the public. To the group of individuals who lead as celebrities, role models, or opinion leaders in the digital age, “influencers” have been added in. This chapter aims to examine the relationship between influencers and consumption. As a result of the research, it was revealed that most of the shares/posts had the name of a brand or product, tagged brand, or used related hashtags to direct followers to consumption. The findings also show that despite the use of a large number of brand names, a very small number of these posts have the emphasis of sponsorship, advertising, or cooperation. Finally, it was also found that despite the high number of followers, the interaction rate is very low.
6
Chou, Wen-Hao Winston, Jhih-yin Diane Lee, and James J. Zhang. "The Role of Art in Persuasiveness of Sport Sponsorship." In Multidisciplinary Perspectives on Media Fandom, 219–39. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3323-9.ch012.
Full textAbstract:
In this chapter, authors from two disciplines—sport management and art education—explore three art-related identities in the context of sport sponsorship and explain how these art-related roles might influence the persuasiveness of sport sponsorship by affecting a sport fan's aesthetic assessment. Specifically, a sport fan could have multiple identities that are related to art, such as an art critic, an artist, and an art-event attender, and he/she might have a higher standard of aesthetics when processing persuasion messages built in sport sponsorships. By introducing the concept of art and aesthetics into the discussion of sport sponsorship effectiveness in the persuasion process, scholars and practitioners can learn from the role of art in fandom and apply this information to the context of sponsorship research and practice by highlighting its ever-growing importance in affecting the persuasiveness of sponsorship communicating in today's media. The challenges of methodology and possible research suggestions are discussed in the conclusion.
7
Rogers, Asha. "Introduction." In State Sponsored Literature, 1–27. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857761.003.0001.
Full textAbstract:
The introduction complicates the Orwellian orthodoxies we have inherited regarding literary vulnerability and monolithic state power by explaining how Matthew Arnold’s ideas about the state a guardian of culture found full expression in post-war Britain. Moving from examples including Reith’s BBC and Keynes’ Arts Council, it then discusses how institutional beliefs about the identity of literature’s publics and what they needed were gradually disrupted by the increasing ethnic and cultural diversification of Britain after the 1948 Nationality Act. The final sections of the Introduction set out the book’s conceptual challenge to the Manicheanism structuring both Bourdieu’s concept of the literary field, and ideas of the state as either censor or ultimate saviour. It concludes by evaluating the implications of viewing sponsorship as an expressive act for ideas of autonomy, and why archival work has the potential to transform our understanding of literature and its reading publics.
8
Lin, Jenny. "From Shanghai to New York by way of conclusion." In Above Sea, 147–53. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0006.
Full textAbstract:
The conclusion considers the continued, widespread proliferation of the staid East-meets-West trope through a critique of the Metropolitan Museum of Art’s 2015 exhibition, “China: Through the Looking Glass.” Ruminating on the afterlives of East-meets-West exoticizations, the conclusion synthesizes the preceding ones by analyzing the exhibition’s loaded cross-cultural hybrids of art-fashion-celebrity culture and Sino-US corporate sponsorship. The chapter argues that “China: Through the Looking Glass” might have countered the critique that the exhibition did not adequately present contemporary Chinese culture by including some of the art and design projects presented throughout the book, summarizing the vital issues these projects raise.
9
McNeece, Lucy Stone. "Abdelkébir Khatibi." In Abdelkébir Khatibi, 261–78. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622331.003.0012.
Full textAbstract:
Despite the considerable acclaim that Khatibi’s work has received, critics are frequently challenged to describe it. It is often considered « hybrid, » because it cannot be contained by the genres and categories of thought that we associate with Literature. I will argue that Khatibi’s work is less hybrid than « hermetic, » and that the difficulty felt in classifying or even analyzing his writing, is due to the presence of echoes and traces of archaic traditions. Khatibi devoted years of his life to studying other cultures as well as his own, finding that it was a rich fabric of varied influences, just as he found that other cultures bear material traces of many buried encounters. The influences present in Khatibi’s writing include Sufism, the traditions of Asia, such as the Tao and the Vedas, but also the esoteric sciences originating in Mesopotamia and Egypt that found their way to Greece, and which were revised and translated by Arabs and Eastern Christians. These entered into Europe from Andalusia and also through Italy, under the sponsorship of the Medicis, and contributed substantially to the revolution in the arts and sciences of the Renaissance. These cultures entertained a different relation to signs and images than that which has predominated since the Enlightenment in Europe. They also had a less binary and hierarchised conception of the world and man’s place in it. They imagined the universe as the space of a continuous transformation of diverse elements, a view opposed to that of the rational individual as master of his environment. Ostracized by the Church and the State, they remained in shadow, treated as heresies. I will try to show that many of the unorthodox traits of Khatibi’s thought and writing can be attributed to the influence of these archaic traditions, whose poetic and ethical values have much to teach us in the modern world.
10
Pierce, Susan Resneck. "The Importance of Mission." In Rethinking Liberal Education. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195097726.003.0005.
Full textAbstract:
In fall 1993 the University of Puget Sound Board of Trustees accepted an offer from Seattle University to assume sponsorship of the Puget Sound School of Law. Although we had not been seeking an alternative home for the law school, we board members responded to Seattle University's initiative as we did because we believed that transferring the law school would clarify to all our constituents the University of Puget Sound's mission as a national liberal arts college. We were also convinced that the law school— which had been established in 1971 and was located in a renovated department store in downtown Tacoma, a ten-minute drive from Puget Sound's main campus—would be better served by becoming part of an institution firmly committed to professional and graduate education. The action illustrates how two very different universities can work together to ensure that each offers those programs that best fit its mission. For Puget Sound, the decision further exemplifies our determination to focus our resources, financial and human, on what we do best—a determination that grew out of the awareness that we cannot (and should not) try to do and be everything. The aftermath of the decision, however, dramatizes something very different: that even though the rhetoric of higher education in the 1990s is characterized by calls for institutional focus and for funding only the endeavors that are central to that focus, the pressure from multiple constituencies makes it very difficult for colleges and universities to move beyond talk to action. Furthermore, although most universities are not likely to face the directly comparable choice of transferring a program, this situation demonstrates instructive principles to all institutions: it is essential that their governing boards be absolutely clear about institutional mission and ensure that resources are allocated accordingly,- it is equally important that institutional mission grows out of institutional strengths; and it is crucial that boards select and support presidents whose vision is consistent with their own. Puget Sound has deliberately been true to these principles for some time.
Conference papers on the topic "Arts Sponsorship"
1
Shenhar, Joram, John L. Hill, and Mark A. Lombardo. "The Advanced Handbrake Actuator System." In ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-33244.
Full textAbstract:
State-of-the-art freight car handbrakes are manpower intensive. Setting and releasing handbrakes expose operators to safety hazards and the potential for human error exposes train operations for possible time delays, mild to severe maintenance issues and ultimately the potential for major rail accidents. In response to the need to reduce the hazard associated with freight car handbrakes, UTD has developed the Advanced Handbrake Actuator System (AHAS), a fail-safe powered handbrake device, accessible from ground level on either side of the car. The AHAS concept was developed, manufactured and demonstrated under sponsorship of the Federal Railroad Administration (FRA) Small Business Innovation Research (SBIR) program. The system is designed to replace existing handbrake wheels and provide significant improvements by offering new ways of applying or releasing the brake. Remote electronic signal, car mounted hand levered pneumatic valve, and a manual hand crank mechanism, requiring significantly less effort than that required by the state-of-the-art handbrake wheel, constitute three methods of actuation. The AHAS is comprised of a compression coil spring arranged to apply tension to the handbrake chain as its default condition. Two release systems are available. The first uses an air cylinder actuator connected in series with the spring and chain. Applying air pressure by remote or local command will compress the spring and release the handbrake. The spring may also be compressed to release the handbrake by a hand crank mechanism, accessible from ground level on either side of the car. The AHAS is equipped with a dedicated air reservoir charged with compressed air prior to departure via the train’s brake pipe. The AHAS was successfully field tested on a freight car in regular service over a period of three months and was found to be user friendly and safe, logging over 120 successful operations.
2
Lugonjić, Marija. "Comparative Analysis of Medical Workers." In Organizations at Innovation and Digital Transformation Roundabout. University of Maribor Press, 2020. http://dx.doi.org/10.18690/978-961-286-388-3.33.
Full textAbstract:
Continuous Medical Education (CME) is becoming a minimum condition for adapting to today's changes and achieving success in professional and personal fields.The aim of this paper is a comparative analysis of CME in Serbia, the European Union, and the United Kingdom; US, Russian Federation and Iran. The aim of this comparative study was to assess the main countryspecific institutional settings applied by governments. Methods: A common scheme of analysis was applied to investigate the following variables: CME institutional framework; benefits and/or penalties to participants; types of CME activities and system of credits; accreditation of CME providers and events; CME funding and sponsorship. The analysis involved reviewing the literature on CME policy. Results: The US system has clear KME boundaries because it is implemented solely by credentialed institutions that organize dedicated meetings with the clear purpose of educating medical professionals.The European Union has not yet been able to reconcile the differences it has inherited from its members. Only "general" conditions are defined. Continuing medical education cannot be arbitrary, like any other organizational process. Everything has to be controlled in advance. Education in the Russian Federation is regulated by the law, Art. 2 and must be viewed as a whole. Doctors and healthcare professionals and their associates earn points through accredited continuing education programs for obtaining and renewing licenses of the Serbian Medical Chamber and KMSZTS - Chamber of Nurses and Health Technicians of Serbia. The Ordinance establishes the conditions for issuing, renewing and revoking the license for independent work, ie. License to Healthcare Professionals. (RS Official Gazette 102/2015) Conclusin: This comparative exercise provides an overview of the CME policies adopted by analyzed countries to regulate both demand and supply. The substantial variability in the organization and accreditation of schemes indicates that much could be done to improve effectiveness. Although further analysis is needed to assess the results of these policies in practice, lessons drawn from this study may help clarify the weaknesses and strengths of single domestic policies in the perspective.
3
Liszkai, Tama´s R., Norm S. Yee, Jim R. Smotrel, and Anne Demma. "Materials Aging Degradation of Reactor Vessel Internals: Part I — Thermal Hydraulics Evaluation." In ASME 2008 Pressure Vessels and Piping Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/pvp2008-61804.
Full textAbstract:
Pressurized water reactor (PWR) vessel internals components can experience material aging and degradation due to irradiation [1]. The Electric Power Research Institute (EPRI), under sponsorship of the Materials Reliability Program (MRP), is developing Reactor Internals Inspection and Evaluation (I&E) Guidelines mainly to support U.S. license renewed plants. These guidelines are organized around a framework and strategy, [3] and [4], for managing the effects of aging in PWR internals as shown in Figure 1, dependent on a substantial database of material data and supporting results. The key steps include the following: the development of screening criteria, with susceptibility levels for the eight postulated aging mechanisms relevant to reactor internals and their effects [5]; an initial component screening and categorization step, using the susceptibility levels to identify the relative susceptibility of the components; a functionality assessment of degradation for components and assemblies of components; and finally aging management strategy development combining the results of functionality assessment with component accessibility, operating experience, existing evaluations, and prior examination results to determine the appropriate aging management methodology, baseline examination timing, and the need and timing of subsequent inspections. The purpose of this functionality analysis is to provide a best estimate evaluation of the reactor internals core barrel assembly for materials degradation up to 60 years of operation. The stainless steel material model employed in the calculations is an irradiated material-specific constitutive model for use in a finite element analysis [8]. The material model accounts for the effects of plasticity, irradiation assisted stress corrosion cracking (IASCC), irradiation creep-stress relaxation, void swelling, and embrittlement as a function of temperature and fluence [6] and [7]. The study focuses on finding the integrated effects of material aging combined with steady-state operational characteristics of the reactor vessel (RV) internals. In order to evaluate the potential failure mechanisms of the core barrel assembly, detailed finite element models were developed capable of representing the complex interactions between the components. The goal of this study is to characterize the potential failure modes, spatial and chronological distribution of component failures for a representative model of the Babcock & Wilcox (B&W) designed plants. Evaluation of the reactor vessel internals for materials aging degradation involves three major physics fields. Radiation calculations of the core provide essential information on radiation dose and heat rates, due to gamma-heating, of the RV internals. The computational fluid dynamics domain (CFD) allows the evaluation of the RV internals temperatures through conjugate heat transfer (CHT) analysis coupled with coolant flow. Detailed structural analysis of the RV internals components and bolted connections is the third major physics field involved, which facilitates the development of operating stress fields within the RV internals. The three major physics fields and their relations are illustrated in Figure 2. This paper focuses on the CFD/CHT aspects of the overall analysis for the B&W designed RV internals and provides information on the state-of-the-art multi-physics approach employed.
4
Bowles, Edgar B., Thomas B. Morrow, Cecil R. Sparks, and John G. Gregor. "Gas Pipeline Rupture Detection and Control." In 1996 1st International Pipeline Conference. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/ipc1996-1924.
Full textAbstract:
Automatic and remotely controlled main line valves are used in natural gas transmission pipelines to provide early shutoff of gas flow in the event of a pipeline rupture. Operating experience, however, shows that these valves and their associated rupture detection and valve operator systems are not always reliable in sensing a line break and in achieving valve closure. There are documented instances of pipeline ruptures going undetected, and of main line valves not closing completely after even a full line break. False valve closures have also occurred, causing pipelines to be shut down unnecessarily. Under sponsorship of the Gas Research Institute (GRI), a technology assessment program was conducted by Southwest Research Institute (SwRI) to define the present state of the art of automatic and remotely controlled main line valves, to evaluate their effectiveness in achieving isolation of a ruptured line, and to identify technology improvements that are needed to improve valve reliability. This study was based on a survey of the U.S. natural gas industry’s experience with line break control equipment, and upon computational modeling of typical pipeline systems to simulate the generation and propagation of pressure and flow transients created by a line break. Line break transients were also compared to the transient levels generated by normal pipeline operations (start-up and shutdown of compressors, branch load changes, etc.). Also during this study, a semi-empirical computer model was developed to calculate pipeline blowdown time as a function of break size, pipeline configuration, and operating conditions, even in cases where valve closure is delayed for some period after the line break occurs. This information can be of value to pipeline engineers and emergency response planners. Results of the technology assessment show that the primary source of unreliability in present day line break control systems lies in their inability to discriminate between a line break transient, and those generated by other pipeline operations. In most cases, automatic control valves (ACV’s) sense the rate of pipeline pressure drop (ROPD) to detect a line break. In many field applications, however, transient pressure signals caused by compressor operations and load changes are stronger than those produced by a line break. In order to avoid false valve closures which could otherwise result, sensitivity of the rupture detection systems is “backed off,” often to the point of inoperability of the ACV. Other fluid transient signals besides pressure drop are also generated in the pipeline during a line break, and these can sometimes be used advantageously to replace or confirm the traditional ROPD signal. In looped parallel pipelines, for example, crossover flow rate is usually a more reliable line break signal when crossovers are open. The resultant line-to-line differential pressure also provides a viable option when crossovers are either open or closed. In general, however, no one detection parameter is optimum for all applications. Of even more importance is the rupture sensor location. The concept of locating additional sensors between the main line valves (rather than just at the valves) provides the most promising approach for enhancing the reliability of present ACV’s and for providing needed line break information to remote controlled valves (RCV’s). In either case (ACV’s or RCV’s), rupture sensor location is much more important than valve location or valve spacing in ensuring reliable rupture isolation. However, valve spacing does affect the volume of gas blown down after shut-in of a ruptured section. This time can often be from 10 to 60 minutes for typical pipeline valve spacings.