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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Siudikienė, Daiva. "Auditorijos sampratos paradigmų kaita." Informacijos mokslai 61 (January 1, 2012): 93–112. http://dx.doi.org/10.15388/im.2012.0.1068.
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Evoliucionuojant medijoms požiūriai į auditorijas nuolat kito. Auditorijos kaip kolektyvinės medijų pranešimų gavėjos savo esme yra itin dinamiškos ir kintančios struktūros. Kiekviena naujai atsirandanti medija darė įtaką auditorijų kaitos procesams ir skatino mokslininkus iš naujo įvertinti auditorijas formuojančius veiksnius bei persvarstyti jų sampratos aktualumą.Straipsnyje nagrinėjama, kaip kito auditorijų samprata per visą studijų laikotarpį, ir klausiama, kokios auditorijos koncepcijos gyvuoja šiandien, kai iškyla medijų auditorijos, veikiančios daugiakanalėje daugialypės terpės erdvėje.Reikšminiai žodžiai: publikos, minia, masės, auditorijos, masinė auditorija, naujosios medijos, konvergencija, medijų naudotojai, medijų auditorijos.Shifts of the audience’s paradigmsDaiva SiudikienėSummaryThis paper reveals the main theoretical approaches which influence the construction and shifts of the audience’s paradigms. The audience studies developed eventually under the influence of contradictory theoretical perspectives. It was stated that the significant processes had started long before the academic discipline formation, but intellectual discussions on the reflections of the massification processes were significant for developing the theoretical background for further audience studies. Contemplations on such concepts as public, crowd, mass, mass society, mass audience are closely related to the traditions of political theory, social philosophy and cultural history of the late 19th and the 20th centuries. Development of the communication sciences measures more than one hundred years, but the audience as an equivalent participator of the communication process had been recognized only at the end of the 20th century. For a long time, the audiences had been approached as unqualified and unable to evaluate the media production properly. Therefore, the conception of audience as the market dominated throught a couple of decades and formed the research traditions of the audience as a quantitatively measured object. The extent remains the most significant indicator in this research area, but the audience studies have generated much more concepts. Side by side with the citizens audience, there emerged the notions of the interpretive communities and lifestyle audiences. The recognition of the fact that the audience members differ in their socio-cultural and national characteristics, knowledge, experience in the use of media and other aspects, clarification of this notion remain a complicated matter. The most important facet should be the point that the individuals realize their role differently as an audience, but all together they are in the process of creating the cognitive schemes and the collective ideals as a certain united community. The rise of the new media has generated unprecedented processes in the post-modern societies and new notions applied for media users. It was stated that, despite the media explosion and the audience fragmentation, this term remains relevant. The new media environment is recasting the notion of audience for covering a wide range and multifaceted activities of media users. Therefore, the new roles of media users are under consideration. According to the author of this paper, as the most meaningful concepts should be recognized those that indicate the creative potential of the audience.
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Hossaini, Ali, Oliver Gingrich, Shama Rahman, Mick Grierson, Joshua Murr, Alan Chamberlain, and Alain Renaud. "GROUPTHINK." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (September 6, 2022): 1–10. http://dx.doi.org/10.1145/3533610.
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Live performers often describe "playing to the audience" as shifts in emphasis, timing and even content according to perceived audience reactions. Traditional staging allows the transmission of physiological signals through the audience's eyes, skin, odor, breathing, vocalizations and motions such as dancing, stamping and clapping, some of which are audible. The Internet and other mass media broaden access to live performance, but they efface traditional channels for "liveness," which we specify as physiological feedback loops that bind performers and audience through shared agency. During online events, contemporary performers enjoy text and icon-based feedback, but current technology limits expression of physiological reactions by remote audiences. Looking to a future Internet of Neurons where humans and AI co-create via neurophysiological interfaces, this paper examines the possibility of reestablishing audience agency during live performance by using hemodynamic sensors while exploring the potential of AI as a creative collaborator.
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Li, Jingfang, and Hamedi Mohd Adnan. "Exploring the Role of Productive Audiences in Promoting Intercultural Understanding: A Study of Chinese YouTube Influencer Liziqi's Channel." Studies in Media and Communication 11, no. 4 (April 24, 2023): 173. http://dx.doi.org/10.11114/smc.v11i4.6021.
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This exploratory study on YouTube videos investigates the role of Chinese YouTube channels created by influential individuals in facilitating intercultural communication and understanding. Specifically, it explores how YouTube viewers respond, interact, and express their views on Chinese culture. The nature of audience engagement with intercultural communication was explored through the lens of creative textual engagement using a qualitative research approach and textual analysis of five hundred video comments on one of the most subscribed Chinese YouTube channel (i.e., Liziqi). Audience's interpretation goes through a logic of consumption from cognition to emotion to attitudinal change and behavioural intention; the process by an audience promotes intercultural understanding and acquires an identity. Additionally, the interactive relationship between the text and the audience is reciprocal and democratic. Audiences can incorporate and form interpretive communities, regardless of their cultural composition, and cooperate to produce a common meaning regardless of varying interpretations. This study contributes to extending the concept of Fiske's productive audience to intercultural communication and broadens the path for an audience to negotiate and understand Chinese culture.
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Miranda, Pritta, and Reny Yuliati. "Eksistensi Radio Saat Ini : Studi Preferensi & Motivasi Khalayak Dalam Mendengarkan Radio." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 4, no. 3 (November 5, 2020): 735. http://dx.doi.org/10.25139/jsk.v4i3.2477.
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Radio is an audio medium used to fulfil the needs the audience's need, both for information and entertainment. Radio provides a variety of information content and a choice of music. Amid technological developments, the presence of many choices of media to access news, entertainment, music, and other information has become a challenge for radio broadcasting. Now people have various choices of media to get information and listen to music. This research aimed to look at the choice of media, especially radio, from the audience and find out what makes radio remains the audience's choice for information, entertainment and listening to music compared to other new media, including the reasons and motivations of audiences to listen to the radio. The results showed that audiences tended to prefer radio over other media because radio offered unique things, for example, the element of 'surprise' in selecting songs that give different sensations. In addition, the presence of radio broadcasters is also considered entertaining and can be a companion to the audience, especially when travelling. These results indicate that radio offers a uniqueness that cannot be found in other media, and the audience is free to choose the media based on their motivations, the greatest of which is listening to the radio for music, entertainment, and information.
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Lim Xing Fei, Faye, and Ker Yuek Li. "A JOURNEY TO EXPLORE THE INFLUENCE OF YOUTUBER TO GENERATION Z." Asian Journal of Applied Communication 12, S2 (June 16, 2022): 19–31. http://dx.doi.org/10.47836/ajac.12.s2.02.
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The influence of YouTubers to young audiences is irresistible under the social media era, no matter in attitude or audience’s decision making. YouTubers carry with positive and negative impact in various studies. However, least attention has been paid on the influence from YouTubers to Generation Z audience. Focusing on the influence of YouTubers, this study intends to provide a new lens to look into the YouTuber’s personality and charisma, furthermore, to identify effect of them to audience decision making and language. Social Cognitive Theory (SCT) and Use and Gratification Theory are used in this study to explain the audiences’ behaviour in YouTube, specifically on their content selection. Qualitative research method is applied in this study, whereas in-depth interview is research design. There are five university students who represent as Generation Z involve into this study. Thematic analysis is implemented for data analysis. Result of this study discloses that university students receive positive influences from YouTubers base on their representation as role model in motivating the user to keep on learning. The YouTuber’s dramatic personality attract the audience to follow their channel in order to fulfill the entertainment needs. Besides, YouTubers also affect to user’s purchase intention as their experience on using a product has become a reliable source. However, educational level of Generation Z audience is highlighted in this study to relieve the audiences from overly online shopping behavior and this shows limitation in study of lower education level audiences. Overall, YouTubers shows their positive influence on Generation Z undergraduate students.
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Litos, Ioannis, and Eirini Papadaki. "‘If you play some good music, people immediately understand it’: Audience response to busking." International Journal of Community Music 16, no. 2 (July 1, 2023): 135–53. http://dx.doi.org/10.1386/ijcm_00079_1.
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Busking is part of the daily urban life of citizens worldwide. Every street music performance can affect buskers or passers-by in different ways because the people, the conditions, the terms and the reasons for music-making is unique every single time. This article aims to deliver social insights from the Greek busking community of Thessaloniki. Specifically, we examine the relationship between street musicians and their audience, according to their attitudes and practices during a street performance. For this study, a mix-methods approach was followed where quantitative and qualitative data was collected from 146 participants (82 were members of the audience and 64 were buskers). Our methodology relied on semi-structured interviews to collect buskers’ and audiences’ views on their experiences, as well as field notes and observation to document their relationship and reactions first-hand. The main findings indicate that buskers and audiences sustain a healthy relationship between them while buskers are thankful for the audience’s reaction to their performance and tend to make a series of performative choices, according to audience preferences. Furthermore, all audience members actively approve of the existence of street music and show their appreciation of being part of this community, by donating money and participating through various ways (singing, dancing, taking photos).
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Ceron, Andrea, and Sergio Splendore. "From contents to comments: Social TV and perceived pluralism in political talk shows." New Media & Society 20, no. 2 (September 12, 2016): 659–75. http://dx.doi.org/10.1177/1461444816668187.
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Going beyond source and content pluralism, we propose a two-dimensional audience-based measure of perceived pluralism by exploiting the practice of “social TV”. For this purpose, 135,228 tweets related to 30 episodes of prime time political talk shows broadcast in Italy in 2014 have been analyzed through supervised sentiment analysis. The findings suggest that the two main TV networks compete by addressing generalist audiences. The public television offers a plural set of talk shows but ignores the anti-political audience. The ideological background of the anchorman shapes the audience’s perception, while the gender of the guests does not seem to matter.
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Gillard, Patricia. "Shaping Audiences Online: Principles of Audience Development for Cultural Institutions." Media International Australia 94, no. 1 (February 2000): 117–30. http://dx.doi.org/10.1177/1329878x0009400112.
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Audience development is an applied form of audience analysis which reveals to an organisation the nature of its different audiences. With a clearer definition of how audiences interpret and use its programs and services, an organisation can develop those programs and communication strategies which are likely to engage audiences more effectively. This usually means an expansion of the audience base, and a clearer positioning of the organisation's work. Cultural institutions are increasingly using Websites to communicate with external audiences and incorporating new media into exhibitions onsite. The mix of communications with both onsite and online audiences challenges earlier ways of thinking about who are the audiences for cultural institutions and how they should be measured. Fundamental conceptual questions need to be answered, and an audience development strategy adopted which builds visitation across virtual and material sites.
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Reid, Rayne, and Johan Van Niekerk. "Decoding audience interpretations of awareness campaign messages." Information & Computer Security 24, no. 2 (June 13, 2016): 177–93. http://dx.doi.org/10.1108/ics-01-2016-0003.
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Purpose This research aims to determine whether the educational influence of the cybersecurity awareness campaign on the audience (their knowledge, behaviour and potential cybersecurity culture) matches the campaign’s educational objectives. The research focuses on the knowledge component of this metric by examining the awareness campaign audience’s interpretative role in processing the campaign content, through the lens of active audience theory (AAT). Design/methodology/approach Using reflective practices, this research examines a single longitudinal case study of a cybersecurity awareness and education campaign which aims to raise awareness amongst school learners. Artefacts from a single sample are examined. Findings Reflexive practices using theories such as active audience can assist in identifying deviations between the message a campaign intends to communicate and the message that the campaign audience receives. Research limitations/implications Using this research approach, measurements could only be obtained for campaign messages depicted in artefacts. Future interventions should be designed to facilitate a more rigorous analysis of the audiences’ interpretation of all campaign messages using ATT. Originality/value This paper applied principles of ATT to examine the audience’s interpretative role in processing an awareness campaign’s content based on artifacts they created after exposure to the campaign. Conducting such analyses as part of a reflective process between cyber awareness/education campaign cycles provides a way to identify areas or topics within the campaign that require corrective action.
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Olsen, Christopher. "Theatre Audience Surveys: towards a Semiotic Approach." New Theatre Quarterly 18, no. 3 (August 2002): 261–75. http://dx.doi.org/10.1017/s0266464x02000349.
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Surveys are used to define an audience in a quantifiable way. Awareness of the typical gender, age, and income of their patrons, along with their rating of a theatre's facilities, help theatre producers to address an audience's needs. However, producers seldom explore the audience response to a specific performance – something that is difficult to quantify. Thus, the audience's interaction with the performance – whether with particular actors, the space configuration, or with fellow spectators – is neglected in favour of such demographics as age, income, and occupation. Christopher Olsen suggests that surveys handed out to audience members might benefit from a more qualitative approach based on semiotic analysis. He asked sixty professional theatres in the USA – ranging from major repertory institutions to small theatres targeting specific audiences – to send examples of recent audience surveys they have conducted. Using the surveys (of which the most extensive is reproduced in full), as a guide, he tabulates the most common questions asked, and offers examples of further survey questions guided by semiotic principles. Chris Olsen is currently an adjunct professor at Montgomery College and Shenandoah University in the Washington, DC, area. Having written his dissertation on the Arts Lab phenomenon in Britain during the late 1960s and early 1970s, he is now working on a book about the second wave of the Off-Off-Broadway movement in New York.
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Brown, Vincent J. "Facing Multiple Audiences in Engineering and R&D Writing: The Social Contexts of a Technical Report." Journal of Technical Writing and Communication 24, no. 1 (January 1994): 67–75. http://dx.doi.org/10.2190/75vb-kwex-turf-h8a4.
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The customary approach to classifying multiple audiences for written discourse is to recognize primary, secondary, and immediate audiences, and, in some cases, gatekeeping audiences. Based on findings from an ethnographic case study of engineering authors in an R&D setting, this article suggests that authors should also attend to watchdog audiences as they write. A watchdog audience pays close attention to the written transaction between the author and the primary audience. Authors must direct their discourse toward the primary audience, but they must also keep the motives and purposes of the watchdog audience in mind as they write and revise. The watchdog audience in my case study, while it had no direct leverage or other organizational power over the authors, still influenced the authors extensively as they revised their text. Evidence indicates that, beyond the apparent and traditional sources of power, there are more contextual, hidden, socially mediated power relationships equally capable of shaping written discourse.
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Wu, Lin. "Multimodal Opera Performance Form Based on Human-Computer Interaction Technology." International Transactions on Electrical Energy Systems 2022 (October 8, 2022): 1–13. http://dx.doi.org/10.1155/2022/4003245.
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“Audience Engagement (AE)” describes how a stage performance affects the audience’s thoughts, provokes a bodily response, and spurs cognitive growth. With little audience involvement, theatre performing arts like opera typically have difficulty keeping audiences’ attention. The brain-computer interaction (BCI) technology could be used in opera performances to alter the audience’s emotional experience. Nevertheless, for such BCI systems to function, they must accurately identify their participants’ present emotional states. Although difficult to evaluate, audience participation is a vital sign of how well an opera performs. Practical methodological approaches for real-time perception and comprehension of audience emotions include psychological and physiological assessments. Hence, a multimodal emotional state detection technique (MESDT) for enhancing the AE in opera performance using BCI has been proposed. Three essential steps make up a conceptual MESDT architecture. An electroencephalogram (EEG) and other biological signs from the audience are first captured. Second, the acquired signals are processed, and the BCI tries to determine the user’s present psychological response. Third, an adaptive performance stimulus (APS) is triggered to enhance AE in opera performance, as determined by a rule base. To give the opera audience a high-quality viewing experience, the immersive theatre performance has been simulated. Fifty individuals have been used in the experimental assessment and performance studies. The findings demonstrated that the proposed technology had been able to accurately identify the decline in AE and that performing stimuli had a good impact on enhancing AE during an opera performance. It has been further shown that the suggested design improves the overall performance of AE by 5.8% when compared to a typical BCI design (one that uses EEG characteristics solely) for the proposed MESDT framework with BCI.
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Potter, Charlotte. "Shakespeare’s reading audiences: early modern books and audience interpretation." Textual Practice 32, no. 4 (March 7, 2018): 729–32. http://dx.doi.org/10.1080/0950236x.2018.1447426.
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Starkey, Guy. "Estimating audiences: sampling in television and radio audience research." Cultural Trends 13, no. 1 (March 2004): 3–25. http://dx.doi.org/10.1080/0954896042000216428.
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Haworth, Kate. "Audience design in the police interview: The interactional and judicial consequences of audience orientation." Language in Society 42, no. 1 (January 24, 2013): 45–69. http://dx.doi.org/10.1017/s0047404512000899.
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AbstractPolice-suspect interviews in England and Wales are a multi-audience, multi-purpose, transcontextual mode of discourse. They are conducted as part of the initial investigation into a crime, but are subsequently recontextualized through the judicial process, ultimately being presented in court as evidence against the interviewee. The communicative challenges posed by multiple future audiences are investigated by applying Bell's (1984) audience design model to the police interview, and the resulting “poor fit” demonstrates why this context is discursively counterintuitive to participants. Further, data analysis indicates that interviewer and interviewee, although ostensibly addressing each other, may orientate to different audiences, with potentially serious consequences. As well as providing new insight into police-suspect interview interaction, this article seeks to extend understanding of the influence of audience on interaction at the discourse level, and to contribute to the development of theoretical models for contexts with multiple or asynchronous audiences. (Audience design, audience orientation, police interviews, forensic linguistics)*
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Staniškytė, Jurgita. "Spectatorship, Politics and the Rules of Participation." Nordic Theatre Studies 30, no. 2 (March 13, 2019): 99–114. http://dx.doi.org/10.7146/nts.v30i2.112954.
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Contemporary theatre performances offer many examples of audience engagement - its forms range from physical interventions into public space to mental emancipation of the audience’s imagination. These practices put into question the effectiveness of the existing tools of audience research because, in some instances, theatre serves as a manipulation machine, “tricking” the public to perform specific social actions, while in other cases, it becomes a tool for the deconstruction of manipulation mechanisms at the same time serving as a platform for engaging entertainment. Audience research paradigms, based on dichotomies such as passive/active, inclusion/exclusion or incorporation/resistance are no longer able to address the complex concepts of spectatorship as performance, co-creation, or audience participation. Therefore, new practices of audience participation, conspicuously emerging in contemporary Lithuanian theatre, can only be adequately addressed by combining methodologies from different disciplines and critically evaluating historical and theoretical implications of these practices. In my article, I will focus on the historical implications of the term “audience participation” as a form of public engagement and issues of its application as experienced by theatre artists and audiences in Lithuania. The article will also examine the theoretical implications of the notion of participatory turn and its effect on theatre productions at the same time challenging the conceptual equations of “active spectatorship” in the aesthetic sphere to the emergence of “active participant” in the public sphere.
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Stoltenberg, Daniela, Barbara Pfetsch, Alexa Keinert, and Annie Waldherr. "Who Are They and Where? Insights Into the Social and Spatial Dimensions of Imagined Audiences From a Mobile Diary Study of Twitter Users." Social Media + Society 8, no. 3 (July 2022): 205630512211230. http://dx.doi.org/10.1177/20563051221123032.
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Social media users hardly know who is reading their posts, but they form ideas about their readership. Researchers have coined the term imagined audience for the social groups that actors imagine seeing their public communication. However, social groups are not the only aspect that requires imagination: In the potentially borderless online environment, the geographical scope and locations of one’s audience are also unknown. Furthermore, research has demonstrated that imagined audiences vary between people and situations, but what explains these variations is unclear. In this article, we address these two gaps—the geographical scope and predictors of imagined audiences—using data from a mobile experience sampling method study of 105 active Twitter users from Berlin, Germany. Our results show that respondents mostly think of a geographically broad audience, which is spread out across the country or even globally. The imagined geographical scope and social groups depend on both the communicator and the usage situation. While the audience’s social composition especially depends on tweet content and respondents’ sociodemographic characteristics, the geographical scope is best explained by respondents’ biography and personal mobility, including their experience of living in other countries and local residential duration.
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Patrick, Akpoghiran, Idamah. "News Frames Emotion: Analyzing How Audience Are Influenced by News Frames." American Journal of Arts, Social and Humanity Studies 3, no. 1 (January 3, 2024): 48–64. http://dx.doi.org/10.47672/ajashs.1726.
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Purpose: As a persistent pattern of selection, interpretation, emphasis and presentation, news frames is very fundamental in influencing individual emotions. News is the construct and presentation of the news media. The study examines how audience emotions are influenced by news frames.
Materials and Methods: The study is anchored on the theory of media framing, which deals with how the media package and present information to the audience or how audiences feel about an issue. Using analytical review of literature, the paper is exploratory and explanatory in nature as it adopts the gathering of relevant literature data with the sole aim of interpreting these data in order to achieve the desired aim of the study.
Findings: Arising from the analyses of data, the study submits that news frame as the construct and presentation of the news media is capable of influencing audience’s emotions. Individual’s perception and reaction to news is a product of the journalistic news frame. This is because news frames involve selecting and emphasizing words, expressions, and images and these are capable of influencing audience’s cognitive, attitude and emotional effects.
Implications to Theory, Practice and Policy: However, audience emotions to news largely depend on the state of the audience’s selection, interpretation and perception processes of the news.
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Thamkulangkool, Piyawat. "Audience Development in Thai Contemporary Theatre and Dance: A Study of the Barriers to Audience-Building." MANUSYA: Journal of Humanities 24, no. 1 (June 14, 2021): 22–36. http://dx.doi.org/10.1163/26659077-02401009.
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Abstract This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more emphasis on their performance-making than on their organization or management. Such a production-centered emphasis often neglects the importance of two-way interaction between artists and audiences and shows insufficient appreciation of audiences in developing their performances and programs. The inattention of many performance companies or groups to their current and potential audiences and to techniques to build and develop them is widespread, but not universal. However, a few groups have worked to create and manage their performances based on audiences’ perspectives, thus both removing barriers to performance participation as much as possible and motivating transactional relations with audiences. Audience responses from these companies has led to greater audience engagement and improved audience appreciation.
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Silfia, Imamatul, and Irwansyah Irwansyah. "Science communication by scientists and influencers on social media." Jurnal Manajemen Komunikasi 7, no. 1 (October 30, 2022): 1. http://dx.doi.org/10.24198/jmk.v7i1.40508.
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This study analyzes the shift in the science communication landscape, which is starting to be influenced by the presence of influencers on social media. Influencers who influence to construct audience opinions allow the birth of different interpretations of scientific information among the audience, especially the lay audience. These can be seen in the discussion about wildlife care tweeted by veterinarian Nur Purba Priambada who criticized influencer Alshad Ahmad. The reaction to Purbo's tweet shows that not all audiences agree with the scientific information shared by Purbo, even though Purbo has a scientific background. On the other side, some audiences support the influencer Alshad Ahmad who keeps the wildlife on his own. This study uses the netnographic method. This study aims to examines how science communication that takes place on social media affects audience reactions to scientific information shared by scientists and influencers, in this case, Purbo and Alshad Ahmad. The study result shows that the audience does not necessarily believe the information shared by people with scientific backgrounds in a scientific discussion on social media. Although some audiences believe the scientists' scientific information, other audiences trust the influencer more. This finding can be a consideration for scientists to develop an effective communication style on social media regarding scientific information to audiences, especially lay audiences.
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Adelakun, Lateef Adekunle. "Local Media Going Global: Assessing Online Media Efficiency By Nigerian Audience Abroad." Jurnal Pengajian Media Malaysia 20, no. 1 (June 1, 2018): 15–26. http://dx.doi.org/10.22452/jpmm.vol20no1.2.
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The internet connectivity is projecting the opportunities upon which local mainstream news media (newspaper, radio and television) are reached globally. Even outside the comfort zones of the newspaper circulation as well as radio and Television spectrums, the internet makes a point of contact between the media and the audiences across borders. Assessing the purpose for media going global, which transcends reaching the audience outside the border-bound but accommodates the effort to meet up with the information needs of the international audience, constitutes the major objective of this study. A survey of the diaspora audience of Nigerian online media in Malaysia, UK, South Africa, and the US was conducted through online questionnaire. Sampling the opinions of the media audiences across frontier on whether the media globalisation enhances the quality and structure of media output, this study found out that despite the fact that the general audience assessment of the media was lamentable, the audience appraised newspapers for moving closer to the global prospect ahead TV and Radio. The audience rating of the online media efficiency was discussed on the tenet of media usage based on the information needs that compel gratification. The online access to mainstream media according to the audience remains a laudable innovation that upturns the media questionable outputs and narrows the wide gaps between the media and the audience as well as among the audiences.
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Salsabila, Khansa. "NETFLIX: CULTURAL DIVERSITY OR CULTURAL IMPERIALISM?" Rubikon : Journal of Transnational American Studies 8, no. 1 (April 26, 2021): 15. http://dx.doi.org/10.22146/rubikon.v8i1.65480.
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The global rise of Netflix as subscription video-on-demand (SVOD) has emerged along with its capitalization of film, television, and technology industry for the audience's convenience. It replaces the interest of local television with its claim of 'a global TV network' with cultural diversity in its contents. However, the term cultural diversity itself should be questioned whether it means to leave the American cultural power or it is only to claim themselves as a global company where global identity is represented in their identity to attract a wider audience. By using transnational approach, this study finds the use of cultural diversity merely to fulfill the demand of the American audience, with several globalization consequences in Netflix Original series, especially in non-American series. Those consequences are the homogenization in European-made Netflix series, where they appear to be fully Americanized with American lifestyle or American perspective, and heterogenization in Asian-made Netflix series with its collaboration of Asian culture and American popular culture. The claim of a 'global TV network' itself does not leave the American cultural power. Instead, they are taking advantage of the cultural power to retain the existing audiences and to fascinate more audiences. Therefore, the dependency of non-American producers in relying on Netflix platform as a way to reach global audience, even the use of Americanization to their works for global audience's satisfaction, confirms the cultural power of America in its ability to bring economic advancement to other countries.
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Carter, Marcus, and Ben Egliston. "The work of watching Twitch: Audience labour in livestreaming and esports." Journal of Gaming & Virtual Worlds 13, no. 1 (March 1, 2021): 3–20. http://dx.doi.org/10.1386/jgvw_00025_1.
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This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically, and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially desirable experiences via the labour of audience activity.
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Carter, Marcus, and Ben Egliston. "The work of watching Twitch: Audience labour in livestreaming and esports." Journal of Gaming & Virtual Worlds 13, no. 1 (March 1, 2021): 3–20. http://dx.doi.org/10.1386/jgvw_00025_1.
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This article focuses on the interactivity afforded to audiences by the video game livestreaming platform twitch.tv. Drawing on theories of audience labour, we explore what audience interactivity on Twitch might mean within the context of the contemporary digital economy. Specifically, and inspired by a range of existing work in media and cultural studies research on audiences, we argue that interactive audience practices on Twitch can be read as a site of ‘audience work’. Our contention is that the various kinds of interactive, audience practices on Twitch generate considerable economic value for the platform and its broadcasters. In the context of growing academic interest in livestreaming platforms like Twitch, this article contributes a new perspective towards the role that the interactivity of Twitch plays in creating commodified and commercially desirable experiences via the labour of audience activity.
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Wright, Matthew. "The scripted audience in Roman comedy." Trends in Classics 16, no. 1 (July 1, 2024): 144–69. http://dx.doi.org/10.1515/tc-2024-0006.
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Abstract Despite the prevalence of audience-centred drama criticism, very little is actually known about the composition or nature of theatre audiences in antiquity. Metatheatrical passages in Plautus’ and Terence’s comedies in which the audience is described or addressed are usually treated as historical evidence for real-life theatre audiences in Republican Rome. This article argues that it is preferable to treat the comic audience as a fictional character. The scripted audience is recurrently portrayed by the comedians in a far-fetched and anti-realistic manner: it can be treated as a stereotype, along the other ‘stock’ characters of Roman comedy.
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Mata, André, and Gün R. Semin. "Multiple Shared Realities: The Context Sensitivity of the Saying-Is-Believing Effect." Social Cognition 38, no. 4 (August 2020): 354–66. http://dx.doi.org/10.1521/soco.2020.38.4.354.
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People adjust how they talk about someone depending on whether their audience likes or dislikes that person. When they do so, they end up recalling the person more positively or negatively afterwards. This is known as the saying-is-believing effect, and it shows how tuning communication to an audience's attitudes and beliefs shapes one's memories. But people navigate a rich social world where they talk about the same person to different audiences with different attitudes. The current research shows that people's representations change as they do so, thus demonstrating the context sensitivity of the saying-is-believing effect. The typical saying-is-believing procedure—read about a person, describe her to others who like/dislike her, and then recall the original information—was adapted to fit multiple audiences with opposing attitudes. Results show that the same communicators recall the same person differently as a function of the audience context.
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Hughes, Stephen Putnam. "Audience." BioScope: South Asian Screen Studies 12, no. 1-2 (June 2021): 27–30. http://dx.doi.org/10.1177/09749276211026088.
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Leshkowich, Ann Marie. "Audience." Indonesia 109, no. 1 (2020): 57–63. http://dx.doi.org/10.1353/ind.2020.0007.
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O’Donnell, Angel-Luke. "Audience." Early American Studies: An Interdisciplinary Journal 16, no. 4 (2018): 591–98. http://dx.doi.org/10.1353/eam.2018.0022.
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Mero, Neal P., Rebecca M. Guidice, and Amy L. Brownlee. "Accountability in a Performance Appraisal Context: The Effect of Audience and Form of Accounting on Rater Response and Behavior." Journal of Management 33, no. 2 (April 2007): 223–52. http://dx.doi.org/10.1177/0149206306297633.
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This study explored how context influences accountability in a performance appraisal context. Results demonstrate that audience characteristics influence rating quality, as raters accountable to higher status or mixed-status audiences provided more accurate ratings, whereas those accountable to a lower status audience provided more inflated ratings. Participant note taking also mediated the relationship between accountability to higher status or mixed-status audiences and rating accuracy. Raters required to account for ratings in person as opposed to in writing were more accurate when accountable to higher status or mixed audiences and provided more positive indicators of behavior when accountable to a lower status audience.
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Wulandari, Margareta, and Novi Kurnia. "Jaringan Sosial dan Konvergensi Media: Penonton Interaktif Sinetron 7 Manusia Harimau." Jurnal ILMU KOMUNIKASI 14, no. 2 (December 6, 2017): 169–88. http://dx.doi.org/10.24002/jik.v14i2.776.
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In the convergence era, television audience has become interactive audience. Study about television audience become important, especially in favorite program, such as sinetron (Indonesian soap opera). Netnography method is used to examine the social network dynamics of 7 Manusia Harimau audience. After conducting online participatory observation in two fandom groups and in-depth interviews with seven informants, the results show that media convergence has broaden the way audience consume sinetron and enhanced the audiences’ interactivity. Online media support the audience to develop individual and communal network, collective identity and intelligence, collective actions and participatory culture.
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Kammer, Aske. "Audience Participation in the Production of Online News." Nordicom Review 34, s1 (March 13, 2020): 113–26. http://dx.doi.org/10.2478/nor-2013-0108.
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AbstractThe potential of audience participation constitutes a most important characteristic of digital journalism. This article presents an inductive study of audience participation in the production of online news in a Danish context, analysing how audiences participate, and what relationships between journalists and audiences accompany this participation. The article discusses the concept of participation, arguing on the basis of sociological theory that it should be understood as those instances where the audience influences the content of the news through their intentional actions. Applying this definition, it proposes four ideal types of audience participation in the production of online news, namely sharing of information, collaboration, conversation and meta-communication.
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Sari, Annisa Rachmatika, and Matius Ali. "PERHATIAN DALAM FILM RIDINGTHE LIGHT." Capture : Jurnal Seni Media Rekam 8, no. 1 (August 9, 2017): 1–15. http://dx.doi.org/10.33153/capture.v8i1.1895.
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This paper examines forms of the audience attention in RidingThe Light movies which is produced by the impressions of the object adjustment to structure basic of audience thinking. Here, objects are introducing their self to the audience so that they can be accepted and been awared by them because of their condition.Then, object makes adjustments on twelve categories in the audience brain. For finding the audience attention, theory of photoplay Münsterberg serves as the basis of research assuming that audience processes mentality because there are self adaptation of movies in the human intellection of being in the form of space, time, and causality. Therefore, attention is a one of the audience mentality process when film objects, RidingThe Light, was introducing itself.Keywords : Attention, adjustment, RidingThe Light, and film
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Overbeck, Lois More. "Audience of Self / Audience of Reader." Modernism/modernity 18, no. 4 (2011): 721–37. http://dx.doi.org/10.1353/mod.2011.0102.
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Kertzer, Joshua D., and Ryan Brutger. "Decomposing Audience Costs: Bringing the Audience Back into Audience Cost Theory." American Journal of Political Science 60, no. 1 (July 16, 2015): 234–49. http://dx.doi.org/10.1111/ajps.12201.
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Ernala, Sindhu Kiranmai, Stephanie S. Yang, Yuxi Wu, Rachel Chen, Kristen Wells, and Sauvik Das. "Exploring the Utility Versus Intrusiveness of Dynamic Audience Selection on Facebook." Proceedings of the ACM on Human-Computer Interaction 5, CSCW2 (October 13, 2021): 1–30. http://dx.doi.org/10.1145/3476083.
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In contrast to existing, static audience controls that map poorly onto users' ideal audiences on social networking sites, dynamic audience selection (DAS) controls can make intelligent inferences to help users select their ideal audience given context and content. But does this potential utility outweigh its potential intrusiveness? We surveyed 250 participants to model users' ideal versus their chosen audiences with static controls and found a significant misalignment, suggesting that DAS might provide utility. We then designed a sensitizing prototype that allowed users to select audiences based on personal attributes, content, or context constraints. We evaluated DAS vis-a-vis Facebook's existing audience selection controls through a counterbalanced summative evaluation. We found that DAS's expressiveness, customizability, and scalability made participants feel more confident about the content they shared on Facebook. However, low transparency, distrust in algorithmic inferences, and the emergence of privacy-violating side channels made participants find the prototype unreliable or intrusive. We discuss factors that affected this trade-off between DAS's utility and intrusiveness and synthesize design implications for future audience selection tools.
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Gross, Alan G. "Misunderstanding the Universal Audience." Journal for the History of Rhetoric 22, no. 3 (September 2019): 290–302. http://dx.doi.org/10.5325/jhistrhetoric.22.3.0290.
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ABSTRACT A major contribution to rhetorical theory and an important tool of rhetorical criticism, Perelman’s distinction between particular audiences and the universal audience has been misconstrued by his critics and even by Perelman himself. Properly construed, the universal audience is focused on facts and truths and consists of all human beings in so far as they are rational; consequently, discourse addressed to it eschews proofs from character and emotion. In contrast, addresses to particular audiences focus on values; they embrace not only proofs reason, but also those from character and emotion.
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Samuel, Michael. "EDUCATIONAL LEADERSHIP: THE AUDIENCE CREATES THE TEXT." International Journal of Educational Development in Africa 1, no. 1 (October 14, 2014): 31–45. http://dx.doi.org/10.25159/2312-3540/4.
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Alternative conceptions of educational leadership that challenge the performativity culture do not appear substantively to alter the trajectory of practitioner’s everyday choices. This article uses as data the responses from three different audiences to a presentation on such alternative conceptions. The three groups were academics attending an educational leadership conference, circuit managers as part of a post-project workshop, and a group of aspirant school rectors in a training diploma programme. The first two groups were South African and the third a Mauritian audience. The audience responses show how they subverted, re-interpreted and jettisoned the message of the presentation. Three vignettes constitute the analysis of the audiences’ foregrounding of the lived complexities of making alternative leadership choices. The article suggests we need to be aware of how and why practitioners will choose or not to become alternative proponents of the dominant discourses around ‘educational quality’.
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Mandić, Aleksandra. "Information needs of the online media audience." Socioloski godisnjak, no. 16 (2021): 69–81. http://dx.doi.org/10.5937/socgod2116069m.
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With the occurence of online media and the emergence of new audiences, the audience's need for information has changed. These needs are conditioned by a large number of factors, of which are the most significant influence of technique and technology in performing daily activities, especially communication, information and entertainment, but also by changing the specifics of the environment. With the development of technology, the role of the audience is changing. It is becoming interactive, which means that there is no longer one-sided communication and passivity in the exchange of media information and messages. We will try to position information needs in the hierarchy of human needs, point out the characteristics of the online media audience and their specific requirements that ultimately lead to the satisfaction of basic and derived needs and answer the question of whether and to what extent online media specifics affect modifying existing and creating new needs.
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Li, Xi, Runzhe Yu, and Xinwei Su. "Environmental Beliefs and Pro-Environmental Behavioral Intention of an Environmentally Themed Exhibition Audience: The Mediation Role of Exhibition Attachment." SAGE Open 11, no. 2 (April 2021): 215824402110279. http://dx.doi.org/10.1177/21582440211027966.
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Many scholars have focused on the role of exhibitions in business promotion, and numerous studies have been conducted. The exhibition may influence the audience’s behaviors through the dissemination of information and ideas, but few researchers have looked into this further. There is a distinct lack of research on the process of exhibition influencing people’s behavioral intentions. Based on the belief–emotion–norm theoretical model, this study integrates environmental beliefs, exhibition attachment, and an audience’s environmental behavior intentions into a research model to explain how the exhibition affects the audience. The Macau International Environmental Cooperation Forum & Exhibition attendees served as the research object in the current empirical study. The study’s findings suggest that audiences’ environmental beliefs may have a significant and positive impact on their attachment to environmentally themed exhibitions as well as their environmental behavioral intentions. This study also confirmed that attachment to exhibitions, a temporary space, can play an important mediating role between environmental beliefs and intentions to engage in pro-environmental behavior. The exhibition dependency, in particular, acts as a mediator between environmental beliefs and pro-environmental behavior intentions. Although the mediating effect of exhibition identity is insignificant, exhibition dependence–exhibition identity as a whole has a partial mediating effect in the process of influencing exhibition audiences’ environmental behavior. This research helps to improve our understanding of how environmentally themed exhibitions influence audience behavior. It also has implications for exhibition organizers in terms of better exhibition planning, more effective information transmission, and influencing audience behavior.