Academic literature on the topic 'Spectator control'
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Journal articles on the topic "Spectator control"
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Kim, Min-cheol, and Sun-young Lim. "Predicting Spectating Behavior of Spectator-Type Taekwondo Spectators by Applying the Extended Theory of Planned Behavior and Embodied Cognition Theory." Korean Journal of Sport Science 33, no. 4 (December 31, 2022): 674–86. http://dx.doi.org/10.24985/kjss.2022.33.4.674.
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PURPOSE This study aimed to identify the influence of certain factors on spectators' spectating behavior through the analysis of spectator-type Taekwondo spectators’ spectating behavior by applying the extended theory of planned behavior and embodied cognition theory and considering spectators’ desire to stay. METHODS A total of 305 surveys were used as the final sample. SPSS 24.0 and AMOS 26.0 were used for frequency , correlation, confirmatory factor, and structural equation model analyses. RESULTS First, attitudes, subjective norms, perceived behavioral control, and prior knowledge, which are predictors of the extended theory of planned behavior, had a statistically significant effect on the spectators’ desire to stay. Second, the spectators’ desire to stay had a statistically significant effect on the spectators’ content , environment, and behavior. Third , the spectators’ content and environment, which are sub-factors of the embodied cognition theory, had a statistically significant effect on the spectators’ behavior. CONCLUSIONS The study results suggest that attitudes, subjective norms, perceived behavior control, and prior knowledge, which are predictors of the extended theory of planned behavior, have a positive effect on the embodied cognition and spectator behavior of spectator-type Taekwondo spectators.
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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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Patibanda, Rakesh, Aryan Saini, Nathalie Overdevest, Maria F. Montoya, Xiang Li, Yuzheng Chen, Shreyas Nisal, et al. "Fused Spectatorship: Designing Bodily Experiences Where Spectators Become Players." Proceedings of the ACM on Human-Computer Interaction 7, CHI PLAY (September 29, 2023): 769–802. http://dx.doi.org/10.1145/3611049.
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Spectating digital games can be exciting. However, due to its vicarious nature, spectators often wish to engage in the gameplay beyond just watching and cheering. To blur the boundaries between spectators and players, we propose a novel approach called "Fused Spectatorship", where spectators watch their hands play games by loaning bodily control to a computational Electrical Muscle Stimulation (EMS) system. To showcase this concept, we designed three games where spectators loan control over both their hands to the EMS system and watch them play these competitive and collaborative games. A study with 12 participants suggested that participants could not distinguish if they were watching their hands play, or if they were playing the games themselves. We used our results to articulate four spectator experience themes and four fused spectator types, the behaviours they elicited and offer one design consideration to support each of these behaviours. We also discuss the ethical design considerations of our approach to help game designers create future fused spectatorship experiences.
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Li, Rulin, Ying Liu, Ge Yu, Haibo Guo, and Siqi Qin. "Establishment of a Thermal Comfort Model for Spectator Areas of Air-Supported Membrane Ice Rinks in Severe Cold Regions: A Case Study in Harbin, China." Energies 16, no. 12 (June 8, 2023): 4598. http://dx.doi.org/10.3390/en16124598.
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In China, the post-Winter Olympics era has seen the rapid development and promotion of ice rinks with air-supported membrane structures. With the rise of large indoor spectator areas in ice rinks, thermal comfort needs in spectator areas are receiving more and more attention. The satisfaction of thermal comfort needs is crucial to people’s health and well-being, so further study of the issue of thermal comfort in such spectator areas is needed. Unfortunately, models currently used to evaluate the thermal comfort of traditional building envelopes are not applicable to air-supported membrane-envelope ice rinks. Researchers need to focus on the internal thermal comfort needs of air-supported membrane envelopes for spectator areas. The aim of this research was to establish a thermal comfort model to provide exact temperature-range recommendations for spectator areas in air-supported membrane ice rinks. The indoor thermal-environment parameters of the ice rink in Harbin were measured from 2 January to 15 January 2023. To elicit data on spectators’ actual thermal sensations in the ice rink, a field questionnaire was administered. By modifying the expectancy factor, an extended predicted thermal comfort model was established. The results suggested that the operative temperature required to meet spectators’ thermal comfort needs in the case study ice rink ranged from 17 °C to 26 °C. The results of the study offer specific insights into the indoor thermal comfort needs of air-supported ice rinks and provide a more accurate temperature-setting reference for the healthy and energy-efficient development of such rinks.
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Welsford-Ackroyd, Finn, Andrew Chalmers, Rafael Kuffner dos Anjos, Daniel Medeiros, Hyejin Kim, and Taehyun Rhee. "Spectator View: Enabling Asymmetric Interaction between HMD Wearers and Spectators with a Large Display." Proceedings of the ACM on Human-Computer Interaction 5, ISS (November 3, 2021): 1–17. http://dx.doi.org/10.1145/3486951.
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In this paper, we present a system that allows a user with a head-mounted display (HMD) to communicate and collaborate with spectators outside of the headset. We evaluate its impact on task performance, immersion, and collaborative interaction. Our solution targets scenarios like live presentations or multi-user collaborative systems, where it is not convenient to develop a VR multiplayer experience and supply each user (and spectator) with an HMD. The spectator views the virtual world on a large-scale tiled video wall and is given the ability to control the orientation of their own virtual camera. This allows spectators to stay focused on the immersed user's point of view or freely look around the environment. To improve collaboration between users, we implemented a pointing system where a spectator can point at objects on the screen, which maps an indicator directly onto the objects in the virtual world. We conducted a user study to investigate the influence of rotational camera decoupling and pointing gestures in the context of HMD-immersed and non-immersed users utilizing a large-scale display. Our results indicate that camera decoupling and pointing positively impacts collaboration. A decoupled view is preferable in situations where both users need to indicate objects of interest in the scene, such as presentations and joint-task scenarios, as it requires a shared reference space. A coupled view, on the other hand, is preferable in synchronous interactions such as remote-assistant scenarios.
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Goldberger, Alan S. "Courtside: Out of Control: Player/Spectator Violence." Strategies 3, no. 2 (November 1989): 9–10. http://dx.doi.org/10.1080/08924562.1989.10591708.
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Joanna Sochacka. "Chuligaństwo stadionowe jako samodzielne zjawisko społeczne i przedmiot regulacji prawnych. Zarys problematyki." Archives of Criminology, no. XXXII (January 1, 2010): 223–48. http://dx.doi.org/10.7420/ak2010g.
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The current form of the phenomenon termed stadium hooliganism differs substantially to the form characteristic of 1960-1970s, and even 1980s. This is, on one hand, a result of change in deviant behaviour of spectators, on the other hand a result of material change in what behaviours are labelled, and thus controlled, by the state. While initially hooliganism consisted in acts of violence and vandalism on stadiums and in their immediate vicinity, deviant behaviours of spectators fundamentally changed with time. Re-design of stadiums, introduction of exclusively numbered seats and tickets, spectator video surveillance, ticket sale control systems, and many other technical measures to eliminate the sense of anonymity in the football fans – along with extension of the catalogue of football-related behaviours which are criminalised – resulted in relative safety of European, and to less extent Polish, stadiums. This resulted in transfer of deviant behaviour of spectators outside stadiums. At present, two types of behaviours are commonly considered in relation to stadium hooliganism. First, all deviant behaviours of (some) spectators manifested on the stadium or in its immediate vicinity in strict temporal and spatial relation to a match. Second, all other deviant behaviours of (some) spectators manifested outside stadiums and in less and less strict temporal, emotional and spatial relation to a sport event. Until 1985 penal policy towards stadium hooliganism – on the tier of national regulations, international cooperation, legal acts by European organs and UEFA – was surprisingly uniform in perception of the phenomenon as a social problem which does not require any particular methods or measure of control and which does not require any particular legislation. 1985 was a turning point as far as legal position of the phenomenon is concerned. Accepting in Strasbourg on 19 August 1985 the European Convention on Spectator Violence and Misbehaviour at Sports Events and in particular at Football Matches by Council of Europe initiated an entirely new approach to the policy of prevention of the phenomenon. Since 1985, legal acts concerning stadium hooliganism have been passed both on national and international level. Stadium hooliganism was termed a serious social problem in the area of public order solution of which requires introduction and implementation of particular legal regulations and particular methods of supervision and control. Including stadium hooliganism into the category of social phenomena which carry a risk for functioning of the society as a whole, such as terrorism, delinquency of immigrants, juvenile delinquency or drug addiction is an effect of wider transformations in European penal policy which have been present since the end of 1970s. This is related to emergence of strong tendencies towards politicisation of internal security issues at the time.
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Ju, Il Yeob, and Beon Jang Im. "Relations among the Number of Spectators, Social Control Result of Spectator Participation Factors in Korea-Japan World Cup." Journal of Sport and Leisure Studies 20 (November 30, 2003): 519–28. http://dx.doi.org/10.51979/kssls.2003.11.20.519.
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Zhong, Fangliang, John K. Calautit, and Ben R. Hughes. "Analysis of the influence of cooling jets on the wind and thermal environment in football stadiums in hot climates." Building Services Engineering Research and Technology 41, no. 5 (December 18, 2019): 561–85. http://dx.doi.org/10.1177/0143624419894803.
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After winning the bid of the FIFA’s World Cup 2022, Qatar is facing the greatest challenges in terms of minimizing substantial energy consumptions for air-conditioning of stadiums and maintaining aero-thermal comfort for both players and spectators inside stadiums. This paper presents the results of temperature distributions and wind environment of the original stadium under the hot-humid climate and improvements on them for optimized scenarios of cooling jets. A combined computational fluid dynamics and building energy simulation approach was used to analyse the cooling performance and energy consumption per match of cooling air jets for 10 scenarios with different supply velocities, supply temperatures and locations of jets. The optimal scenario is to employ vertical jets above the upper tiers at supply temperature of 20°C and velocities of 2–12 m/s, integrated with horizontal jets of the same temperature at the lower tiers with 4 m/s and around the pitch with 7 m/s. This scenario can maintain the spectator tiers at an average temperature of 22°C and reduce the maximum predicted percentage of dissatisfied of thermal comfort from the original 100% to 63% for the pitch and 19% for the tiers, respectively. In terms of the energy consumption for the air-conditioning system per match, compared with one of the 2010 South Africa World Cup stadiums Royal Bafokeng stadium which consumed approximately 22.8 MWh energy for air-conditioning in winter (highest outdoor temperature 24.4°C), the maximum energy consumption of the optimal scenario in November (highest outdoor temperature 34.2°C) can reach 108 MWh. In addition, the spectator zones with scenario 8 have the potential to be resilient to the seasonal change of outdoor temperature if slight modifications of the supply velocities and precise temperature control on the spectator zones are applied. Moreover, the configurations presented in this paper can be used as a foundation of jets arrangement for future stadium retrofits in the hot climates. Practical application: This study assesses the aero-thermal conditions of a case study stadium under the hot climate of Qatar and explores the potential of applying cooling jets with different supply velocities, supply temperatures and their locations on the enhancement of both thermal and wind environment of spectator tiers and pitch. The assessment of the original stadium indicates that the ascending curved roof structure impedes the fresh air entering into the stadium and results in an asymmetric temperature distribution on the spectator tiers. The optimized design suggests a combination of vertical jets under the roof and both three arrays of horizontal jets at lower tiers and around pitch for future stadium optimizations in hot climates. It also recommends enhancing the thermal conditions on the pitch by optimizing the velocity of horizontal jets around the pitch. Moreover, the future design of the exact stadiums to be resilient to the seasonal changing outdoor temperature can be implemented based on scenario 8.
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Harlow, Karsten J., Anthony F. Hill, and Thomas Welton. "Control of intramolecular acetate–allenylidene coupling by spectator co-ligand π-acidity." Journal of the Chemical Society, Dalton Transactions, no. 12 (1999): 1911–12. http://dx.doi.org/10.1039/a902021g.
Full textDissertations / Theses on the topic "Spectator control"
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Lassalle, Julie. "Etude de l'influence de la qualité audiovisuelle sur la qualité d'expérience du spectateur : combinaison d'indicateurs subjectifs, physiologiques et oculaires." Télécom Bretagne, 2013. http://www.telecom-bretagne.eu/publications/publication.php?idpublication=14159.
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Dans un contexte fortement concurrentiel, l'un des principaux enjeux pour les acteurs de l'offre de services audiovisuels (AV) est de garantir au spectateur une qualité d'expérience (QoE) optimale. Aujourd'hui, la QoE est souvent restreinte à la perception de la qualité audiovisuelle restituée (QAV) par le système. Elle est principalement mesurée à travers la collecte de notes données par des participants sur des échelles de qualité, après visualisation et écoute de séquences AV traitées par le ou les technologies à évaluer. Ces tests subjectifs suivent des procédures recommandées par l'Union Internationale des Télécommunications. Cependant, la qualité restituée peut affecter la QoE (fatigue, effort, etc. ) sans être reflétée par les notes de qualité. Une méthode considérant l'évaluation non plus de la QAV perçue seule mais de la qualité d'expérience, plus largement considérée, pourrait permettre de mieux rendre compte de l'influence de la qualité du son et de l'image sur le spectateur. Le présent travail est centré sur la recherche d'une méthode alternative aux méthodes actuelles de l'évaluation de qualité pour applications multimédias dans un contexte de visualisation et d'écoute de contenus AV 2D ou 3D. L'approche proposée aborde la QoE sous l'angle de l'analyse conjointe d'indicateurs subjectifs et d'indicateurs toniques physiologiques (activité électrodermale, rythme cardiaque, température cutanée périphérique, volume sanguin périphérique) et oculaires (PERCLOS, durée et fréquence de clignement de l'oeil, nombre de saccades, diamètre pupillaire). Les mesures physiologiques et oculaires ont pour avantage de ne pas être assujetties aux biais des mesures subjectives (représentativité, échelles, etc. ) et de traduire des phénomènes comme la fatigue ou l'effort mental, potentiellement induits par la présence de dégradations sur les signaux audio et/ou vidéo et pouvant être critiques du point de vue de la QoE. Deux protocoles ont été testés. Les résultats ont montré que la QAV module l'expérience subjective et que les notes de qualité ne sont pas suffisantes pour refléter fidèlement cet effet. L'influence de la QAV sur les mesures physiologiques et oculaires est moins évidente. Un ensemble de facteurs, notamment lié à certains attributs du contenu de test comme la dynamique ou la luminosité, aurait pu masquer ou atténuer l'observation d'un effet de la qualité restituée. Néanmoins, deux des indicateurs physiologiques ont réagi à la présence de dégradations audio et/ou vidéo lorsque celles-ci étaient cumulées à l'effet préjudiciable d'autres facteurs (vidéo 3D ou effet de passation).In a strongly competitive context, one of the main stakes for the actors of the audiovisual services offer is to guarantee to the spectator an optimal Quality of Experience (QoE). Nowadays, QoE is often limited to the perception of the audiovisual quality (AVQ) received by the system. It is mainly measured through the collection of rates given by testers onto quality scales, after visualization and listening of the AV sequences treated by one or several technologies to be evaluated. These subjective tests are following procedures recommended by the International Telecommunication Union. However, the restored quality can affect some factors of QoE (fatigue, effort, etc. ) which are not reflected by the quality scores. A method considering the evaluation either of the AV quality only received but of the quality of experience, widely considered, could allow to report better the influence of the sound and image quality on the spectator. The present work is centered on the research of an alternative method to current methods of quality assessment for multimedia applications in a context of viewing/listening of 2D or 3D AV contents. The proposed approach addresses the QoE in terms of analysis of subjective indicators and tonic physiological (electrodermal activity, heart rate, peripheral cutaneous temperature, blood volume pulse) and oculars indicators (PERCLOS, duration and frequency of the blinking of the eye, number of saccadic movements, pupillary diameter). Physiological and ocular measures have for advantage not to be subjected to the biases of the subjective measures (representativeness, scales, etc. ) and to reflect phenomena such as fatigue or mental effort, potentially induced by the presence of audio and/or video degradations, which may be critical in terms of QoE. Two protocols were tested to study the relevance of this approach. The results showed that QAV modulates the subjective measures and have putted forward the insufficiency of quality rates to reflect faithfully this effect. The impact of the quality on the physiological and ocular measures is less obvious. A set of factors in particular connected to certain attributes of the test contents, as the dynamics or the luminosity, would have been able to mask or decrease the quality effects observation on gathered measures. However, two of the physiological indicators reacted to the presence of audio and/or video degradations when these were accumulated to the detrimental effect of other factors (3D video or test period effect).
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Lipson, David. "Le contrat documentaire chez Michael Moore : de l'info-argument vers l'info-tainment." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA097/document.
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Michael Moore est une icône culturelle aux États-Unis. Son nom évoque la polémique, la contestation politique mais aussi le film documentaire à succès (Bowling For Columbine, primé aux Oscars, Fahrenheit 9/11, Palme d’Or à Cannes). Les six films du corpus, —Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) et Captain Mike Across America (Slacker Uprising) (2008) —, posent une triple problématique : la tension entre documentaire classique et documentaire hybride, la présence/absence du documentariste dans son film, et la réception du spectateur organisée par le divertissement et/ou la politique. Trois axes majeurs émergent, autour desquels l’articulation de la thèse peut s’effectuer : le divertissement, la politique et l’autosuffisance. La méthodologie pour rendre compte de cette triple problématique résulte d’un montage quali-quanti. Il s’agit de faire appel à l’analyse de discours mais aussi à l’analyse de contenu (pour mesurer la présence de manière quantitative). L’histoire américaine et l’histoire du documentaire sont également nécessaires pour situer Moore à la fois dans la lignée de certains de ses ainés, mais aussi pour mesurer sa propre influence sur le genre avec ses propres héritiers. Au bout du processus, il est possible de constater que Moore a insufflé un nouvel élan dans le genre du film documentaire en rejetant le modèle classique de type info-argument, rendant ses productions aussi populaires que des blockbusters hollywoodiens. Cette transformation vient de la combinaison inédite des finalités de divertissement et de politique pour créer un documentaire à la Michael Moore du type info-tainment. Avec l’ajout d’une troisième finalité d’autosuffisance, le documentaire moorien se signale aussi par une augmentation considérable de la présence du documentariste à l’écran et une densification de ses interventions au montage. En modifiant le documentaire classique, Moore a mis en place plusieurs stratégies de regard et de récit/storytelling afin de favoriser une assimilation efficace de ces trois finalités dans l’esprit du spectateurMichael Moore is a cultural icon in the United States. The mere mention of his name evokes polemics, political protest but also blockbuster documentary films (The Academy award winning Bowling For Columbine and Fahrenheit 9/11 which won the Palme d’Or at Cannes). The six films of this corpus—Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) and Captain Mike Across America (Slacker Uprising) (2008)—, are problematic in three ways: the discordant relationship between classic and hybrid documentary, the presence/absence of the documentary filmmaker in his own film, and the spectator’s reception of the film along the lines of entertainment and/or politics. Three main areas, thus, emerge around which the thesis can be constructed: entertainment, politics and self-sufficiency. The methodology used to attend to these three matters of discussion comes directly from quali-quanti research. This implies calling on discourse analysis but also content analysis (to measure Moore’s presence quantitatively).The history of the United States as well as that of the documentary film are also necessary to situate Moore not only in the footsteps of some of his predecessors but also to measure his own influence on the genre as evidenced by his very own successors. Ultimately, it can be noted that Moore has breathed new life into the documentary film genre by rejecting the traditional info-argument model, thereby making his films as successful as Hollywood blockbusters.This transformation arises from the unique combination of entertainment and politics to make a Michael Moore info-tainment style documentary. With the added third documentary finality of self-sufficiency, the Michael Moore documentary film is marked by a considerable increase of the filmmakers on-screen presence as well as density of the documentarian’s interventions in the editing room. By modifying the traditional documentary film form, Moore has established several strategies of gaze and narrative/storytelling in order to stimulate the effective absorption of his three main documentary finalities into the mind of the spectator
Books on the topic "Spectator control"
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Beene, Charles. Police crowd control: Risk-reduction strategies for law enforcement. Boulder, Colo: Paladin Press, 1992.
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Ireland. Committee on Public Safety and Crowd Control. Committee on public safety and crowd control: Report. Dublin: Stationery Office, 1990.
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Peterson, Lorna. Crowd control: A checklist of materials. Monticello, Ill: Vance Bibliographies, 1989.
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Bahbānī, Khalīfah Ṭālib. Shaghab al-malāʻib wa-asālīb muwājahatih. al-Riyāḍ: Jāmiʻat Nāyif al-ʻArabīyah lil-ʻUlūm al-Amnīyah, 2004.
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Williams, John. Hooligans abroad: The behaviour and control of English fans in continental Europe. 2nd ed. London: Routledge, 1989.
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Kowalski, Radosław. Potomkowie Hooligana, szalikowcy: Społeczno-kulturowe źródła agresji widowni sportowych. Toruń: Adam Marszałek, 2000.
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Gozdór, Grzegorz. Bezpieczeństwo imprez masowych: Komentarz. Warszawa: Wydawn. C.H. Beck, 2008.
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Office, New York State Emergency Management. Crowd control planning in New York State: A report to the governor and the Legislature. [Albany?, N.Y: The Office, 1990.
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Ireland. Department of Education. Code of practice for safety at outdoor pop concerts and other musical events. Dublin: Department of Education, 1996.
Find full textBook chapters on the topic "Spectator control"
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Edwards, Jonathan, and Abraham Lincoln. "Benjamin Franklin, Jonathan Edwards, and the Problem of Human Nature." In Making the American Self, 21–47. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195387896.003.0002.
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Abstract “Reason should govern Passion, but instead of that, you see, it is often subservient to it.” So ran the conventional wisdom of the eighteenth century, in this case stated by Sir Richard Steele in The Spectator. Throughout the eighteenth century, the Western world typically thought of human nature in terms of a model of faculties or powers. The “active powers,” which collectively composed the “will,” supplied the motives prompting human action. The most common version of eighteenth-century faculty psychology arranged these powers in a hierarchical sequence. First in order of precedence came the rational faculties of the will: conscience (or the moral sense) and prudence (or self-interest). Below them were the emotional springs of action, called either by the approving term “affections” or the more derogatory word “passions,” as the context might dictate. Still further down were mechanical impulses like reflexes, not subject to conscious control at all. The hierarchical structure of human nature, explained a later number of The Spectator, corresponded to humanity’s intermediate position in the great chain of being, partly divine, partly animal.
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Ritter, Julia M. "Introduction." In Tandem Dances, 1–30. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.003.0001.
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The Introduction lays out the main aim of the project—to uncover choreography’s role in immersive productions—and suggests that two specific challenges must be addressed in order to do so. The first challenge concerns the ways that dance and theater have long been maintained as separate academic disciplines and continue to be disconnected in the research surrounding contemporary performance, including participatory forms such as immersive theater. The second challenge when foregrounding choreography’s role in immersive productions is to address the questions about power and control. By recognizing the generative interplays within immersive productions—tensions between agency and control, between performer and spectator, between scriptedness and improvisation—we are able to understand choreography’s nuanced role as a primary mechanism for shaping audience participation to effectively engender immersion as an affective outcome.
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Howe, Daniel Walker. "Franklin, Edwards, and the Problem of Human Nature." In Benjamin Franizlin, Jonathan Edwards, And The Representation Of American Culture, 75–97. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195077759.003.0006.
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Abstract “Reason should govern Passion, but instead of that, you see, it is often subservient to it.” So ran the conventional wisdom of the eighteenth century, in this case stated by Sir Richard Steele in The Spectator. Throughout the eighteenth century, the Western world typically thought of human nature in terms of a model of faculties or powers. There were two kinds of powers, “intellectual” and “active,” which made up the “understanding” and the “will,” respectively. The understanding encompassed the powers of perception; the will, those of action. It is with the latter that we shall primarily concern ourselves. The most common version of eighteenth-century faculty psychology arranged the “active powers” in a hierarchical sequence. First in order of precedence came the rational faculties of the will: conscience (or the moral sense) and prudence (or self-interest). Below them were the emotional springs of action, called either by the approving term “affections” or the more derogatory word “passions,” as the context might dictate. Still farther down were mechanical impulses like reflexes, not subject to conscious control at all. The hierarchical structure of human nature, a later number of The Spectator explained, corresponded to humanity’s intermediate position in the great chain of being, partly divine, partly animal.1
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Ensarioğlu, Sebla Arın. "The Unity of Fictive World and Vision of Reality in the “Blade Runner” Universe." In Architecture in Cinema, 359–70. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010044.
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In this study, the relationship between the fictional world created in Ridley Scott's Blade Runner movie and the reality of 2019, in which the movie takes place, and how consistent the predictions for the future are, are evaluated. This narrative, in which cinematography, architecture, and world of thought are intertwined, is one of the pioneering and cult examples of cyber-punk, techno-noir, and future-noir genre cinema. In the text, in which the intellectual infrastructure and architectural and theoretical references of the dystopian universe created in the movie are examined, the city of Los Angeles in 2019, which the movie reflects, is compared with the cosmopolitan city structure of today’s real world. While trying to analyze the intellectual references made in the subtexts of the film, the relations between the leading thinkers of postmodern philosophy and alternative names of architectural theory and this cult work are examined. Architecture has a place far beyond just creating a visual background in the Blade Runner universe. The periodical and spatial features of the buildings are integrated with the role of characters, and architecture turns into a tool that conveys the nature of the character to the spectator. In this sense, real buildings in the city of Los Angeles are included in the film as well as imaginary designs. Both fictional and real places are extremely effective in reinforcing the characters in the movie. The intricate relationship between places and people is also examined in the text. One of the important concepts that the film leads the audience to question is “othering”. This comparison, conveyed through the human replicant, prompts the spectator to question similar dualities and the boundaries /border setters between them. In addition, the nonstop surveillance/control mechanisms that have penetrated into the deepest cells of the city, both its historical references and its reflections in today's socio-political environment, are discussed.<br>
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Hart, Adam Charles. "The Blackest Eyes . . . The Devil’s Eyes." In Monstrous Forms, 89–106. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916237.003.0004.
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Chapter 3 refines the discussion of the sensational address and horror spectatorship by analyzing the first-person camerawork that I dub “Killer POV.” Killer POV—a subjective camera without a reverse shot—is at the center of many of the most influential writings on modern horror. However, these discussions often start from the assumption that the camera’s point of view produces identification with the unseen killers or monsters whose perspectives we presume to be represented. This chapter attempts to disengage our understanding of horror spectatorship from such models to provide an alternative reading of Killer POV that engages with the genre’s structures of looking and being looked at while remaining sensitive to what precisely is being communicated to viewers by these shots. Killer POV signals to the viewer the presence of a threat without displaying the killer onscreen. This chapter reads Killer POV through the lens of the sensational address, understanding it in terms of its effects on the spectator. In this reading, Killer POV does not elicit fantasies of mastery and control, but, rather, separates the dominating, sadistic look of the killer from the viewer’s powerless look at Killer POV.
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Brown, Andrew. "Frames And Names." In Roland Barthes, 110–51. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198151715.003.0004.
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Abstract What is the effect of a frame? The frame opens up and controls a space of representation, positioning the spectator as looking into a field of vision. According to Barthes, representation is defined by its reliance on a geometrical figure rather than by its attempt to copy the real. In ‘Diderot, Brecht, Eisenstein’, he notes: ‘il restera toujours de la “représentation”, tant qu’un sujet (auteur, lecteur, spectateur ou voyeur) portera son regard vers un horizon et y découpera la base d’un triangle dont son reil (ou son esprit) sera le sommet’. This applies to classical painting, theatre, cinema, but also to ‘le di.scours litteraire classique (lisible)’, which, ‘abandonnant depuis longtemps la prosodic, la musique, est un discours représentatif, géométrique, en tant qu’il découpe des morceaux pour les peindre’.
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Kirchner, Thomas. "X. Pour quel spectateur ?" In Peindre contre le crime, 89–93. Éditions de la Maison des sciences de l’homme, 2020. http://dx.doi.org/10.4000/books.editionsmsh.24647.
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Vaz-Deville, Kim. "Is the Unruly Woman Masker Still Relevant?" In Walking Raddy, 109–38. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817396.003.0009.
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The Baby Doll tradition remains relevant because it continues to excite women who mask and the new audiences that are embracing them. The practice resonates with sacred ritual traditions of Guede, Rara and the Eleusinian mysteries that involve satire. The tradition provides an accessible means of participation in a topsy-turvy tradition where unruly women control the spectator’s gaze though they may not in their everyday lives.
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Narayanan, Amrita. "If I Win, We Lose." In Women's Sexuality and Modern India, 19—C2.P71. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192859815.003.0002.
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Abstract Describes how gender performances are shaped by gendered group affinities and by the presence of spectators. Reiterates how conventional gender performances are programmed to serve the needs of a patriarch-anchored group composite identity that casts women in roles of mourning and mothering while men are allocated aggressive and victorious performances. Introduces a contemporary clinical case and explains how conflicts between individual wishes and group strictures upon women’s identities can result in the production of clinical symptoms. Uses examples to illustrate how performances of sexual triumph are socially forbidden to women, and how women internalize these prohibitions, turning social controls to self-controls. Provides a detailed case example to describe how women’s sexuality is not restricted by a faceless institution of patriarchy but via loyalty to the image of a beloved but desexualized older woman imagined as the mother.
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Narayanan, Amrita. "Mutters, Whimpers, Wails." In Women's Sexuality and Modern India, 110—C7.P63. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192859815.003.0007.
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Abstract This chapter explores generational styles in grieving the loss of women’s sexual freedom under patriarchy. Introduces a range of responses to patriarchal control of sexual freedom: some women experience almost no difficulty or resentment in navigating conservative sexuality, but others experience sexual deprivation of an order so high as it is hard for them to even imagine their desires. Introduces Freud’s theory of grief and contemporary approaches to grief. Defines ‘recovery’ from patriarchy while clarifying that not all women desire or need ‘recovery’ because women of different generations have different investments in patriarchy. Introduces styles of mourning—melancholic, elegiac, and angry—and articulates how these styles of mourning may take the form of sexual enactments or privatized grief. Reminds us that spectators to women’s grief have a tendency to value privatized grief and problematically refuse the grief and triumph in women’s sexual enactments. Argues for an ‘aesthetics of grief’ that allows for an appreciation of a range of responses to the trauma of female sexual control under patriarchy.
Conference papers on the topic "Spectator control"
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Dobler, Konstantin, Florian Hübscher, Jan Westphal, Alejandro Sierra-Múnera, Gerard de Melo, and Ralf Krestel. "Art Creation with Multi-Conditional StyleGANs." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/684.
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Creating art is often viewed as a uniquely human endeavor. In this paper, we introduce a multi-conditional Generative Adversarial Network (GAN) approach trained on large amounts of human paintings to synthesize realistic-looking paintings that emulate human art. Our approach is based on the StyleGAN neural network architecture, but incorporates a custom multi-conditional control mechanism that provides fine-granular control over characteristics of the generated paintings, e.g., with regard to the perceived emotion evoked in a spectator. We also investigate several evaluation techniques tailored to multi-conditional generation.
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Wright, Angela Siobhan. "Enquiry Based Learning: A Valuable Mechanism at Level 9?" In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5066.
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This paper examines ‘Enquiry Based Learning’ (EBL) as an engagement strategy for assessment at ‘taught masters’ level 9. The master students in question are adult learners in full time employment and the empirical data was gathered from these students. First, an outline of the key features of EBL is presented and, from there, an investigation of how it is viewed when applied to a specific problem statement by the masters students. EBL creates a memorable atmosphere in the classroom and encourages deep learning (Ramsden, 1992). EBL also encourages active learning, which is more enjoyable for the students (Eison, 2010), especially adults – offering more control (Whowell, 2006). Learning should not be passive or a spectator sport; students learn most effectively by active engagement (Karmas, 2006), with an interesting project, hence, the use of EBL. It is vital that we move beyond a conceptualisation of education as the simple acquisition of knowledge to one which equally emphasises, nurtures and assesses innovation and expertise in the utilisation and application of knowledge, (Boland, 2010). The findings of this research are relevant and important as they inform practice and feed into future programme reviews when considering the inclusion of EBL for assessment.
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Yordanov, Petar, Krassimir Petkov, Sasho Yordanov, Nina Klenovska, and Ivan Terziiski. "RESEARCH ON THE RISKS IN CYBERSPACE DURING SPORTING EVENTS." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/56.
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ABSTRACT Introduction: Every major sporting event, is a huge challenge in terms of information security. The main reason for this is the huge spectator interest, the active media coverage of the event, which „attracts“ and an unwanted contingent of people seeking to acquire „assets“ in a dubious way. Developing more innovative and effective malware protection mechanisms is considered an urgent requirement in the cybersecurity community. Methodology: In the research process we have applied: information research, document analysis, historical analysis, conclusions based on personal experience, monitoring, synthesis, and theoretical analysis. A theoretical overview of the basics of security and requirements for information technology supporting sports events. Results: The purpose of the report is to analyze the cybersecurity of information systems supporting mass sporting events and to create systems of measures to prevent cyberterrorist attacks during sporting events. Discussion: In support of the allegations made so far concerning the information security of any mass sporting event, we will cite various examples. As with any Internet-related system, hackers can try to manipulate the content or interfere with sports websites and e-mail systems. Conclusion: One way to increase cybersecurity during a „mass sporting event“ is to hire specialized companies to control cyberspace activities. Although cybercriminals are becoming more advanced, with the right approach and a little common sense, we can learn to stay one step ahead. The sport will continue to use more and more technology.
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Forbes, Kevin H., and L. Daniel Metz. "Protection of Drivers and Spectators from Pit Entrance Injuries Incurred During Loss of Control Accidents." In Motorsports Engineering Conference & Expostion. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1994. http://dx.doi.org/10.4271/942468.
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