Relevant bibliographies by topics / Audience

Academic literature on the topic 'Audience'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Audience"

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Marron, Margaret G., and James E. Thompson. "Determining Audience for a Health Sciences Writing Course." Journal of Technical Writing and Communication 28, no. 1 (January 1998): 119–25. http://dx.doi.org/10.2190/hpw5-y4m3-u4pb-7hnd.

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The authors, co-instructors in a health sciences technical writing course, investigated the expectations and needs of audience in the health care professions. They desired to know if health care professionals had expectations significantly different from other audiences. Through interviews, they determined the audience's reading habits, the document qualities desired by the audience, and the audience's intended use of the documents. Some of the health care professionals' expectations are similar to those of all technical writing audiences, but some are specific to health care. The authors have applied this knowledge to the teaching of their course.
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Slantchev, Branislav L. "Audience Cost Theory and Its Audiences." Security Studies 21, no. 3 (July 2012): 376–82. http://dx.doi.org/10.1080/09636412.2012.706476.

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Kirwan, Emily. "Performer/audience experience, performer perception and audience immersion." Virtual Creativity 12, no. 1 (March 20, 2023): 45–58. http://dx.doi.org/10.1386/vcr_00060_1.

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This article considers dance performances that utilize immersive technologies, in particular those that result in comparatively different experiences for the performer and the audience. The article proposes that with the incorporation of technology, creators and audiences may become so engrossed by the effects of technology and what can be achieved that we perhaps overlook what is omitted when technology takes centre stage. By analysing three aspects of technology-mediated dance performances, this article highlights how technology alters and extrapolates the dance experience for performers and audiences. The differing experiences of performer and audience, the dancer’s perception of their environment and the audience’s immersion are in some ways enhanced, but also arguably hindered, by the mediation of technology. The article aims to provoke questions about technology-mediated performances and proposes more theoretical discussions on the communication of dance through technology.
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Quintas-Froufe, Natalia, and Ana González-Neira. "Active audiences: Social audience participation in television." Comunicar 22, no. 43 (July 1, 2014): 83–90. http://dx.doi.org/10.3916/c43-2014-08.

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The combination of social networks, second screens and TV has given rise to a new relationship between viewers and their televisions, and the traditional roles in the communication paradigm have been altered irrevocably. Social television has spawned the social audience, a fragmentation of the real audience based on how they interact with social networks. This study is an attempt to analyze the factors which contribute to the success or failure of programs with a similar format in relation to their social audience. To do so, the study took as its subject three talent shows launched on the principal mainstream TV channels in Spain in September 2013. The study looked at the impact of these shows on the Twitter network, employing a control form [and developing a categorization and coding system for the analysis with the aim of collating all the data collected]. The results showed that the success of the shows was influenced by the activity in the social network accounts of the presenters and the judges. The conclusions reached in this analysis of the Spanish audience could be used as a development model for social audiences in other countries where social television is not so widespread. La combinación de redes sociales, segundas pantallas y televisión ha propiciado la aparición de una nueva relación de los espectadores con la televisión en la que los habituales roles del paradigma de la comunicación se han alterado. La televisión social ha dado pie al nacimiento de la audiencia social entendida como una fragmentación de la audiencia real en función de su interactividad en las redes sociales. Este trabajo pretende estudiar los elementos que contribuyen al éxito o fracaso de programas con un mismo formato en relación a la audiencia social. Para ello se han tomado como objeto de estudio los tres talent show que lanzaron las principales cadenas generalistas españolas en septiembre del año 2013. Se ha procedido a la observación del impacto de dichos programas en la red social Twitter empleando una ficha de elaboración propia y se desarrolló un sistema de categorías de análisis y códigos con el fin de recopilar toda la información recogida. Los resultados obtenidos indican que en el éxito de los programas analizados en audiencia social influye la actividad de la cuentas de los presentadores y del jurado. Las conclusiones alcanzadas tras este análisis de la experiencia española pueden servir como modelo de desarrollo de la audiencia social para otros países en los que esta no se encuentre tan extendida.
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Pinelli, Federica, Lila Davachi, and E. Tory Higgins. "Shared Reality Effects of Tuning Messages to Multiple Audiences." Social Cognition 40, no. 2 (April 2022): 172–83. http://dx.doi.org/10.1521/soco.2022.40.2.172.

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Our study explores how communicating with audiences who hold opposite opinions about a target person can lead to a biased recall of the target's behaviors depending on whom a shared reality is created with. By extending the standard “saying-is-believing” paradigm to the case of two audiences with opposite attitudes toward a target person, we found that communicators evaluatively tune their message to the attitude of each audience. Still, their later recall of the target's behavior is biased toward the audience's attitude only for the audience with whom they created a shared reality. Shared reality creation was manipulated by receiving feedback that, based on the communicator's message, an audience was either able (success) or unable (failure) to successfully identify the target person, with the former creating a shared reality. These results highlight the importance of shared reality creation for subsequent recall when communicating with multiple audiences on a topic.
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CHEN, L., and R. Khynevych. "EMOTIONAL DESIGN OF CHINESE ANIMATION IMAGE BASED ON AUDIENCE'S PSYCHOLOGICAL LEVEL." Art and Design, no. 4 (December 24, 2023): 33–44. http://dx.doi.org/10.30857/2617-0272.2023.4.3.

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Рurpose. Study the underlying logic of shaping the image of Chinese animation with the help of emotional design, on the basis of respecting and understanding the transformation of audience's psychological needs. Starting from the psychological level of Chinese animation audience, analyze the aesthetic tendency and characteristics of Chinese animation image-building. Methodology. In the way of combining theory with demonstration, the relationship between the psychological transformation of animation audience and animation image is deeply discussed. It includes case analysis and comparative analysis. Results. Animation creation is deeply influenced by the audience's psychology and emotion. On the basis of understanding the audience's aesthetic experience, have been analyzed the different emotional needs of Chinese animation images in the audience's instinctive level, behavioral level and reflective level, which are embodied in the tendency of "popularization", the combination of realism and freehand brushwork. By comparing the successful and classic animation images, have been researched the internal emotional connection between the audience and the animation images, indicating a tendency for future creation of animated images. Scientific novelty. In terms of studying the image of Chinese animation, this paper proposes to correspond the three levels of emotional design theory to different levels of emotional needs of animation audiences, and focuses on summarizing new phenomena in animation image from the perspective of audience psychology. Practical significance. Relying on the emotional design of animation images caused by the psychological needs of the audience, this paper makes an in-depth analysis of Chinese animation image design, providing new ideas for the design and creation of animation images, opening up a new situation for the animation market in China and creating new animation images for more audiences.
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Huang, Tseng-Lung, and Yi-Mu Chen. "Young audiences’ emotional experience on smartphone film: an application of dual-coding theory." Young Consumers 15, no. 2 (June 10, 2014): 193–208. http://dx.doi.org/10.1108/yc-07-2013-00384.

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Purpose – This study aims to determine whether smartphones create the best communication fit with a young audience. Design/methodology/approach – To validate the hypotheses, a task-based laboratory study was conducted. And smartphone film and television (TV) film were provided in the laboratory. Young respondents were recruited in the classroom and brief introduction and film were broadcasted. After watching the film, levels of respondent’s emotional experience was measured via questionnaire. Findings – The results indicate that when the text of the film matches the young audience’s schema, the young audience uses, mainly, imagery coding to interpret the text and achieve an emotional experience. Conversely, when the text and schema do not match, the young audience uses both proposition coding and imagery coding. Practical implications – Based on the results found in this study, companies should use different texts to match the different schema of young audiences to ensure that audiences can process coding and enjoy emotional experiences when using smartphone. Originality/value – Dual-coding theory is applied to determine which coding system the audience use to interpret the new-media text, such as smartphone films.
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Balfour, Virginia H. "Likes, comments, action! An examination of the Facebook audience engagement strategies used by strategic impact documentary." Media International Australia 176, no. 1 (February 23, 2020): 34–51. http://dx.doi.org/10.1177/1329878x19897416.

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In the digital age, a new breed of strategic communications campaign has emerged which blurs boundaries between factual media, entertainment, marketing and advocacy. Strategic impact documentaries (SIDs) are social issue campaigns with a documentary text at their core. They invite the audience to join a cause as much as view a text, using both online and offline strategies to achieve their goals. The way audiences engage with media messages in this new ecosystem, and the implications for public deliberation of social issues, is not fully understood, however. In a mixed methods case study analysis, the Facebook audience engagement strategies used by SID were examined. The results highlight the temporal nature of social media audience engagement and the audience’s changing relationship with both the media text and its producers and provide insight into the way social issues are discussed and deliberated on by audiences in the online sphere.
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Heim, Caroline. "‘Argue with Us!’: Audience Co-creation through Post-Performance Discussions." New Theatre Quarterly 28, no. 2 (May 2012): 189–97. http://dx.doi.org/10.1017/s0266464x12000279.

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In this article Caroline Heim explores an avenue for the audience's contribution to the theatrical event that has emerged as increasingly important over the past decade: postperformance discussions. With the exception of theatres that actively encourage argument such as the Staatstheater Stuttgart, most extant audience discussions in Western mainstream theatres privilege the voice of the theatre expert. Caroline Heim presents case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who's Afraid of Virginia Woolf? which trialled a new model of audience co-creation. An audience text which informs the theatrical event was created, and a new role, that of audience critic, established in the process. Caroline Heim is a lecturer in Performance Studies at Queensland University of Technology. Her PhD examined the changing role of theatre audiences in recent years.
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Buckingham, David. "Representing Audiences: Audience Research, Public Knowledge, and Policy." Communication Review 16, no. 1-2 (January 2013): 51–60. http://dx.doi.org/10.1080/10714421.2013.757487.

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Dissertations / Theses on the topic "Audience"

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Scollen, Rebecca. "Building new theatre audiences: Post performance audience reception in action." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36428/1/36428_Digitised%20Thesis.pdf.

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The aim of this research is to arrive at an effective method for gathering and analysing nontheatregoers' reception of theatrical performance. It is anticipated that this method will provide insight into non-theatregoers' reasons for non-attendance, their reactions to theatre productions, and the likelihood that they might change their attitudes towards theatregoing and become theatre attenders in the future. A combined methodical approach to audience reception is created by adapting and combining the methods of Sauter (1986), Lidstone (1996), Knodel (1993) and Krueger (1994), and the model of Miles and Huberman (1984). This approach consists of a collection of questionnaires, a series of post performance group discussions, and analytical methods designed for examining qualitative data. This approach is tested and refined across three studies: a 1997 Pilot Study, a 1998 La Boite Theatre Study, and a 2000 Queensland Theatre Company Study. The primary result of this research is the emergence of the Scollen Post Performance Audience Reception (SPP AR) method for audience development. This method is the refined final version of the rigorously tested combined approach. Other results include the formation of a non-theatregoer profile; an understanding of how non-theatregoers perceive performances; the discovery that gender, age, and income have no direct impact on theatre attendance or reception of theatrical performance; confirmation that exposure to performance and an arts education increases interest and confidence in theatregoing; and that self and peer education is an effective way for non-theatregoers to learn about theatre.
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Cucciarre, Christine Peters. "Audience Matters: Exploring Audience in Undergraduate Creative Writing." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1224415510.

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Morris, Amanda. "Investigating the 'Audience' in Theatre for Young Audiences: The Call for Artistic Educators." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2199.

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Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Sochová, Tereza. "AUDIENCE DEVELOPMENT." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96987.

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The goal of this thesis is a thorough investigation of questions and potential of the marketing strategy called AUDIENCE DEVELOPMENT. The structure of the thesis proceeds from the generally accepted marketing knowledge to the specific possibilities of audience development. It analyses theoretical strategies of audience development as well as concrete instruments used to acquire new customers and also to satisfy and stimulate current customers. A practical proposal of an audience development concept is demonstrated by DISK theater case study. The concrete goal of this thesis is to serve as an auxiliary material for smaller theater groups or amateur theaters which would like to improve their own work with audience. Therefore, I tried to write the text in an intelligible form and accompany most claims by practical examples.
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Seles, Sheila Murphy. "Audience research for fun and profit : rediscovering the value of television audiences." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59574.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2010.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student submitted PDF version of thesis.
Includes bibliographical references (p. 121-128).
The American television industry is in a moment of transition because of changes brought about by digital distribution and audience fragmentation. This thesis argues that the television industry can no longer adapt to the changing media landscape because structural relationships and business logics forged in previous eras do not allow for meaningful innovation. This project investigates how these relationships evolved and how they can be made more flexible to meet the challenges of digital distribution and digitally networked audiences. Legacy relationships, logics, and measurement methods have prevented the television industry from maximizing the value of increasingly fragmented television audiences. Publishers, advertisers, and measurement companies have historically been able to get around the limitations of their relationships to one another, but they are now faced with increasing competition from digital companies that understand how to make fragmented audiences valuable. This thesis argues that the methodologies and corporate ethos of successful online companies can serve as a model for the television industry, or they can be its undoing. This project also argues that the television ratings system is no longer serving the television industry, the advertising industry, and television audiences. The television industry has the opportunity to develop a system of audience measurement that maintains the residual value of television audiences while accounting for the value of audience expression. To leverage the true value of the television audience, the television industry must reconcile the commodity value of the audience with the cultural value that viewers derive from television programming. This thesis proposes that the cultural value of content should augment the commodity value of the audience. This project concludes that the television industry should reconfigure its economic structure by looking to other digital business, experimenting with new business models online, and actively exploring emergent sites of audience value.
by Sheila Murphy Seles.
S.M.
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Rudolph, Kendra. "Television newsmagazines and the audience: a textual analysis and audience survey." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/RudolphK2004.pdf.

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Vine, Cedric Everard William. "The audience of Matthew : an appraisal of the local audience thesis." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.575743.

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This thesis seeks to establish the inadequacy of readings of the Gospel of Matthew as intended for, and a reflection of, a local audience or community. Despite repeated challenges, the local audience thesis continues to dominate a large proportion of Matthean scholarship, and, as such, the issue of determining the Gospel's audience remains an open question. This thesis posits four main critiques. First, the assumptions which underpin the text- focused process of identifying the Gospel's audience, whether deemed to be local, Jewish, or universal, lack clarity. Literary entities such as the implied reader, the intended reader, or the authorial audience, prove inadequate as a means of identifying the Gospel's audience. Second, local audience readings necessarily exclude plot-related developments and are both selective and restrictive in their treatment of characterisation. Much is lost or ignored, as a coherent and simplified audience context is derived from the complex narrative world of the Gospel. Third, this thesis argues that many in an audience of the Gospel would have incorporated their experience of hearing Matthew within pre-existing mental representations shaped by Mark or other early traditions. Thus, they would have understood the Gospel as relating to events and settings distinct from their own context, regardless of the degree to which they identified with characters or events in the Gospel. Fourth, this thesis argues that early Christian audiences were largely heterogeneous in terms of ethnicity, age, sex, wealth, familiarity with Christian traditions, and levels of commitment. As such, the aural reception of the Gospel would have resulted in a variety of impacts. A number of these critiques extend beyond the local audience option and for this reason this thesis does not posit a particular audience for the Gospel.
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Carter, Danielle Catherine. "Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.

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This study investigates different approaches to theatre audience studies to develop a new practical model for examining the embedded and intrinsic audiences in community-engaged performance projects with social orientations. The practical model is empirically tested in two Australian case studies, and augmented and enhanced through its application in three key audience categories: Envisaged Audience, Invited Audience and Actual Audience. This study argues that the proposed model is a useful tool for industry, in particular, to locate, illuminate and disrupt different points of views on audiences held by community stakeholders, and to integrate perceptions on the audience with actual audience experiences.
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Pinchen, Jennifer E. "The audience as critic : a study of audience responses to popular theatre." Thesis, Loughborough University, 1990. https://dspace.lboro.ac.uk/2134/6938.

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To begin with, the role of theatre, and especially popular theatre, is contextualised within the theory of art and society and the debate about 'popular' and 'mass' culture. The thesis attempts to reassess the possibilities for positive and dynamic relations between audience and theatre within this context, through an investigation of some actual relationships between them. What is defined as 'mainstream' theatre is the basis of the research. The three major productions studied are A Day in the Death of Joe Egg by Peter Nichols, Bloody Poetry by Howard Brenton, and Blood Brothers by Willy Russell. Qualitative research on audience responses for each play resulted in 37 in-depth interviews. A chapter is devoted to the problem of methodology for such a qualitative study; in particular, to the lack of any model method for analysis. The interview material is presented and discussed play by play. Initially, a broad 'consensus' view of each play, provides a background to the description and analysis of responses. Analysis is carried out under the headings of different 'cultural profiles', determined in relation to the play as 'accordant', 'discordant' or 'neutral' in orientation. The influences of such cultural profiles are shown in some cases to predetermine the perceived meaning or effect of the play, independently of the executants' intentions. Some responses are more readily understood as determined most importantly by a personal 'inner history', which can be even more resilient to change. Despite the predominance of habitual notions, it is found that particular kinds of theatrical technique are more successful than others in overriding biases corresponding to cultural profile. This is especially true of theatricality which raises the emotional identification of respondents with characters or events on stage without mobilising stereotypes. Findings indicate the importance of the cultural profile and personal history of audiences in any theory of the theatre's social function. The innate conservatism which characterises cultural profiles is seen to be a crucial factor. Conclusions suggest a need for models which do not rely on preconceptions or hidden assumptions about audience response. In addition, the emphasis which emerges on the autonomy of audience as critic and creator raises questions about the function and aspirations of certain types of theatre.
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Moritz, Jonatan. "Mobile audience response system." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-226615.

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Utnarm is an employment fair and is held once every year in November and is always striving towards a better  and meaningful fair. Last year they took a step towards that goal. An application for Android and IPhone were developed and released. It had the basic functions that could be used that year. This year Utnarm wants to improve the applications and fulfill the students’ experience. An audience response system could result in companies getting a closer connection to the students during lectures. The apps are easy accessible for students. This thesis describes the implementation of a system on two different platforms and the similarities and differences between them. This is accomplished by, using the model-view-controller design pattern in object-oriented  programming, the help of the human interface guidelines and with a focus on usability and user experience. The result showed that there are differences and similarities and that it is easy to forget about them when focusing on an application. The functionality should be the same but the user interface should be different to make the user feel at home.
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Books on the topic "Audience"

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Owen, Heather. Audience. London: Film Education, 1990.

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Reichmann, Sebastien. Audience captive. Paris: EST-S. Tastet Editeur, 1988.

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Fahy, Thomas. Captive Audience. London: Taylor & Francis Group Plc, 2004.

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Freshwater, Helen. Theatre & audience. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.

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Russell, Martin James. Unwelcome audience. New York: Walker, 1986.

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Mufti, Sabeha. Media & its audiences: A media - audience study of Kashmir. Srinagar: Jaykay Books, 2011.

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Conference, on International Broadcasters' Audience Research Services (2001 Washington D. C. ). Reaching audiences worldwide: Perspectives of international broadcasting and audience research. Bonn, Germany: CIBAR, 2003.

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Mathewson, James. Audience, relevance, and search: Targeting Web audiences with relevant content. Upper Saddle River, NJ: IBM Press/Pearson, 2010.

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Frank, Donatone, and Fishel Cynthia, eds. Audience, relevance, and search: Targeting Web audiences with relevant content. Upper Saddle River, NJ: IBM Press, 2010.

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Breuch, Lee-Ann Kastman. Involving the Audience. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351204194.

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Book chapters on the topic "Audience"

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Wood, Helen. "Audience." In Audience, 9–29. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414575-2.

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Wood, Helen. "Feel." In Audience, 84–117. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414575-5.

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Wood, Helen. "The digital circuit." In Audience, 140–64. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414575-7.

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Wood, Helen. "Mean." In Audience, 56–83. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414575-4.

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Wood, Helen. "Introduction." In Audience, 1–8. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414575-1.

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Wood, Helen. "Anchor." In Audience, 30–55. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414575-3.

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Wood, Helen. "Work." In Audience, 118–39. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003414575-6.

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Breuch, Lee-Ann Kastman. "Audience Involved/Audience Initiated." In Involving the Audience, 147–63. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351204194-6.

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Savage, Karen, and Dominic Symonds. "Audience." In Economies of Collaboration in Performance, 159–85. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95210-9_6.

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Gullion, Jessica Smartt. "Audience." In Writing Ethnography, 45–49. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-381-0_10.

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Conference papers on the topic "Audience"

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Takatama, Mirai, and Wonseok Yang. "Remote Cheering System with Voice in Live Streaming." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001753.

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In recent years, live streaming has become the mainstream. Because the music live has been canceled or postponed by the influence of the new coronavirus infection. Even now that the number of infected people is decreasing, hybrid live performances with both concert and live streaming are being held. Live streaming can reduce travel costs and time, so it has the merit of being able to watch it easily. However, it is difficult to feel a sense of unity and presence, and it does not create more excitement than concert. It has become a problem in the music industry. In order to solve this problem, we think it is necessary to pay attention to the presence or absence of audience sharing the same place and voice, which is a big difference between concert and live streaming. This study examines how to make it satisfactory live where we can feel a sense of unity and presence even if we are alone at home in a live streaming. To this end, we clarified the behavior of the audience watching concert and analyzed how to cheer.Therefore, we conducted a survey of the excitement of it based on the pyramid of Freytag.We investigated the behavior of the audience from concert videos of idols, singers and rock bands. As a result, audience’s cheering method has three types of cheering: those using voice, those using hands and those using entire body. Cheering using voice plays an important role in deciding the excitement.Live streaming has comments, social tipping, and posting on SNS as a service. However, none of them share the voice of the audience. This analysis clarified the reason why live streaming is not more exciting than concert. Thereby we considered that sharing emotions aloud between the audience create a sense of unity in live streaming. From the above, we produce a live streaming cheering system using voice. This system uses the call program to communicate with other audiences, visualize the voice of the audience and project it on the screen. It’s mechanism that increases the number of effects that express excitement as the audience’s voice gets louder. We produce it to use TouchDesigner. Moreover, subjects watched the concert video with this system. we experimented with whether the subject felt a sense of unity and presence compared to conventional live streaming. Subjects were able to shout even more by sharing voices with other audiences and visualizing their voices. In addition, conventional live streaming shared emotions by discussing their impressions with other audiences using SNS. By contrast, this system can share emotions directly through the call program, which makes it more exciting. On the other hand, subjects have an opinion that it would be better to project effects tailored to the concept of songs and concerts on the screen so that the audience would not get bored. Therefore, this system is room for the development. From this experiment, the remote cheering system using voice improve the concert experience at home.
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Corness, Greg, Kristin Carlson, and Thecla Schiphorst. "Audience empathy." In the 8th ACM conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2069618.2069641.

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Vatavu, Radu-Daniel. "Audience Silhouettes." In TVX'15: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2745197.2745207.

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Kumari, Lilly, Sunny Dhamnani, Akshat Bhatnagar, Atanu R. Sinha, and Ritwik Sinha. "Audience Prism." In CODS '16: IKDD Conference on Data Science, 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2888451.2888459.

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Elhart, Ivan, Mateusz Mikusz, Cristian Gomez Mora, Marc Langheinrich, and Nigel Davies. "Audience monitor." In PerDis '17: 6th International Symposium on Pervasive Displays. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3078810.3078823.

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Martin, Breeanne Matheson. "Broadening our view of audience awareness: Writing for posthuman audiences." In 2016 IEEE Professional Communication Society (ProComm). IEEE, 2016. http://dx.doi.org/10.1109/ipcc.2016.7740487.

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McCullouch, S. B. "Extended Abstract: UX and the Audience: Audience Experience." In 2022 IEEE International Professional Communication Conference (ProComm). IEEE, 2022. http://dx.doi.org/10.1109/procomm53155.2022.00088.

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Smith, Sophy. "Ask the Audience." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.50.

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Bonner, Julie. "AUDIENCE DEFINES ENGAGEMENT." In 13th International Technology, Education and Development Conference. IATED, 2019. http://dx.doi.org/10.21125/inted.2019.2243.

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"TARGET AUDIENCE ANALYSIS." In Russian science: actual researches and developments. Samara State University of Economics, 2019. http://dx.doi.org/10.46554/russian.science-2019.10-1-41/48.

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Reports on the topic "Audience"

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Miranda, Andre. General Audience Abstract. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1213134.

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Gibson, Alexander. General Audience Abstract. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1213165.

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Levitan, Abraham. Abstract for a General Audience. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1213146.

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Sloman, John, and Caroline Elliott. The use of an audience response system. The Economics Network, December 2023. http://dx.doi.org/10.53593/n3880a.

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.
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Anderson, G. Oscar. Producing Movies for the Age 50+ Audience: Infographic. AARP Research, March 2017. http://dx.doi.org/10.26419/res.00160.004.

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Tina, Adrienne. Abstract for a General Audience. X-ray Dector Simulations. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1212277.

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Vázquez-Herrero, J., A. González-Neira, and N. Quintas-Froufe. Active Audience in Transmedia Fiction: Platforms, Interactivity and Measurement. Revista Latina de Comunicación Social, January 2019. http://dx.doi.org/10.4185/rlcs-2019-1322en.

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Kaye, Tom, Caspar Groeneveld, Caitlin Moss, and Björn Haßler. Nepal “Ask me anything” Session: Responses to audience questions. EdTech Hub, May 2020. http://dx.doi.org/10.53832/edtechhub.0014.

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On Thursday, 30 April 2020, the EdTech Hub participated in an “Ask me anything” session for policy-makers and funders in Nepal. The session focused on designing high-quality, effective, distance education programmes during the COVID-19 pandemic. Participants included high-level officials from the Nepalese government (e.g., the Ministry of Education, Science and Technology, the Curriculum Development Office and the Education Review Office), representatives from development partners (e.g., the World Bank, UNICEF and USAID) and other education organisations (e.g., OLE Nepal). The session was convened for two purposes. First, to consider international good practice and current trends in distance education during the COVID-19 pandemic, presented by the World Bank EduTech team and the EdTech Hub. Second, for the EdTech Hub team to gather questions from participants, to be able to target guidance specifically to the situation in Nepal. This document provides answers to a consolidated list of 10 questions received from stakeholders during the session. To consolidate any overlap, we have occasionally combined multiple questions into one. In other cases, where multiple important issues required a focused response, we split apart questions.
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Stead, Richard. Stimulating the Participation of the Audience in Student Presentations. Bristol, UK: The Economics Network, January 2004. http://dx.doi.org/10.53593/n561a.

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