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1
de Roo, Ludo. "Elemental Imagination and Film Experience." Projections 13, no. 2 (June 1, 2019): 58–79. http://dx.doi.org/10.3167/proj.2019.130204.
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In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.
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Kringstad, Morten, Tor-Eirik Olsen, Tor Georg Jakobsen, Rasmus K. Storm, and Nikolaj Schelde. "Match Experience at the Danish Women’s Soccer National A-Team Matches: An Explorative Study." Sustainability 13, no. 5 (March 2, 2021): 2642. http://dx.doi.org/10.3390/su13052642.
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Women’s soccer is more popular than ever, but match attendance is still relatively low. In order to develop sustainable revenue streams for women’s football, and help it grow further, it is necessary to understand what drives spectator’s overall demand. We explore factors that affect the overall match experience for spectators (i.e., spectator satisfaction) attending Danish women’s national soccer A-team games in the 2016 to 2019 period as a proxy for this. Using survey data gathered by the Danish Football Association (DBU) consisting of 4010 individuals and 13 matches, coupled with other match-specific data, we employ multilevel regression modelling. The results at the individual level suggest that female spectators are significantly more content with the overall match experience, while several additional factors are also important at the match-specific level, such as kick-off time and the result. Furthermore, there are indications that match significance and derby matches affect overall match experience. An important implication of these results is that they can aid national and international federations and other governing bodies in promoting women’s soccer in general, and women’s national A-team soccer specifically, in order to help the sport to become more financially viable. Although numerous initiatives have been designed to increase the attractiveness of women’s soccer, these are yet to materialize into long-term effects.
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GOMES, William B., Daniel ROSEMBERG, Luciano da Silva ALENCASTRO, and Thiago Gomes de CASTRO. "Reversibilidade entre percepção e expressão na experiência cinematográfica: a completação gestáltica para campo multiestável." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 14, no. 2 (2008): 161–71. http://dx.doi.org/10.18065/rag.2008v14n2.2.
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The cinematographic experience is a multistable field, which brings time, being space a perceptual illusion. How does the spectator complete a Gestalt of a film without conversational dialogue, but keeping the tonal (a probable story) and expositive (a probable context) dialogue? Twenty six undergrad students of psychology watched an exhibition of a short motion picture called “i”, directed by Paulo Zaracla. They were asked to write a reaction report, following the presentation. The obtained reports were considered as an expression of the film’s message and analyzed through out the triadic criteria of the semiotic phenomenology (description, reduction and interpretation). The description defined the diachronic relations and the synchronic correlations within and between reports as situation, feelings, resolution, and voice of enunciation. The reduction specified the reports as literary genres, chosen as context of expression (short prose, essay or chronicle). The interpretation suspended the reports’ suggestive and existential thematic to concentrate in the psychophysical and psychological streams through out Gestalt formation, a negotiation between spectator’s perception and expression. The use of ambiguous figure as a demonstration of a multistable field is a way to exacerbate the everyday relation between procedural cognitive modes of Gestalt formation as demonstrated by the cinematic experience.
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Daugaard, Kasper, and Amalie Ørum. "Kunsten at pille et løg:." Nordic Journal of Dance 3, no. 2 (December 1, 2012): 16–23. http://dx.doi.org/10.2478/njd-2012-0008.
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Abstract To peel an onion, to grate a carrot, and to set a table, each has its own choreographic recipe. Culinary art/ cookery is choreographed everyday life, and cooking is a dance everyone knows. The Art of Peeling an Onion is based on the dance piece Gæst (Guest), choreographed by Kasper Daugaard. The piece is for five dancers, a female soloist and four choir dancers, and originates entirely from culinary actions. The purpose of the article is not to maintain theory and practice as two separate entities, but to show how they supply each other and offer each other content. We aim to create a balanced understanding of the relationship between the creative process, the audience experience, and the aesthetic theory related to both the content and the outcome of artistic work. We view theory and practice hand in hand, because we have strived to put into words that which can be experienced, to verbalise the spectator’s experiences, the physical as well as reflexive, with the ambition of formulating a quite tangible experience-based aesthetics.
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Piquero Alvarez, Lucia. "Sound, silence, resonance, and embodiment: choreographic synaesthesia." idea journal 17, no. 02 (December 1, 2020): 215–29. http://dx.doi.org/10.37113/ij.v17i02.381.
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This article explores the potential of a new conceptualisation of dance spectatorship informed by theories of embodied and enactive cognition. The approach adopted here incorporates the bodily experience and the intellectual processing of information that the dance spectator goes through. This perspective enables a discussion on the intersection of referential elements, spectator’s knowledge and background, and formal properties of the work into the experience that provide a holistic view of the work of dance and its effects through the concept of synaesthesia. Meaning moves, sounds feel, images taste and smell. In order to build this understanding, this particular study makes use of an enquiry into experience and body-environment relationships to approach the multi-modal experience of watching dance. I explore the idea of cross-sensory embodied experience as the base for dance spectatorship. I propose that synaesthesia will be useful in modelling spectatorial experience of dance. Further to this, I contend that although maybe not fully consciously, it is possible that the creative agents—the choreographer-director in this case—already have an understanding of this potential. Through this they manipulate elements within their works until they experience something akin to cross-sensory engagement in themselves. This perspective hence also allows new forms of analysis and understandings of creative work in performance. Through this approach, the article discusses a combination of apparently separate elements and senses in performance, with focus on sound, silence, and resonance through the notion of synaesthesia. Discussion is illustrated and exemplified though analysis of choreographer Wayne McGregor’s Woolf Works (2015), which not only expresses ideas, emotions, and sensations through the medium of dance, but demonstrates an understanding of dance as cross-sensory potentiality, able not only to deal with deep thematic elements, but also remain viscerally engaging. Embodied cognition, then, is proposed as the best framework to discuss the spectatorial experience of such work.
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Potwarka, Luke R., Ryan Snelgrove, Laura Wood, Georgia Teare, and Daniel Wigfield. "Understanding demonstration effects among youth sport spectators: cognitive and affective explanations." Sport, Business and Management: An International Journal 10, no. 2 (April 3, 2020): 187–206. http://dx.doi.org/10.1108/sbm-11-2019-0106.
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PurposeThe purpose of this study was to examine whether watching a live track cycling event could increase youths' intention to participate in the sport, and to identify cognitive and affective mechanisms associated with post-event intentions.Design/methodology/approachA sample of youth spectators (n = 362) who experienced the 2016 Milton International Track Cycling Challenge completed pre- and post-event questionnaires to assess intention to participate and cognitive and affective components of their spectator experience.FindingsRespondents' intentions to participate post-event were significantly higher than pre-event. Results also indicated that state inspiration mediated relationships between three cognitive dimensions of sport spectator experiences (i.e. fantasy, flow, evaluation) and intention to participate.Practical implicationsSport managers should design youth day events to engage with youth prior to the event to increase their knowledge of the sport. This prior engagement may help youth to evaluate performances effectively. Moreover, event experience should be designed to incorporate vicarious and immersive experiences tailored to youth spectators.Originality/valueThe present study is one of the first to assess intentions to participate among youth spectators at multiple time points (i.e. before and after an event) and identifies specific mechanism within the spectator experience that may lead to a demonstration effect.
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Chung, Hye Jean. "Cinema as Archeology: The Acousmêtre and the Multiple Layering of Temporality and Spatiality." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 105–16. http://dx.doi.org/10.5195/contemp.2011.22.
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Michel Chion’s concept of the “acousmêtre” is useful when exploring the spectator’s cinematic experience in regard to the juxtaposition of sound and image, as the acousmatic presence troubles the false sense of unity that is created by the synchronization of sound and image by its invocation of off-screen space through sound. The acousmêtre neither prioritizes sound nor image but calls attention to the disjunction between them. Also, the acousmêtre leaves the source of the sound open to imagination and interpretation. Thus the presence of the acousmêtre destabilizes the seemingly unified, contained realm of the film by expanding the temporal and spatial boundaries of the diegesis. In this essay I explore how the power of this ghostly voice of the acousmêtre is manifested in cinema, and the significance of its power to the spectators in their relationship to the film, by asking questions regarding the function and effect of the disembodied voice and spectral presence of the acousmêtre, the scope of the acousmêtre’s power, and what can be created from the disequilibrium that is provoked by this power. I explore possible answers by analyzing the use of the acousmatic voice in Y Tu Mama Tambien (dir. Alfonso Cuaron, 2001) and Calendar (dir. Atom Egoyan, 1993).
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Vaage, Margrethe Bruun. "Self-Reflection." Nordicom Review 30, no. 2 (November 1, 2009): 159–78. http://dx.doi.org/10.1515/nor-2017-0157.
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Abstract Idiosyncratic responses are more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real-life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that draw the spectator’s attention. Film may facilitate self-reflection by slowing down narrative development and making the narrative indeterminate. Such scenes do make idiosyncratic responses, such as self-reflection, appropriate and intended. Fiction film is a safe context for the spectator to reflect on personal issues, as it also affords him with distancing techniques if the reflection becomes too painful or unwanted. The fictional context further encourages self-reflection in response to empathy, as the spectator is relieved from real-life moral obligations to help the other.
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Arysheva, Anastasiya S. "Mass scenes as a way of manipulating the consciousness of the viewer." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 64–72. http://dx.doi.org/10.17816/vgik11164-72.
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The essay explores the significance of mass scenes in the history of cinema. It analyzes the directorial style of Sergei Eisenstein and his concept that the human mass becomes observable only with the invention of cinema. The image of the mass is created by the editing. Long shots transform the real human mass into an infinitely growing mass, while close-ups destroy its image. Film editing involves the audience in the creation of the mass: each foreshortening offers a new vision of the people united in the mass. Mass scenes of the film allow the spectator to become infected with the ideas of the mass and to experience the increase in emotions inherent in a crowd. The film appeals to the spectator whose properties are predetermined. The spectator agrees to the viewing conditions dictated by the film and dissolves in the spectacle. The full involvement of the spectator in what he sees on the film screen is the main feature of cinema. Therefore, the manipulation of the spectators consciousness during the film screening is inevitable. Due to the psychological characteristics of their perception, mass scenes are one of the most powerful ways to control the spectator's emotional and intellectual reactions.
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Doroszuk, Hanna. "Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948)." Ikonotheka, no. 29 (September 16, 2020): 229–48. http://dx.doi.org/10.31338/2657-6015ik.29.9.
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The Exhibition of Modern Art (Wystawa Sztuki Nowoczesnej) organized in 1948 in the Palace of Art (Pałac Sztuki) in Cracow was one of the most prominent art events in Poland during the last century. It is considered one of the unprecedented moments in shaping the modernity. The exhibition was thought to be designed as a whole venture, integrating the modern art demonstration with the will to make it accessible to all the social groups. The desire of the authors was to endear the authorities, since the Stalinist repressions were approaching, and present the modern art as accessible to the society and needed in the “new socialist order”. Simultaneously, the primal context for the exhibition, underlined by its authors as well as the critics in subsequent years, were the surrealist exhibitions in Paris. This new avant-garde mode of displaying, so attractive for the Polish artists, put in the foreground not the traditional reception of art, implied by the traditional museology, but mostly focused on the spectator’s experience and used all possible kinds of tools to enhance it. These two approaches were usually presented as antagonistic and impossible to reconcile. The article attempts to analyze the tools which the display’s authors used to merge the avant-garde display with didacticism. While looking at the Recovered Territories Exhibition which took place a couple of months earlier, one might notice that the Exhibition of Modern Art was not the first display that accommodated the avant-garde solutions to the didactic and propagandistic venture.
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Nogueira, Patrícia. "Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance." New Cinemas: Journal of Contemporary Film 17, no. 1 (March 1, 2020): 49–68. http://dx.doi.org/10.1386/ncin_00004_1.
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This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of belonging, sense of almightiness, sense of endlessness, sense of incompleteness.
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LEE, Hyuk-Jin, Sam-Kwon JUNG, and Myeong-Hee SEONG. "The Effect of Professional Sport Spectator’s Experience Economy Factors on Satisfaction: Focused on Mediating Effects of Attachment and a Sense of Community." Journal of Asian Finance, Economics and Business 6, no. 3 (August 31, 2019): 269–82. http://dx.doi.org/10.13106/jafeb.2019.vol6.no3.269.
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Orel, Barbara. "Fusing the Fictional and the Real in the Contemporary Performing Arts." Nordic Theatre Studies 26, no. 1 (October 1, 2018): 44–54. http://dx.doi.org/10.7146/nts.v26i1.109739.
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The exploration of the relationship between the fictional and the real in projects by ViaNegativa, a performance group from Slovenia, is based on the presumption that therecognition of what we experience as fictional or real is decisively influenced by the perceptualactivity of the spectator. The article argues that the exchange between the elements of fictionand reality takes place in two different concepts of representation: theatricality and absorption.These are two opposing notions used for defining the relationship between the imagerepresented and the spectator. Theatricality is the effect of the address that the image makes tothe spectators and thus makes them conscious of their own act of perceiving. Absorption, inturn, describes the context in which the image is put to view as a closed, self-sufficientsign-system establishing such conditions of perception that make the spectator focuscompletely upon the object represented; the audience is so overcome by the presented imagethat they experience this as if they were absorbed into the staged world. These two concepts areelaborated on the basis of Denis Diderot's essays on theatre and fine art. The essay provesuseful for the argumentation of the thesis since they testify that theatricality and absorption,each in their own way, include the spectator's personal investment into what comes across asfictional or real. A detailed analysis of selected performances by Via Negativa shows that thereal assuch (i.e. theauthenticity of the real that isconfirmed in the identity with its own self)is impossible to achieve. Under the gazeof the spectator, the real is always compelled to revealitself through some kind of representation. As also found by Alain Badiou, the authenticity ofthe real can only be presented through the role of semblance, mask or fiction.
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Stahlke, Samantha, James Robb, and Pejman Mirza-Babaei. "The Fall of the Fourth Wall." International Journal of Gaming and Computer-Mediated Simulations 10, no. 1 (January 2018): 42–62. http://dx.doi.org/10.4018/ijgcms.2018010103.
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Over the past several years, the live-streaming of digital games has experienced a vast increase in popularity, coinciding with the rise of eSports as an entertainment medium. For a rapidly growing audience, streamed content provides material from an ever-increasing roster of games, tournaments, and special events. Recently, streaming platforms, game developers, and professional players have experimented with the inclusion of viewer interaction through mechanisms such as chat, broadcast messages, donations, and voting systems. With the advent of these mechanisms, the concept of game viewership has entered a transitory period; while still largely focused on consumption, for many spectators, the viewing experience is no longer an entirely passive act. The idea of interactive spectatorship (the authors refer to it as Spectator-players) carries the potential for audience members to engage with content at a much deeper level, participating actively in a novel form of entertainment and contributing to an enriched gaming community. This novel form of gaming interaction poses interesting challenges for game designers, as it requires design considerations to meet the needs of players, passive viewers, and active audience members alike. In this paper, the authors examine the opportunities and challenges presented by the design of interactive spectator experiences. Ultimately, they propose a series of design guidelines aimed at the exploration of development in the area of interactive spectator experiences.
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Yeung, Lorraine. "The Nature of Horror Reconsidered." International Philosophical Quarterly 58, no. 2 (2018): 125–38. http://dx.doi.org/10.5840/ipq2018326104.
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There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the formal devices and stylistic elements deployed in narrative horror a proper place within the spectator’s emotional engagement with it. In this paper I propose an alternative conception of the emotion “horror” that incorporates non-cognitive affective responses. I argue that this conception of “horror” is more fine-grained than the one characterized as a cognitivist approach. It captures more literary examples of the horror experience and it accommodates better the fear of the unknown. It also makes possible an aesthetics of horror in which formal devices and stylistic elements are given their proper place.
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Goncharenko, Mark, Olga Demidova, and Valentina Goncharenko. "Construction of new epistemological fields: Interpretation, translation, transmutation." Semiotica 2018, no. 225 (November 6, 2018): 383–403. http://dx.doi.org/10.1515/sem-2016-0166.
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AbstractThis article deals with the problem of the formation of new epistemological fields, which appear simultaneously with a new interpretation. Based on the semiotic approach described by Umberto Eco in Lector in Fabula (Eco, Umberto. 2003. Dire quasi la stessa cosa: Esperienze di traduzione [To say almost the same thing: Experience translation]. Milan: Bompiani.), we analyze several works in the context of their synchronization with a reader’s reality. We also deal with the problem of intersemiotic translation – a text’s transmutation (including its translation as a particular case of transmutation), and how it contributes both to intercultural interaction and to construction of new epistemological fields of conceiving consciousness. According to the hypothesis stated in the article, different ideas form different meanings as objects of a reader’s/spectator’s thoughts. A new aspect of interpretation brings forth new text transmutations, which appears as the process of transformation of the concept idea as an abstract essence or an abstract object. We suppose that diachrony, being the main factor of a text’s interpretation, determines a variative set of meanings.
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Neuberger, J. "Introduction." Modern History of Russia 11, no. 1 (2021): 214–21. http://dx.doi.org/10.21638/11701/spbu24.2021.114.
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Eisenstein’s Ivan the Terrible is hardly an obscure film, but it has attracted much controversy and many misconceptions. The goal of this book is to re-examine the film in light of everything Eisenstein wrote about it. The introduction to the roundtable establishes the historical, political, cinematic, biographical, and cultural contexts that shape the book’s multi-disciplinary approach to Eisenstein’s work on Ivan the Terrible. The director structured the story of Ivan’s life and reign in an “interrogative mode” in order to raise profound questions about the nature of violence and tyranny and the psychology of political ambition in Russia’s past, in the Stalinist present, and in the history of state power more broadly. Eisenstein conveyed the history and psychology of power and the inner life of the powerful with a profusion of new cinematic methods that represented the evolution of his thinking about montage. “Polyphonic” montage — the weaving together of audio, visual, sensory, emotional, and intellectual voices—was intended to activate and intensify the spectator’s experience of watching a film; to touch, move, and enlighten the audience in an all-encompassing, transformative way. By approaching Eisenstein’s dynamic theories of history, visual perception, and cultural evolution in relation to one another, this study uncovers a decisive piece: Eisenstein didn’t only want to show the tragic depredations of absolute rule or the universality of power hunger, and he didn’t only want to create a moving emotional experience for viewers.
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Boczkowska, Kornelia. "The Homely Sublime in Space Science Documentary Films: Domesticating the Feeling of Homelessness in Carl Sagan’s Cosmos and its Sequel." Kultura Popularna 4, no. 54 (May 7, 2018): 24–35. http://dx.doi.org/10.5604/01.3001.0011.6717.
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The paper discusses the ways of domesticating the feeling of sublime homelessness when contemplating the realm of outer space in Carl Sagan’s revolutionary television series Cosmos: A Personal Voyage (1980) and its present-day sequel Cosmos: A Spacetime Odyssey (2014) hosted by Neil deGrasse Tyson. Following World War II, a novel trend emerged in the science documentary film fueled by “popular science boom” or the “post-war bonanza” (Gregory and Miller, 37) and characterized by a gradual tendency to move toward more complicated representational extremes. Its form, best exemplified by the late 1970s and 1980s space science documentaries, relied on the scientist-hosted and stunningly realist format as well as a mediated experience of the astronomical and dynamic sublime. Partly contrary to this conception, the new ways of deriving spectator’s pleasure also involved both domesticating and trivializing the productions’ content, observable in references to domestic surroundings as well as familiar cultural and historical conventions, such as the frontier myth or urban sublime of New York City. The paper argues that examined documentaries, seen as multimedia spectacles, tend to domesticate outer space through reconciling the cosmic sublime with the notion of a homely, lived-in place.
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Wakefield, Kirk L., Jeffrey G. Blodgett, and Hugh J. Sloan. "Measurement and Management of the Sportscape." Journal of Sport Management 10, no. 1 (January 1996): 15–31. http://dx.doi.org/10.1123/jsm.10.1.15.
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The physical environment of the stadium may have a significant effect on the extent to which spectators will desire to stay and return to the stadium. Specific aspects of the stadium experience may lead directly to spectators' pleasure with the place, while other factors may contribute to negative feelings that may decrease pleasure. This study provides sports facility managers with a reliable survey instrument to determine how spectators perceive their facility. Recommendations are provided to guide stadium owners and managers in the effective management of the facility to maximize spectator satisfaction.
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DENIKIN, ANTON A. "CRITICISM OF CERTAIN PROVISIONS OF THE PERFORMANCE THEORY BY ERIKA FISCHER-LICHTE (on the example of participatory performances)." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 139–70. http://dx.doi.org/10.30628/1994-9529-2021-17.1-139-170.
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The article attempts to critically analyze the performance theory created by the German scholar Erika Fischer-Lichte. The theory is applicable to some performative art practices, but nevertheless its key provisions do not fully meet the objectives, capabilities and the very specifics of participatory performance. Instead of such concepts as “strong presence”, “liveness”, “authenticity” and the idea of “energy exchange”, the author suggests to analyze participatory practices using the method of “choragraphic communication”, which is understood as individual and collective generation-test of the possible, constant reinvention of the action figurativeness, re-shaping of the participants’ physicality, co-joint transformation of meaning-making. Comparison of the performances by J. Ono and M. Abramovich allows us to distinguish the key differences between the two approaches to the analysis of participatory performance. It is anticipated that the effect of a performance is to provoke in every viewer an affective experience of the diversity of the undone, of the unmanifested, which, however, might become possible through the realization of one of its incarnations in a specific action. The peculiarity of performative involvement is that the processes, triggered by the actions of the performers and the responses of the participantsspectators, make accessible the affective test of the possible as being in potency. Using the works of the modern performance artist Tino Sehgal as an example, the author shows that spectator’s participation as a special communication instrument appeals to a different culture of knowledge transfer, which is based not on presentation, documentation and archiving, but on the situational self-configuration of autopoietic systems, on the living muscle “memory” of the participants, actualizing such phenomena as “bodily knowledge”, “morethan- human” perception and procedural assemblage. Participatory performances create conditions under which “random” and unexpected actions of participants turn out to be a condition for (self) recreation of the form of the assemblage machine through constant reincarnation of the invariants of the whole. Sehgal’s works reveal each participant-spectator as a kind of an “actant machine” capable of reconfiguring the entire system by their actions, and offer an interface for realizing the possibilities of “electracy communication”. At the same time, the processes of joint reconfiguration themselves become available to the affective experience of each of the participants. They make the assemblage machine generate its own “proto-subjectivity”; and, probably, it is in the individual perception of each participant and in the experience of the stages of its formation where the aesthetics of participatory action may lie.
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Harrison, C. Keith, Scott Bukstein, Ginny McPherson Botts, and Suzanne Malia Lawrence. "Female spectators as customers at National Football League games." International Journal of Sports Marketing and Sponsorship 17, no. 2 (April 29, 2016): 172–200. http://dx.doi.org/10.1108/ijsms-04-2016-012.
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Purpose – The purpose of this paper is to investigate female National Football League (NFL) spectators’ preferences and feedback in regard to various customer service components of the NFL game day experience. The primary components with respect to female spectators’ choices, preferences, and feedback are as follows: apparel and other merchandise; food and beverage; restrooms and facility cleanliness; tailgating and parking; participants’ decision to attend an NFL game; and participants’ perceptions of the NFL. A core objective was to learn more about the female decision-making process and overall experience at NFL games. Design/methodology/approach – All data were collected during the 2012-2013 NFL regular season. Four different data collections were conducted at two NFL stadiums to investigate the game day experiences of women at NFL games. Previous research was used as a basis for creating survey questions about the female game day experience. In this study, an open-ended questionnaire contained both quantitative and qualitative questions, both forms of data were collected and analyzed, and researchers made both quantitative and qualitative interpretations based on the data. Findings – Findings and results indicated women are diverse customers. Sport organizations need to focus on the minor details that reflect how individuals experience a brand and product, as these sport organizations have the opportunity to enhance the female customer experience and retain existing female customers if the organizations systemically listen to and communicate with the female customer at NFL games. The NFL and individual NFL teams should include female spectators in the brand strategy process. Female customers of the NFL can be powerful brand loyalists and outstanding brand ambassadors. Originality/value – This research study provides an investigation of the preferences and perceptions of women spectators at NFL games. One contribution of the current study is that researchers have accepted the challenge by some researchers calling for more complexity with researching gender and attempting to shift some of the ways in which women are viewed as fans and spectators. However, what is key with the approach in the current study is that researchers allowed the women to be heard with respect to their game day experiences, perceptions, and thoughts about their identity as a spectator.
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Sidiropoulou, Avra. "Staging Henrik Ibsen’s and Jon Fosse’s Mental Landscapes." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 184–203. http://dx.doi.org/10.7146/nts.v30i1.106929.
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Norway’s best-known contemporary playwright Jon Fosse has often been compared to Henrik Ibsen, no less because of the two dramatists’ common emphasis on their native physical landscape as a mirror of the protagonists’ emotional and existential conflict. In Ibsen’s The Lady from the Sea (1888) and in Fosse’s Someone is Going to Come (1996) in particular, characters and actions – although generated within specific geographical and cultural co-ordinates – rise to the level of archetypes and acquire timeless significance.This comparative study traces a continuum from the modernist Ibsen to Fosse’s humanistic postmodernism in so far as the authors’ treatment of psychology, structure, and landscape exposes ideas and endorses themes and images, which in turn account for similar patterns of staging. In a context whereby myth and allegory are projected against a background defined by the ocean and unfamiliar horizons, the markedly schematic representation of existential dread in both plays reveals strong visual conceits that are uncannily similar to the effect that one cannot really read or direct Fosse without making a mental note of Ibsen’s drama. The “haunted” nature of the spectator’s experience notwithstanding, both texts seem to be a director’s ideal material, hosting the natural environment so intensely so that it becomes an extension of the characters, punctuating the important stations in their lives and adding emotional and sensory texture to their words and their actions. From the point-of-view of a theatre director, decoding the plays’ imagistic identity becomes primarily an immersive experience in the Nordic landscape – of both nature and the mind.
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Hansen, Per Krogh. "Tiden ødelægger alt. Om episodisk bagvendte fortællinger illustreret ved hjælp af Gaspar Noés Irréversible." K&K - Kultur og Klasse 39, no. 112 (December 25, 2011): 93–106. http://dx.doi.org/10.7146/kok.v39i112.15746.
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TIME DESTROYS EVERYTHING | This article focuses on what Seymour Chatman calls ‘sustained episodic reversal’ of narrative progressionR– that is, narratives in which the sequential, chronological order of the events is reversed and thereby ‘de-’ or ‘unnaturalized’. The article opens with a short discussion of the project of ‘unnatural narratology,’ and it is claimed that if our experience of a given narrative as ‘natural’ is grounded on its confirmation of the conventions for the mode or genre the narrative belongs to, then the task for an ‘unnatural narratology’ is to investigate the exceptions, that is, cases where conventions are broken and perhaps reformulated. Sustained episodic reversals of event sequences belong to this field of interest insofar as one of the basic features of ‘natural narrative’ is that the sequence of clauses (or more generally, the sjuzhet or discourse) is typically matched to the sequence of the events being narrated (the fabulaor story). The denaturalizing function and effect of the sustained reversal is illustrated through analysis of Gaspar Noé’s Irréversible (2002). It is shown that the reversal has radical consequencesfor the spectator’s (re)construction of the narrative’s fabula, and that it engages the reader in a game of post hoc ergo propter hoc and of narrative construction and deconstruction.
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Park, Seul-Gi, and Kwang-Woo Lee. "Investigating the relationships among golf tournament spectator’s memorable brand experience, well-being perception, brand attachment, and revisit intention : Focusing on the moderating role of golf involvement." Korean Journal of Hospitality & Tourism 27, no. 1 (January 31, 2018): 223–37. http://dx.doi.org/10.24992/kjht.2018.01.27.01.223.
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Chang, Yonghwan, Daniel L. Wann, and Yuhei Inoue. "The Effects of Implicit Team Identification (iTeam ID) on Revisit and WOM Intentions: A Moderated Mediation of Emotions and Flow." Journal of Sport Management 32, no. 4 (July 1, 2018): 334–47. http://dx.doi.org/10.1123/jsm.2017-0249.
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Through this study, attempts were made to (a) define the concept of implicit team identification (iTeam ID), (b) examine the effects the interactions between iTeam ID and emotions exert on flow, and (c) examine the behavioral consequences of flow in the context of spectator sports. The opponent process and implicit memory theories served as the study’s main theoretical frameworks. An experiment was conducted in which we developed the team identification implicit association test (Team ID IAT) as a measure of iTeam ID and manipulated spectators’ emotions based on their retrospective spectating experiences. We conclude from the findings that anger, fear, and sadness paradoxically enhanced flow experiences and subsequent consumption behaviors for spectators with stronger iTeam ID, whereas happiness was universally appealing regardless of the level of iTeam ID. A recommendation is to strategically create experiences that elicit both positive and negative emotions in spectators to encourage flow.
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EVANS, GEORGINA. "Imagination and the Senses: Krzysztof Kieślowski's Trois Couleurs: Blanc." Paragraph 31, no. 2 (July 2008): 223–35. http://dx.doi.org/10.3366/e0264833408000217.
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This article considers the role of the spectator's imagination in their engagement with the sensory world of cinema. I argue that the spectator's mental images, far from being overwhelmed by those on the screen, are an important element of a complex interaction with the sensations offered and indicated by the film. I develop these ideas through a reading of Krzysztof Kieślowski's Trois Couleurs: Blanc (1993), in which hairdresser Karol is himself unusually dependent on the mental image. This preoccupation of the film directs us to question the parallel images generated by the spectator, and the ways in which they both alienate us from his subjective experience and provoke our sympathies.
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Cant, Michael, and Jan Wiid. "Service Quality And Spectator Satisfaction On University Sporting Grounds." International Business & Economics Research Journal (IBER) 11, no. 12 (November 29, 2012): 1311. http://dx.doi.org/10.19030/iber.v11i12.7411.
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The main aim of this study was to investigate the quality of service experienced by spectators at a sporting event, as well as to establish if there is a relationship between a core sport product and the product servicescape in conjunction with spectator satisfaction. The study also investigated the perceived value that spectators receive from the total sport product, which forms an integral part of the total market offering to spectators. It is important to establish this relationship as it will have an impact on future attendance of these types of events. In order to achieve the objectives of the study, a survey was distributed to spectators who watched soccer and basketball games on the grounds of a particular university. The respondents were exposed to the services, staff and activities in and around the stadium before, during, and after the matches to ascertain total satisfaction of the sporting event.
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Yamamoto, Paula Yumi, Filipe Quevedo-Silva, and Leandro Carlos Mazzei. "Sponsorship in Beach Volleyball: effects of event quality, spectator satisfaction and brand experience on brand equity." Revista Brasileira de Educação Física e Esporte 35, no. 2 (July 15, 2021): 207–27. http://dx.doi.org/10.11606/issn.1981-4690.v35i2p207-227.
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The aim of this study is to examine the effects of event quality, spectator satisfaction and experience on brand equity of the sponsor in a sport event. In order to carry out this study, 352 spectators that attended the Banco do Brasil (Bank of Brazil) Circuit of Beach Volleyball answered a closed questionnaire. For data analysis, it is used the structural equation modeling. The results indicated that the quality of the event generates satisfaction, which confi rms increases the brand equity of the event sponsor. In addition, the spectators’ experience with the sponsoring brand also confirms the positive impact on brand equity. The quality of the event, the satisfaction of the spectators with the event and their sponsor's brand experience are elements that, if well managed and explored, contribute positively to sponsors’ brand equity. These strategies should be aimed both by sports managers, as a way to attract and retain sponsors, and by sponsors’ brand managers, as a way to get return on investment. For this purpose, the sport managers and sponsors should undertake a planning together to offer a high-quality event enabling an environment that provides spectators’ satisfaction and a positive experience with the sponsor brand. In theoretical terms, this research brought greater knowledge about the return of investments made by companies on sport sponsorship, and, the use of statistical methods in this study can be replicated, adjusted or even enhanced in future researches that investigate the theme sport events and their sponsors.
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Wade, Diana. "Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age1." Recherches sémiotiques 31, no. 1-2-3 (November 20, 2014): 203–21. http://dx.doi.org/10.7202/1027448ar.
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Digital image technology facilitates the production and distribution of images, and at the same time, instills doubt as to the integrity of those images. As a result, spectators today trust and doubt the image while still retaining a need to see a double of the world on screen. Edgar Morin’s work on cinema permits us to speak of cinema in the digital age because he recognizes that from its origins cinema has been a “mirror-machine” that reflects the spectator’s imaginary and practical relationship with images as experienced through new technologies. I will explore Morin and Christian Metz’s writings on cinema to analyze cinema’s foundational element : the ability to satisfy the besoin de cinéma throughout changes in technology. Cinema persists as digital moving images because by evolving technologically it responds to the spectator’s need to see a double of the world on screen in order to negotiate the demands of society and personal desires.
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Cant, Michael, and Jan Wiid. "Sporting: Service quality and satisfaction amongst male spectators on university sporting grounds." Corporate Ownership and Control 10, no. 1 (2012): 205–14. http://dx.doi.org/10.22495/cocv10i1c2art1.
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The main aim of this study was to investigate the quality of service experienced by male spectators at a sporting event as well as well as to establish if there is a relationship between a core sport product and the product servicescape in conjunction to male spectator satisfaction. The study also investigated the perceived value that male spectators receive from the total sport product which forms an integral part of the total market offering to spectators. It is important to establish this relationship as it will have an impact on future attendance of these type of events. In order to achieve the objectives of the study a survey was distributed to male spectators who watched soccer and basketball games on the grounds of a particular university. The respondents were exposed to the services, staff and activities in and around the stadium before, during and after the matches to ascertain total male satisfaction of the sporting event.
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Sun, Xu, Andrew May, and Qingfeng Wang. "Investigation of the Role of Mobile Personalisation at Large Sports Events." International Journal of Mobile Human Computer Interaction 9, no. 1 (January 2017): 1–15. http://dx.doi.org/10.4018/ijmhci.2017010101.
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This article describes a field study investigating the impact on user experience of personalisation of content provided on a mobile device. The target population was Chinese spectators and the application was large sports events. A field-based experiment showed that provision of personalised content significantly enhanced the user experience for the spectator. Design implications are discussed, with general support for countermeasures designed to overcome recognised limitations of adaptive systems. The study also highlights the need for culturally sensitive methods for requirements capture, design, and data collection during experimentation.
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Cerny, Tomas, and Michael Jeff Donahoo. "Second Screen Engagement of Event Spectators." Advances in Human-Computer Interaction 2018 (July 10, 2018): 1–20. http://dx.doi.org/10.1155/2018/3845123.
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An effective means of engaging spectators at live events involves providing real-time information from a variety of sources. Consumers demand personalized experience; thus, a single channel perspective fails. Modern entertainment must extend to spectator mobile devices and adapt content to individual interests. Moreover, such systems should take advantage of venue screens to engage in sharing live information, aggregated social media, etc. We propose a second screen application, providing each audience member a personalized perspective, involving mobile devices equipped with Wi-Fi, and spanning to venue screens in hotels, halls, arenas, elevators, etc. Such a system engages both local audience and remote spectators. Our work provides a case study involving experience from the deployment of such an application at the ACM-ICPC World Finals with audiences at the event and around the world. We analyze and categorize its features, consider its impact on the audience, and measure its demands.
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Dular, Sonja. "Gazing into Beauty, Gazing into Death." Maska 33, no. 189 (June 1, 2018): 30–34. http://dx.doi.org/10.1386/maska.33.189-190.30_1.
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A Melancholic Croquis is based on the motifs of Thomas Mann’s Death in Venice and its eponymous film adaptation by Luchino Visconti. The director Matej Filipčič conceived the project as a unique synthesis of a theatre performance, a scientific experiment and a social event. The article focuses on this triple connection, the specifics of the project’s content, form and production. It first explains the thematic deviation from the original: the performance does not foreground the artist and his being torn between the Apollonian and the Dionysian, but centres on melancholy, which Filipčič recognises as melancholic and defines experientially as an equation of both principles. The original motifs are present but are of secondary significance since the question no longer concerns a philosophical deliberation on the ways of achieving beauty but rather the staging of an ambience, experience itself and the possibility of recording the spectator’s emotional responses. Why? Because a melancholic is a person par excellence clinging to time and enclosed by time, able to ‘fight’ against the fleeting and the fleetingness of time with only one weapon: a series of questions that force creative persons (artists, philosophers, scientists) towards creative acts, into which Filipčič constantly inserts memories, intertwining the personal and the collective, placing the particular in the universal that is valid here and now. The article also traces the fundamental building blocks of Filipčič’s staging process: the poetics of memory, the use of a croquis and a concern for communicativeness, which are read through A Melancholic Croquis.
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Berridge, Graham, Daryl May, Eliza Kitchen, and Gavin Sullivan. "A Study of Spectator Emotions at the Tour de France." Event Management 23, no. 6 (December 6, 2019): 753–71. http://dx.doi.org/10.3727/152599519x15506259856372.
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This article contributes to the canon of literature on spectator emotions by examining spectator emotions at a major hallmark event. Spectator experience emotions were surveyed via an online questionnaire resulting in 188 valid responses. This resulted in three groups of spectators being surveyed: 1) those who watched live from the roadside, 2) those watching via a spectator viewing hub, and 3) those watching on television. Variables tested were via PANAS scale emotions. They included the positive emotions of interested, excited, strong, enthusiastic, proud, alert, inspired, determined, attentive, and active. The negative emotions were distressed, upset, hostile, irritable, scared, nervous, afraid, guilty, ashamed, and jittery. There are also nine categories within the model, which are (1) attentive, (2) excited, (3) proud, (4) strong, (5) distressed, (6) angry, (7) fearful, (8) guilty, and (9) nervous. The highest positive value feelings of "interested, excited, and enthusiastic" occurred during the live action by those watching on the roadside. Negative feelings were more variable but a highest rating for "afraid" increased during the event, suggesting feelings of not wanting to miss anything (action). Further exploration of the emotions experienced before, during, and after an event is required in order to more fully understand the complexity of the factors. For those planning and staging cycling and similar multistage or multisite events the mapping (route) and layout of the active spectator and participant arena can be carefully constructed to provide potential emotional hot spots. Emotions vary across time and this appears to be related to mode and location of spectating. It implies that event organizers can utilize different "experiential components" within an event setting to create conditions that would be conducive to an optimal viewing environment.
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Sellevold Orning, Sara Elisabeth. "The Embodied Spectator and the Uncomfortable Experience of Watching Romance and The Piano Teacher." Excursions Journal 1, no. 1 (September 12, 2019): 73–90. http://dx.doi.org/10.20919/exs.1.2010.127.
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In this article I investigate the embodied and multi-sensual spectator, whose film experience is not dominated by the disembodied, voyeuristic distance to the screen posited as inevitable by much psychoanalytic film theory. This is a spectator who is 'making sense' of the film through eyes that hear and ears that see, and whose affective disposition allows for an experience not limited to vision as the only sense-maker. I bring into play issues of the body, embodiment, experience, and affect in order to identify possible sources of the ambiguous, bodily discomfort engendered in the spectator by Romance (Catherine Breillat, 1999) and The Piano Teacher (Michael Haneke, 2001). The reactions of discomfort to these films seem to be symptomatic of a not entirely conscious rejoinder to the visual image. I suggest that such reactions indicate that the cinematic bodies touch the spectators on a bodily and psychical level, one that cannot be divided into mind and body but which must be considered embodied. As such, my argument addresses the visual and artistic representation of bodies, but it does so by going beyond traditional ways of 'interpreting the body' as object, seeking instead to investigate the very embodied processes of creating and acquiring this spectatorial knowledge.
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Yearling, Rebecca. "Emotion, Cognition and Spectator Response to the Plays of Shakespeare." Cultural History 7, no. 2 (October 2018): 129–44. http://dx.doi.org/10.3366/cult.2018.0170.
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Recapturing what early modern spectators thought and felt when attending the theatre has for some years been a kind of Holy Grail for scholars of Renaissance drama. As Myhill and Low point out in Imagining the Audience in Early Modern Drama (2011), although we now know a great deal about the material conditions of early modern theatre and theatre-going, the actual intellectual and emotional experience of spectators ‘has proved remarkably resistant to examination.’ This article discusses some of the strategies that previous critics have employed in the attempt to rediscover what it felt like to be an early modern spectator, and then proceeds to suggest a new approach to this problem, which aims to acknowledge more fully the ways in which spectator response to drama can be multiple, unpredictable and unstable, shaped as it is by a wide variety of factors such as the play's cultural contexts, its dramatic architecture, and its linguistic registers. I will then show how this approach might work in practice through an examination of the figure of Lavinia in Shakespeare's Titus Andronicus, considering particularly how spectators might have responded to her role in the play's final revenge plot. Here, I will explore some of the frames of reference that early modern spectators might have brought to bear on their understanding of Lavinia and her role as revenger, and how these frames might have affected their emotional responses to the character, examining some contemporary responses to classical tales of female revengers; the treatment of rape victims in other drama of the period; and contemporary attitudes towards female anger and violence.
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Brown, Matthew H. "Genre as Ideological Impulse: Reflections on Big Data and African Cultural Production." Cambridge Journal of Postcolonial Literary Inquiry 4, no. 3 (August 30, 2017): 409–23. http://dx.doi.org/10.1017/pli.2017.28.
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This article draws from “big-data” analysis of Netflix’s usage, which suggests that what spectators tend to like about films is inherently generic. Moreover, the process of liking serves as a metaphor, over and above the process of taking pleasure, for the ways in which spectators make texts meaningful rather than deriving meaning from them. The article then discusses some examples of African cultural production in order to focus attention on the category of analysis at stake in theorizing genre—a discussion that helps to distinguish genre’s thematic ontology from its material, formal, and stylistic features. Finally, at the intersection of spectator agency and theme, genre appears to be an “ideological impulse,” a way of relating to and encoding experience that begins with people and that they distribute over texts. This way of understanding genre, the article argues, may help scholars write more productively about the social nature of the concept.
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Glebova, Ekaterina, Michel Desbordes, and Gabor Geczi. "Relocations of Sports Spectators’ Customer Experiences." Testnevelés, Sport, Tudomány 5, no. 1-2 (2020): 44–49. http://dx.doi.org/10.21846/tst.2020.1-2.4.
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In this paper, we aim to explain a phenomenon of “Sports Spectators’ Customers’ Experiences’ (SSCX) locations”, overview today locations of sports consumption experiences for sports fans, find the changes in these locations, and define the main drivers of shift. It provides a concept for studying the effects of new technologies on sports spectator experiences, with the intention of future research at the intersection of topics Customer Experience (CX), Sports Spectacle (SS), and Technology. The main novelties of this study imply a rapid technology uptake and appear of absolutely new ways of sports spectating and locations. The culture of sports consumption and fans’ habits are the subject of changes, accordingly, it impacts SSCX. This study draws on pieces of literature spanning from technology, Sport Spectacle, Stadia, CX, Optimization strategy and combines them with data collection and analysis in the spirit of grounded theory. Data was collected in semi-structured interviews (N=10) with professional sports managers or technologies specialists. The outcome is a new conceptual framework on Locations and Relocations of SSCX. This question is important in the framework of the study of technological impact on SSCX. It helps Sports Managers and Marketing Professionals to better understand the research target audience, outline technological trends, find links and interrelation and define their impact.
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Kemp, Joanna, and Joanna Kemp. "Movement, the Senses and Representations of the Roman World: Experiencing the Sebasteion in Aphrodisias." Exchanges: The Interdisciplinary Research Journal 3, no. 2 (April 30, 2016): 157–84. http://dx.doi.org/10.31273/eirj.v3i2.132.
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This article examines the Sebasteion – a complex for emperor-worship built in the first century AD - in Aphrodisias, modern Turkey, and studies its political and ideological messages when the sensory experiences of the spectators are considered. The monument contained geographical representations of the peoples of the Roman world placed above a portico. Previous studies of this monument focus upon close and repeated visual study to gain an idea of a powerful empire, but this is not how the contemporary audience would have experienced it. During a religious procession the spectators were moving past static images situated high above them, with many other stimuli, which could distract from or add to the intended ideological messages of the monument. Therefore this article considers movement and architecture as part of the sensory experience and illustrates that these would have affected the audience’s encounters, which in turn could affect perceptions of the Roman world.
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Ruvalcaba, Omar, Jeffrey Shulze, Angela Kim, Sara R. Berzenski, and Mark P. Otten. "Women’s Experiences in eSports: Gendered Differences in Peer and Spectator Feedback During Competitive Video Game Play." Journal of Sport and Social Issues 42, no. 4 (May 15, 2018): 295–311. http://dx.doi.org/10.1177/0193723518773287.
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Despite the growing popularity of eSports, the poor representation of women players points to a need to understand the experiences of female players during competitive gaming online. The present study focuses on female gamers’ experiences with positive and negative feedback and sexual harassment in the male-dominated space of eSports. In Study 1, gender differences were analyzed in online gamers’ experience with feedback from other players and spectators during online play. In Study 2, gender differences were analyzed in observations of real gameplay that focused on the types of comments spectators directed toward female and male gamers on Twitch (a popular video game streaming website). The findings suggest a mixed experience for women that includes more sexual harassment in online gaming compared with men.
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Williams, Mark, and Keith Davids. "Declarative Knowledge in Sport: A By-Product of Experience or a Characteristic of Expertise?" Journal of Sport and Exercise Psychology 17, no. 3 (September 1995): 259–75. http://dx.doi.org/10.1123/jsep.17.3.259.
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This research examined whether skilled sports performers’ enhanced declarative knowledge base is a by-product of experience or a characteristic of expertise. Experienced high-skill (n = 12) and low-skill (n = 12) soccer players and physically disabled spectators (n = 12) were tested on soccer recall, recognition, and anticipation ability. MANCOVA showed that high-skill players demonstrated superior anticipatory performance compared with low-skill players, who in turn were better than physically disabled spectators. ANOVA showed that high-skill players demonstrated superior recall performance on structured trials only. Also, low-skill players were significantly better than physically disabled spectators on the structured trials. MANCOVA showed that high-skill players were better at recognizing structured and unstructured trials. No differences were found between low-skill players and physically disabled spectators. It appears that high-skill players possess a larger and more elaborate declarative knowledge base. Thus, declarative knowledge is a constituent of skill rather than a by-product of experience.
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Pręgowski, Filip. "W przestrzeni wymiany. Obrazy Jacka Goldsteina i fotografie Olivera Wasowa." Artium Quaestiones, no. 28 (May 22, 2018): 87–110. http://dx.doi.org/10.14746/aq.2017.28.4.
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The paper, focused on the works of two American artists of the 1980s, Jack Goldstein and Oliver Wasow, is an attempt to consider the process of crossing boundaries between two different kinds of art. That phenomenon was a characteristic feature of the late twentieth-century art, including also The Pictures Generation to which both artists actually belonged. Both Goldstein, in his paintings from the 1980s, and Wasow, in his photos from the same period, used mediated images and simulated the effects achieved by the advanced technology of nature watching and picture transmission. In consequence, among several features common to the works under scrutiny, one realizes in the first place a significant change in the defining of the medium understood not just as a material and technological aspect of the work, but as a dynamic and complex structure connecting different forms and spaces of artistic expression with the spectator’s experience. Challenging the autonomy of art and the separate identities of its kinds, rooted in the historical avant-garde, leads to a revision of the modernist idea of the medium, as well as to reconsidering the ways in which its changing status influences the semantic potential of paintings and photos. Moreover, the spectacular paintings of Goldstein and photos by Wasow, made and taken in relation to the rapidly changing technology of image transmission, provokes questions about their critical potential: do they denounce the spectacle-making techniques or, as fetishized merchandise, do they just take part in it? The frame of reference are analyses conducted by American critics and art historians who redefined the concept of the medium in contemporary artistic practices, examined the role of photography, and considered the subjection of the late twentieth-century art to the logic of spectacle, such as Rosalind Krauss, Douglas Crimp, and Hal Foster.
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Jones, Charles W., and Kevin K. Byon. "Central actors in the live sport event context: a sport spectator value perception model." Sport, Business and Management: An International Journal 10, no. 1 (March 8, 2020): 58–81. http://dx.doi.org/10.1108/sbm-10-2018-0080.
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PurposeThis study is a micro-level perspective of value co-creation in spectator sport. By examining sport through the value co-creation lens, the dual role of the customer as both a contributor to and a beneficiary of value is acknowledged and the importance of stakeholder interactions is emphasized. This study analyzes the extent to which two theoretically and managerially important factors—attendance frequency (i.e. first-time attendee vs repeat attendee) and resident type (i.e. local resident vs domestic traveler)—impact value creation in the recurring live sporting event setting.Design/methodology/approachData were collected from spectators who attended a National Association for Stock Car Auto Racing (NASCAR) sanctioned racing event. Multigroup structural equation modeling was performed to examine the proposed pathways, and multigroup t-tests were used to compare the model across both groups for each moderating variable. Corresponding path coefficients were then compared using Chin's (2004) recommended equations and procedures.FindingsThe study found organization-related value propositions to be the more common antecedents of value, while customer appearance had a strong negative association with hedonic value, and attendance frequency and resident type influenced certain value perceptions. Sport organizations should consider the expectations and motivations of various customer groups and provide offerings designed to meet the specific needs of different fan segments based on the spectator's experience with the sport product and the distance traveled to attend the sport event.Originality/valueThis paper advances the authors’ understanding of value creation in sport by showing how customer perceptions of value associated with the sport organization and other customers can be moderated by certain behavioral and geographic factors.
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Reynolds, Dee. "‘Glitz and Glamour’ or Atomic Rearrangement: What do Dance Audiences Want?" Dance Research 28, no. 1 (May 2010): 19–35. http://dx.doi.org/10.3366/drs.2010.0003.
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While popular dance shows on stage and screen frequently attract audiences seeking the ‘glitz and glamour’ of spectacle and celebrity, much contemporary, experimental work holds more appeal for spectators in search of challenge and even disorientation. However, a significant element of viewing pleasure which cuts across these distinctions is the spectator's feeling of involvement with the dancer and/or the kinesthetics of the choreography. Indeed, facilitating audiences’ sense of intimacy/involvement with dancers can impact dramatically on the effect of cutting-edge choreography which might otherwise be experienced as difficult and obscure. I shall discuss audiences’ response and attraction to popular shows such as Strictly Come Dancing and compare these with responses to William Forsythe's choreography as performed by the ‘Ballet Boyz’.
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Vukadinovic, Maja, and Slobodan Markovic. "Aesthetic experience of dance performances." Psihologija 45, no. 1 (2012): 23–41. http://dx.doi.org/10.2298/psi1201023v.
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In this study the aesthetic experience of dance performances is investigated. The study includes construction of an instrument for measuring the aesthetic experience of dance performances and an investigation of the structure of both dancers? and spectators? aesthetic experience. The experiments are carried out during eight different performances of various dance forms, including classical ballet, contemporary dance, flamenco and folklore. Three factors of aesthetic experience of dance performances are identified: Dynamism, Exceptionality and Affective Evaluation. The results show that dancers? aesthetic experience has a somewhat different factorial structure from that of the spectators?. Unlike spectators? aesthetic experience, dancers? aesthetic experience singles out the Excitement factor. The results are discussed within the context of dancers? proprioception and spectators? exteroception since these findings confirm the idea of a significant role of proprioception in dancers? aesthetic experience.
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Lian, Olaug S., and Geir Fagerjord Lorem. "“I Do Not Really Belong Out There Anymore”." Qualitative Health Research 27, no. 4 (July 9, 2016): 474–86. http://dx.doi.org/10.1177/1049732316629103.
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In this article, we explore relations between health, being, belonging and place through an interpretive thematic analysis of autobiographic text and photographs about the everyday lives of 10 women and men living with medically unexplained long-term fatigue in Norway. While interpreting their place-related illness experiences, we ask: How do they experience their being in the world, where do they experience a sense of belonging/not belonging, and why do places become places of belonging/not belonging? The participants describe experiences of (a) being socially detached and alienated, (b) being imprisoned, (c) being spectators who observe the world, and (d) senses of belonging. They describe senses of being and belonging/not belonging as closely attached to physical and symbolic aspects of places in which they reside, and they wistfully reflect on the question of “why.” The study illustrates the influence of experienced place—material as well as immaterial—on health and illness.
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Kim, Suk-kyu, Brian H. Yim, Kevin K. Byon, Jae-Gu Yu, Sung-Min Lee, and Jae-Ahm Park. "Spectator perception of service quality attributes associated with Shanghai Formula One." International Journal of Sports Marketing and Sponsorship 17, no. 2 (April 29, 2016): 153–71. http://dx.doi.org/10.1108/ijsms-04-2016-011.
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Purpose – The purpose of this paper is to examine spectator perceptions of service quality at the Formula One (F-1) event in Shanghai by means of Martilla and James’ Importance and Performance Analysis (IPA). Design/methodology/approach – The items were plotted on the four IPA dimensions, including: Concentrate Here; Keep Up the Good Work; Lower Priority; and Possible Overkill. Findings – The results indicated that staff courtesy seems to be the strength of the event. However, concession quality, food prices, and arena accessibility, including restrooms at the Shanghai F-1 event, did not meet spectators’ expectations. In addition, the results suggested that in any spectator sporting event, food consumption helps to create a positive experience. Therefore, IPA revealed that service quality related to concessions, food pricing, and arena accessibility at the Shanghai F-1 are in need of immediate improvement, whereas staff courtesy and race visuals were satisfactory. Originality/value – The findings will help marketers prioritize certain services and offer strategic direction in effective service provision by highlighting management problems.
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Chiu, Weisheng, Doyeon Won, and Ho Keat Leng. "The relationship between sport involvement, perceived event prestige, and the intention to attend annual spectator events." Asia Pacific Journal of Marketing and Logistics 31, no. 5 (November 11, 2019): 1405–21. http://dx.doi.org/10.1108/apjml-03-2018-0103.
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Purpose The purpose of this paper is to examine the relationship between sport involvement, perceived event prestige and attendance intention of annual sporting events. In addition, it examines the moderating effects of gender and past experience on the proposed model. Design/methodology/approach Data were collected, using an on-site survey, from spectators (n=349) who attended the men’s or women’s basketball tournaments of the 2016 William Jones Cup held in Taiwan. Findings The results showed that perceived event prestige partially mediated the relationship between sport involvement and attendance intention of sporting events. Moreover, the moderating effects of gender and experience were found in the proposed model. Specifically, male spectators’ involvement had a significantly stronger influence on perceived event prestige, and, in turn, their perception of event prestige played a more significant role in influencing attendance intention. Also, sport involvement was more important in predicting attendance intention for experienced spectators whereas the prestige of the event was more important for first-time spectators. Originality/value This study suggests that sport event organizers need to employ different strategies in developing the subsequent editions of the event and retaining fans’ interest in the sport. Specifically, event organizers need to enhance the prestige of the sporting event through effective marketing communication to attract first-time spectators to the event.
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Király, Hajnal. "Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 57–71. http://dx.doi.org/10.2478/ausfm-2020-0003.
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AbstractThe paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.
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Biscaia, Rui. "Revisiting the Role of Football Spectators’ Behavioral Intentions and its Antecedents." Open Sports Sciences Journal 9, no. 1 (May 12, 2016): 3–12. http://dx.doi.org/10.2174/1875399x01609010003.
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Football is one of the most rooted sports worldwide attracting millions of spectators, but clubs face an increasing competition of other leisure activities. Understanding how to increase spectators' behavioral intentions towards their favorite football teams is paramount for sport managers, given that a behavioral intention represents a measure of how much a person is willing to engage in a specific behavior. Thus, the purposes of this study were (1) to explain the role of spectators' behavioral intentions, and (2) to highlight its antecedents within the football context. In doing so, this study starts by providing a review of consumption-related aspects that have been associated with football spectators' behavioral intentions, such as emotions experienced during the games, service quality, team brand associations and satisfaction. Subsequently, the main findings from previous studies conducted with football spectators are highlighted and managerial implications are suggested in order to aid football clubs at providing good overall consumption experiences to their spectators, and thus contributing to increase attendance levels. Finally, future research avenues are suggested in order to expand our understanding on how to strengthen the link between football spectators and their teams, with subsequent associated benefits.