Relevant bibliographies by topics / Audiences

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Audiences'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Audiences"

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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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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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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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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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Jo, Sunggyung. "Homer’s Odyssey Once More: Magical Stories and Spellbound Audiences." British and American Language and Literature Association of Korea 146 (September 30, 2022): 311–28. http://dx.doi.org/10.21297/ballak.2022.146.311.

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In this essay, I discuss specific ways in which the Odyssey ensures its reception by broader and future audiences by employing both professional and amateur storytellers and internal listeners as guarantors of the story's viability. My focus here is on the differences between Demodocus’s professional storytelling and Odysseus's nominally nonprofessional storytelling. While the former serves to please groups of an audience who expect “safe” pleasures by listening to traditional epic tales, the latter opens an affective space between listeners and the storyteller, where the listeners’ affects are mobilized by Odysseus’s unpredictable and perhaps less skillful ways of narrating stories. Odysseus’s amateurism (as I would call it) instigates the audience’s desire to listen more and becomes a successful strategy to captivate the audience’s minds. In this age and culture often defined by the “narrative turn,” many of us are interested in telling good stories that can impact broad audiences. This much-loved, ancient work of fiction can teach us various techniques of good storytelling that can move the hearts of generations of audiences.
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Renfeng, Fan. "“The Medium is the Massage”: Exploring the Influential Role of Slow Variety Shows." SHS Web of Conferences 159 (2023): 02016. http://dx.doi.org/10.1051/shsconf/202315902016.

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“The Medium is the Massage”, first proposed by Marshall McLuhan, as another theory in communication science with an extraordinary vision, provides a new perspective for understanding the impact of slow variety shows on the emotional role of audiences in research. In recent years, slow variety shows such as “Welcome Back To Sound” and “Life to Live” have spurted on and won wide attention from audiences. In this paper, we will take the second season of “Welcome Back To Sound” as an example and analyse the influence of slow variety shows on audiences’ emotions from the perspective of “The Medium is the Massage”. Specifically, it takes sound as the entrance, “massaging” the audience’s sensory system from visual presentation, discourse and aesthetic performance, thus causing emotional resonance and reawakening the audience’s aspiration and pursuit of a better life. It is worth noting that while enjoying the “media massage” of slow variety shows, we also need to be wary of the excessive consumption of audience emotions by commercial capital and new media.
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Lukman Hakim, Agus Riyadi, and Ali Murtadho. "Konten Dakwah Penceramah Perempuan: Analisis Respon Audien pada 'Suara Muslimah' di Kanal NU Online." Jurnal Komunikasi Islam 13, no. 2 (December 21, 2023): 289–304. http://dx.doi.org/10.15642/jki.2023.13.2.289-304.

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This article aims to examine the audience's response to the da'wah content broadcasted by "Suara Muslimah" on the NU online YouTube channel. The research method used in this study was a qualitative text analysis. Through the examination of 162 netizen comments on four episodes of "Suara Muslimah" programs, the findings have shown that the majority of audiences have positive responses to da'wah content aired by the "Suara Muslimah" program, although some audiences have responded negatively and others made irrelevant comments to the content. Additionally, the audience also provided responses related to cognitive, affective, and conative aspects.
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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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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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Dissertations / Theses on the topic "Audiences"

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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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Gardair, Colombine. "Assembling audiences." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8486.

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Street performers have to create and manage their own performance events. This makes street performance an ideal type of situation for studying how an audience is assembled and sustained in practice. This thesis uses detailed video-based ethnographic analysis to investigate these processes in street performances in Covent Garden, London. Drawing on the performance literature, the role of the physical structure of the environment, the arrangement of physical objects within the environment and the physical placement of people are all examined. The argument of the thesis is that these analyses alone are insufficient to explain how an audience is established or sustained. Rather, an audience is an ongoing interactional achievement built up through a structured sequence of interactions between performers, passers-by and audience members. Through these interactions performers get people’s attention, achieve the recognition that what is going on is a performance, build a collective sense of audience membership, establish moral obligations to each other and the performer, and train the audience how to respond. The interactional principles uncovered in this thesis establish the audience as a social group worthy of studying in its own right, and are in support of a multiparty human-human interaction approach to design for crowds and audiences.
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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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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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Robinson, Rebecca Grace. "Scottish television comedy audiences." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1177/.

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This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. The second chapter explores historical approaches to Scottish cultural criticism and literary myths (Tartanry, Kailyardism, Caledonian anti-syzygy, Clydesidism) and sets these against contemporary mythologising by individual Scottish comedy practitioners. The second half of the thesis marks a shift from textual studies toward audience research, and in particular develops a discussion about the problematics of researching comedy and audiences qualitatively. The first part of the second half is a literature survey of selected examples of audience research which is translated from theory and epistemology, to methodology and technique in the next section which comprises a discussion of the model for the empirical data collection. The next section presents data from a quantitative survey and qualitative focus-group discussions. The last part of the second section interprets the data through triangulation although this is limited by lack of comparable critical materials. The whole attempts to explore concepts of national identity in Scottish television comedy with audiences, but also develops the additional problematic of empirical quantitative research and comedy themes.
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Spelman, Henry Lawlor. "Pindar and his audiences." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:83184846-33cc-41bf-a7d0-8b1f1da5c57d.

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This thesis explores Pindar's relationship to his audiences. Part One demonstrates how his victory odes take into account an audience present at their premiere performance and also secondary audiences throughout space and time. It argues that getting the most out of the epinicians involves simultaneously assuming the perspectives of both their initial and subsequent audiences. Part Two describes how Pindar uses his audiences' knowledge of other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar's vision of the literary world past and present and suggests how this framework shapes an audience's experience of his work. Part Three explains how Pindar's victory odes made lucid sense as linear unities to fifth-century Greeks imbued in the traditions of choral lyric. An annotated text shows how each sentence in the epinician corpus forms part of a coherent chain of rational discourse.
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Evans, Elizabeth Jane. "Audiences for emergent drama." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498288.

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Jackson, Ruth, and Scottie Misner. "Diabetes and Diverse Audiences." College of Agriculture and Life Sciences, University of Arizona (Tucson, AZ), 2006. http://hdl.handle.net/10150/146652.

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Yang, Jing-Wen. "Multiple audiences and corporate disclosure." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7411.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Business and Management: Accounting & Information Assurance. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Das, Ranjana. "Interpretation : from audiences to user." Thesis, London School of Economics and Political Science (University of London), 2011. http://etheses.lse.ac.uk/175/.

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In this thesis I primarily address those within media and communications studies who research mass media audiences and their engagement with a diverse range of texts. I ask in what ways our knowledge about the interpretation of genres, emergent from many decades of empirical research with mass media audiences, is useful in understanding engagement with new media. This conceptual task is pursued empirically by applying a conceptual repertoire derived from reception analysis to interviews with youthful users of the online genre of social networking sites (SNSs). The thesis presents findings on the heterogeneity of children’s experiences in using SNSs following their perceptions of authorial presence, their notions of others using the text, their expertise with the interface and pushing textual boundaries. I explore four tasks involved in the act of interpretation – those being intertextual, critical, collaborative and problem-resolving. In analysis, I also reflect on a selection of the core conceptual tools that have been animated in this thesis, in research design as well as analysis and interpretation. It is concluded that inherited concepts - text and interpretation, continue to be useful in extension from the world of television audiences to the world of the internet. Second, inherited priorities from audience reception research which connect clearly to the conversation on media and digital literacies prove to be important by connecting resistance and the broader task of critique to the demands of being analytical, evaluative and critical users of new media. Third, the notion of interpretation as work is useful overall, to retain in research with new media use, for there is a range of tasks and responsibilities involved in making sense of new media.
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Books on the topic "Audiences"

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McConachie, Bruce. Engaging Audiences. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617025.

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Gunter, Barrie, and David Machin. Media Audiences. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2009. http://dx.doi.org/10.4135/9781446262498.

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Kim, Schrøder, ed. Researching audiences. London: Arnold, 2003.

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name, No. Joyce's audiences. Amsterdam: Rodopi, 1998.

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

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Snyder-Young, Dani, and Matt Omasta. Impacting Theatre Audiences. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146.

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Elvestad, Eiri, and Angela Phillips. Misunderstanding News Audiences. Names: Elvestad, Eiri, author. | Phillips, Angela, author.Title: Misunderstanding news audiences : seven myths of the social media era / Eiri Elvestad and Angela Phillips.Description: New York : Routledge : Abingdon, Oxon, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315444369.

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A, Kent Raymond, ed. Measuring media audiences. London: Routledge, 1994.

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Wollen, Tana. Film and audiences. London: Film Education, 1988.

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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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Book chapters on the topic "Audiences"

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Thompson, Jay Daniel, and John Weldon. "Audiences and Target Audiences." In Content Production for Digital Media, 11–20. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-9686-2_2.

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Werner, Sarah. "Audiences." In Shakespeare and the Making of Theatre, 165–79. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28493-8_10.

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Palacio, Manuel, and Kathleen M. Vernon. "Audiences." In A Companion to Spanish Cinema, 464–85. Oxford: Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch16.

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Alvarado, Manuel, Robin Gutch, and Tana Wollen. "Audiences." In Learning the Media, 249–66. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18681-5_10.

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Verevis, Constantine. "Audiences." In Film Remakes, 129–50. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-08168-1_6.

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Noha, Mellor. "Audiences." In Arab Digital Journalism, 72–89. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003218838-5.

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Culloty, Eileen, and Jane Suiter. "Audiences." In Disinformation and Manipulation in Digital Media, 49–65. Abingdon, Oxon ; New York, NY : Routledge, 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003054252-4.

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Clark, Irene L. "Audiences." In Concepts in Composition, 119–58. Third edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780203728659-4.

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Comerford, Chris, and Renée Middlemost. "Audiences." In The Media and Communications in Australia, 76–86. 5th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003280644-8.

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Lister, Christina. "Audiences." In Marketing Strategy for Museums, 29–41. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003309147-5.

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Conference papers on the topic "Audiences"

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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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Semaan, Bryan, Heather Faucett, Scott Robertson, Misa Maruyama, and Sara Douglas. "Navigating Imagined Audiences." In CSCW '15: Computer Supported Cooperative Work and Social Computing. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2675133.2675187.

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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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Simpson, James, and Rory Foster. "Liveness for Contemporary Audiences: Developing online-togetherness in metaverse theatre audiences." In Proceedings of EVA London 2022. BCS Learning & Development, 2022. http://dx.doi.org/10.14236/ewic/eva2022.25.

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Ma, Qiang, Eeshan Wagh, Jiayi Wen, Zhen Xia, Robert Ormandi, and Datong Chen. "Score Look-Alike Audiences." In 2016 IEEE 16th International Conference on Data Mining Workshops (ICDMW). IEEE, 2016. http://dx.doi.org/10.1109/icdmw.2016.0097.

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Ulkhaq, M. Mujiya, Finsaria Fidiyanti, Arga Adyatama, Zakia A. Maulani, and Adi S. Nugroho. "Segmentation of Cinema Audiences." In the 2019 2nd International Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3354153.3354154.

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Gallagher, Philip B. "Redesigning audiences in technical communication." In SIGDOC '19: The 37th ACM International Conference on the Design of Communication. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328020.3353914.

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GIL-LAFUENTE, ANNA MARIA, and LUIS AMIGUET MOLINA. "MEDIA AUDIENCES PREDICTION: A MODEL." In Proceedings of the MS'10 International Conference. WORLD SCIENTIFIC, 2010. http://dx.doi.org/10.1142/9789814324441_0054.

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Zitmane, Marita, and Marija Vorkule. "Should Influencers be Trusted? Analysis of Influencers’ Interaction with Children and Adolescents on Instagram and Youtube." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.08.

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Children and adolescents (in study it refers to age group 11 till 17) nowadays spend many hours online on social media following their favorite influencers. Children and adolescents are avid consumers of social media and constitute attractive target audiences for influencer marketing. Studies show that sponsored content from favorite social media influencers appears to be highly influential and may affect brand preferences of given audiences. Furthermore, influencer endorsements are observed to carry greater credibility and authenticity than traditional forms of advertising. This therefore raises questions about young consumers’ discernment of, and critical evaluation of the overall appropriateness when influencers act as conduits of commercial messages. The influencer interaction with young audiences in Latvian social media landscape still needs to be mapped. This paper reports on a quantitative study of the influencer communication on two social media – YouTube and Instagram. A total of 459 YouTube videos and 654 Instagram posts in time period from 01.01.2021 to 01.01.2022 were selected for analysis. The aim is to acquire knowledge on how influencers communicate with their young audiences, and do they use appropriate advertising disclosures when communicating commercial information, which is a requirement of Latvian legislation. This information is crucial for further discussion on advertising literacy of young audiences as well as legal regulation of influencer marketing. The research finds that influencers in most part do not properly mark the sponsored content. Thus, influencers both do not comply with the regulatory framework, and deny their young audience the tools to employ advertising skills.
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Umetsu, Kenya, Naoyuki Kubota, and Jinseok Woo. "Effects of the Audience Robot on Robot Interactive Theater Considering the State of Audiences." In 2019 IEEE Symposium Series on Computational Intelligence (SSCI). IEEE, 2019. http://dx.doi.org/10.1109/ssci44817.2019.9003010.

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Reports on the topic "Audiences"

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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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Wiltsee, G. Heat-activated cooling devices: A guidebook for general audiences. Office of Scientific and Technical Information (OSTI), February 1994. http://dx.doi.org/10.2172/10190288.

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Hall, Fred M., and Hugo Ramirez. Dairy Directions Program Series Brings Information to Isolated Audiences. Ames (Iowa): Iowa State University, January 2018. http://dx.doi.org/10.31274/ans_air-180814-362.

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Wiltsee, G. Small-scale biomass fueled cogeneration systems - A guidebook for general audiences. Office of Scientific and Technical Information (OSTI), December 1993. http://dx.doi.org/10.2172/10190489.

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Iverson, Kenneth. The Audiences of the Military-Media Stage: An Operational Commander's Role. Fort Belvoir, VA: Defense Technical Information Center, May 2006. http://dx.doi.org/10.21236/ada463535.

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Willis, Craig. ECMI Minorities Blog. Minority Language Media and TikTok: Are Broadcasters Showing They Are Still Relevant for Younger Audiences? European Centre for Minority Issues, June 2023. http://dx.doi.org/10.53779/qlmm1477.

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Whilst younger audiences move away from traditional forms of media consumption, public broadcasters – including those in minority languages – have long been facing declining viewing figures in terms of linear television. At the same time, social media consumption habits are diverging along a generational gap – younger audiences favour TikTok and Instagram over Facebook or Twitter. This blogpost sheds light on one element of this, analysing the attempts of institutional actors – in this case minority language broadcasters – to reach different audience segments by creating content directly through TikTok. Concentrated focus is placed on the Welsh language broadcaster S4C, the Galician language broadcaster TVG and the Catalan language broadcaster TV3, with the conclusions pointing towards greater levels of success for their sub-brands which adopt a less-formal, non-institutionalised approach. The positive examples suggest minority language media are finding ways to adapt to contemporary challenges and that their role for younger generations was perhaps neglected too soon by some critics.
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McKittrick, Susan. Capitalizing on Social Media Channels to Draw Audiences in Specific Business Niches. Boston, MA: Patricia Seybold Group, April 2011. http://dx.doi.org/10.1571/sp04-07-11cc.

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Valhondo Crego, José Luis. Monarchy, jesters, politicians and audiences Comparison of TV satire in UK and Spain. Revista Latina de Comunicación Social (RLCS), March 2011. http://dx.doi.org/10.4185/rlcs-66-2011-932-252-273-en.

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Eparkhina, Dina, Kelle Moreau, Nicole Köstner, Kieran Reilly, Veronica Ortiz, Joaquin Tintore, Michele Barbier, and Elena Giusta. Communication Plan. EuroSea, April 2020. http://dx.doi.org/10.3289/eurosea_d8.1.

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King, Lucy. FSA Consumer segmentation. Food Standards Agency, September 2021. http://dx.doi.org/10.46756/sci.fsa.bmo506.

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For our audiences, it is important to find out how their attitudes and behaviours relating to food safety differ, in order to understand who is more likely to take food safety risks and in what context. This is essential for effective communications and helps us to shape food safety policy. The audiences in these documents have been created using attitudinal and behavioural segmentation that categorises people based on their attitudes to food and their reported hygiene and food safety behaviours.
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