Journal articles on the topic 'Visitor and audience studies'
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Roose, Henk. "Grabbing the Audience: Correlates of Contactability in Visitor Studies." Field Methods 19, no. 3 (August 2007): 300–312. http://dx.doi.org/10.1177/1525822x07302122.
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Akhtamzyan, Nurlan Ildarovich, and Viktoria Viktorovna Chernenko. "Modern Technology Based Methodologies for Visitor Studies at the Museum Exposition." Общество: философия, история, культура, no. 10 (October 2020): 82–86. http://dx.doi.org/10.24158/fik.2020.10.15.
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In the second half of the 20th century, important changes took place in the relationship between the museum world and society, which led to appearance of new approaches in museum theory and practice. First of all, they affected the principles of interaction between museums and their audience. The evolve-ment of communication approach to museology, where a visitor is considered the main figure in mu-seum activity, dates back to this time. The peculiari-ties of museum audience behaviour were studied from the beginning of the 20th century. The exposi-tion is the main channel of communication between a museum and its visitors, therefore, the use of modern technical means that allow an objective as-sessment of the quality of such communication is a priority when studying the museum audience. Due to the development of technical progress by the beginning of the 21st century there is a possibility of using technological methods of qualitative and quantitative recording and analytics of main indica-tors of interrelation between museums and their target audience. The present research considers new technical means of studying specific features inher-ent to visitors behaviour at exhibitions (tracking, eye tracking, video analytics). Such studies have been carried out in some of Russian museums in recent years.
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Hosey, G. R. "Zoo Animals and Their Human Audiences: What is the Visitor Effect?" Animal Welfare 9, no. 4 (November 2000): 343–57. http://dx.doi.org/10.1017/s0962728600022946.
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AbstractThe presence of human visitors has been shown to affect the behaviour of several different mammalian species in a number of different zoos, but the behavioural changes observed are not always consistent with a simple ‘stressful influence’ explanation. Data for non-primate species are too sparse to draw meaningful conclusions; but for primates, the evidence reviewed in this paper allows several hypotheses to be tested. Neither a social facilitation nor an audience attraction hypothesis can be generally supported by the available studies. However, these studies are consistent with a general stressful influence hypothesis, although the extent of this influence is itself affected by other variables, notably species and housing differences. There is some evidence that chronic exposure to human audiences may lessen this stressful influence in some species; and in certain circumstances (notably where some members of the public throw food) the effect of the audience is almost an enriching one.
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McCarthy, Elizabeth. "Developing digital audience frameworks for Oxford’s GLAM." Performance Measurement and Metrics 20, no. 3 (November 11, 2019): 179–85. http://dx.doi.org/10.1108/pmm-09-2019-0042.
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Purpose In order to develop a common framework for strategic planning and evaluation, the Gardens, Libraries and Museums (GLAM) of Oxford undertook a process for defining digital audiences, undertaking user research to inform a new audience framework, which, in turn, is feeding a new approach and the application of the research across the Libraries’ web redevelopment. The paper aims to discuss this issue. Design/methodology/approach GLAM used qualitative and quantitative techniques to understand how visitors engaged with GLAM digitally: visitor shadowing, exit interviews, diary studies, remote interviews, social media and data evaluation. From these, GLAM focussed on motivational archetypes that apply to visitors across the institutions as well as pen portraits to support those archetypes, and a template for creating new portraits. Findings The framework helped GLAM develop digital priorities and outline how digital output met the needs of all audiences from a bottom-up user perspective, rather than only through top-down institutional decision making. Most relevant here, learning from the user research hugely informed the Bodleian Libraries’ website redevelopment. The Bodleian Libraries’ work within that framework shows that such a body of research is not solely high level; it can be applied on an institutional and project level to great effect. Originality/value Focussing on motivations rather than demographics is a less common way to approach digital audiences. Developing such a cohesive framework for digital audiences before undertaking strategic planning and specific development projects proved a valuable piece of work from which other institutions can learn.
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Grincheva, Natalia. "The Online Museum: A "Placeless" Space of the "Civic Laboratory"." Museum Anthropology Review 8, no. 1 (July 6, 2014): 1–21. http://dx.doi.org/10.14434/mar.v8i1.3187.
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Building on Tony Bennett’s (1995) understanding of a museum as a “civic laboratory,” this study advances this framework by researching a museum space in a virtual world. It shows that an online museum can be understood as a “placeless” space of a “civic laboratory” by analyzing visitor research methodologies that are utilized online. Through comparison of traditional museum-visitor research tools and methods with the ones that online museum spaces employ, this article seeks to demonstrate that the online museum environment is equipped with a plethora of tools that make it a laboratory-type research setting where visitor studies are conducted. The analysis reveals that the historical development of online museum-audience research has gone through methodological stages similar to those of traditional visitor research.
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Kelly, Christine, and Michael Orsini. "Beyond Measure? Disability Art, Affect and Reimagining Visitor Experience." Studies in Social Justice 15, no. 2 (March 7, 2021): 288–306. http://dx.doi.org/10.26522/ssj.v15i2.2432.
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Disability, mad and d/Deaf arts are motivated to transform the arts sector and beyond in ways that foreground differing embodiments. But how do we know if such arts-based interventions are actually disrupting conventional ways of experiencing and consuming art? This article presents three themes from a critical literature review relevant to curating and creating artwork meant to spur social change related to non-normative bodies. We highlight examples that push beyond standard survey measurement techniques, such as talk-back walls and guided tours by people with lived experiences. We also explore the myriad affective outcomes of art and how we might measure emotional reactions, recognizing that disability itself is imbricated in structures of feeling. We argue that such efforts must integrate concepts of access from the field of critical disability studies. Ultimately, tools for measuring audience response to politicized art must contribute to challenging and transforming these structures.
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Wulandari, Anak Agung Ayu, Ade Ariyani Sari Fajarwati, and Fauzia Latif. "The Relationship of Exhibition Space Design and the Success of Delivering Messages to Museum Visitors in Jakarta." Humaniora 8, no. 3 (October 19, 2017): 219. http://dx.doi.org/10.21512/humaniora.v8i3.3634.
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The research explored exhibition space designs, particularly the interior design elements such as circulation, lighting, and display techniques to find out whether the design elements corresponded the design principles and to find out which museum had the most ideal exhibition design that was able to deliver exhibition messages to the audience. The research applied qualitative method with case study approach in three museums in Jakarta, those were National Museums, Bank of Indonesia museum, and museum of Fine Art and Ceramic as case studies and qualitative data collecting methods through observations to get real-settings information. Data analysis and comparison of various interior elements shows that from the three case studies only Bank of Indonesia Museum has an integrated exhibition space using various interior elements; circulation and lighting design as well as display technique that support the success of a museum to deliver exhibition messages to their visitor. It can stimulate visitors senses visually, auditory, and kinetic.
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Filová, Natália, Lea Rollová, and Zuzana Čerešňová. "Route options in inclusive museums: Case studies from Central Europe." Architecture Papers of the Faculty of Architecture and Design STU 27, no. 1 (March 1, 2022): 12–24. http://dx.doi.org/10.2478/alfa-2022-0003.
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Abstract Museums are complex architectural works with many distinctive elements. One of the most significant museum features are routes or paths on which visitors circulate museums and perceive exhibitions. Children and people with special needs often have specific demands on physical accessibility of the surrounding environment, chronological arrangement of spaces and amount of information presented at a time. The arrangement of functional units in museum layouts affects wayfinding in space, understanding of the exhibition, as well as visitor guidance. The order in which people visit particular segments in a museum can also be described as one of the most important architectural and operational characteristics of this type of cultural buildings and areas. The article examines ways of arranging spaces in a museum building and the suitability of their application. These forms are evaluated based on various aspects; some of the created effects are studied, e.g. creation of a desired atmosphere. Existing concepts are compared and supplemented with other theoretical knowledge. The article aims to present variant suitable ways of composing routes that would meet the needs of different people, and bring them a quality leisure and educational experience from a museum tour. Various types of museum layout organisation and arrangement of exhibition spaces are illustrated with abstract schemes, as well as with specific case studies of five selected museums. The selection consists of architecturally exceptional and high-quality museums in Central Europe, which are able to attract a whole range of various groups of people including a younger audience. They are examples of both modern museums in this area and route planning options. The case studies highlight interesting local ideas, space concepts, routing methods, and also solutions for increasing inclusion of all visitors and children in particular.
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Jones, Ceri. "Enhancing our understanding of museum audiences: visitor studies in the twenty-first century." Museum and Society 13, no. 4 (November 1, 2015): 539–44. http://dx.doi.org/10.29311/mas.v13i4.352.
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Alster, Bendt. "Court ceremonial and marriage in the Sumerian epic ‘Gilgamesh and Huwawa’." Bulletin of the School of Oriental and African Studies 55, no. 1 (February 1992): 1–8. http://dx.doi.org/10.1017/s0041977x00002603.
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Four versions of an episode in the Sumerian composition ‘Gilgamesh and Huwawa’ are discussed here. The encounter of Gilgamesh and Huwawa is interpreted in terms of Gilgamesh playing the role of a visitor received in audience at a foreign court. His gifts aim at inviting Huwawa to reciprocate, and thereby give up his protection. Gilgamesh especially exploits Huwawa's social isolation and lack of noble ancestry by offering him his two sisters, one in marriage and one as a concubine. he version in which the two sisters are the only offer makes most coherent sense. In another version the inner logic was distorted when the list was expanded to at least six offers.TIM IX 47 (IM 62827) was first published by J. van Dijk, in Šumer, 15,1959, PI. 2, and edited in the same volume, pp. 8–10.1 had a chance to collate the text in the spring of 1990 when I visited the Iraq Museum, Baghdad.1 Since this led to some improved readings, which may clarify a difficult episode in the Sumerian composition ‘Gilgamesh and Huwawa’, a complete edition of the tablet is presented here.2 With a few exceptions my readings are in agreement with van Dijk's copy.
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Bartlett, Vanessa. "Psychosocial curating: a theory and practice of exhibition-making at the intersection between health and aesthetics." Medical Humanities 46, no. 4 (October 9, 2019): 417–29. http://dx.doi.org/10.1136/medhum-2019-011694.
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A recent Manifesto for a Visual Medical Humanities suggested that more in-depth analysis of the contribution of visual art to medical humanities is urgently required. This need perhaps arises because artists and curators experience conflict between the experimental approaches and tacit knowledge that drive their practice and existing audience research methods used in visitor studies or arts marketing. In this paper, I adopt an innovative psychosocial method—uniquely suited to evidencing aesthetic experiences—to examine how an exhibition of my own curation facilitated audiences to undertake psychological processing of complex ideas about mental distress. I consider the curator working in a health context as a creator of care-driven environments where complex affects prompted by aesthetic approaches to illness can be digested and processed. My definition of care is informed by psychosocial studies and object relations psychoanalysis, which allows me to approach my exhibitions as supportive structures that enable a spectrum of affects and emotions to be encountered. The key argument of the paper is that concepts from object relations psychoanalysis can help to rethink the point of entanglement between curating and health as a process of preparing the ground for audiences to do generative psychological work with images and affects. The case study is Group Therapy: Mental Distress in a Digital Age, an exhibition that was iterated at FACT (Foundation for Art and Creative Technology), UK and University of New South Wales Galleries Sydney, with an emphasis on audience response to key artworks such as Madlove—A Designer Asylum (2015) by the vacuum cleaner and Hannah Hull. It is hoped that this paper will help to reaffirm the significance of curating as a cultural platform that supports communities to live with the anxieties prompted by society’s most complex medical and social issues.
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Yasukawa, Keiko, Jacquie Widin, Vic Smith, Karen Rivera, Michael Van Tiel, Peter Aubusson, and Helen Whitty. "Examining Museum Visits as Literacy Events: The role of mediators." Literacy and Numeracy Studies 21, no. 1 (June 24, 2013): 85–104. http://dx.doi.org/10.5130/lns.v21i1.3331.
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Museum exhibitions are literacy rich environments. Visitors may engage with a range of texts including texts that constitute the exhibition objects themselves, those that convey information about the objects and those that instruct visitors about how the visitors are expected by the museum to navigate through the exhibition. The ways in which visitors engage with these diverse texts are important defining factors of the visitors’ museum experience.For museums, understanding how texts in their exhibitions are influencing the museum experience, and the possibility of a museum experience for the broad public community is important in the fulfilment of their public mission as cultural and education institutions. In this paper, we adopt a view of literacy as a social practice, the perspective of New Literacy Studies (NLS), that offers a fruitful way for museums to consider the interactions between exhibition texts and their audiences. Such considerations, we argue, can inform museums’ approaches to broadening their visitor demographics to more strongly fulfill their public mission. We show that the goals of NLS resonate with some of the goals of the New Museology movement in museum studies, a movement that aims to democratize what museums represent and how. From NLS, we employ the concept of a literacy event to describe an exhibition visit through a literacy lens, and the concept of a literacy mediator to examine the literacy event not exclusively as an individual event, but a collectively produced event. The paper draws on data on how the literacy events of two groups of ‘non-traditional’ visitor groups were mediated in an exhibition, and show how they reveal the range of different literacies that visitors need to negotiate in a museum exhibition.
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Skibins, Jeffrey C., Robert B. Powell, and Marc J. Stern. "Exploring empirical support for interpretation's best practices." Journal of Interpretation Research 17, no. 1 (April 2012): 25–44. http://dx.doi.org/10.1177/109258721201700103.
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Since Freeman Tilden defined interpretation, numerous authors have proposed methodological best practices. The purposes of this meta-analysis were to identify best practices and examine the empirical evidence linking them to visitor outcomes. We identified 17 best practices from key texts used for interpretive training. Our investigation examined the relationships between hypothesized best practices and outcomes in 70 peer-reviewed articles. The most commonly reported of these best practices used in the programs evaluated in these articles were: resource/place-based messaging (53%), actively engaging the audience (51%), and thematic development and cognitive/affective messaging (both 49%). Knowledge was the most commonly evaluated outcome (33% of studies), and awareness the least (9%). Positive results were most commonly reported for satisfaction, 91%, while 32% of studies evaluating the influence of interpretation on attitudes showed no impact. Results provide general support for each of the 17 hypothesized best practices and their linkages to desired outcomes. However, the evidence remains circumstantial because the practices were rarely isolated or explicitly tested.
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Shortt, Mickey, Shelby Gull Laird, Ray Darville, and Pat Stephens Williams. "The Impact of Appropriate Interpersonal Touch (AIT) via Handshake on Perceived Credibility of Interpreter and Message." Journal of Interpretation Research 23, no. 2 (November 2018): 49–66. http://dx.doi.org/10.1177/109258721802300204.
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The role of interpersonal touch has been studied in communication fields, demonstrating a handshake or other form of appropriate interpersonal touch (AIT) has rendered favorable results in rapport building with an audience as well as developing audience comfort and receptivity to messaging. This study aimed to determine if the use of a handshake prior to interpretive programming would increase the positivity of perception of a visitor toward interpreters and/or the message shared by interpreters. Four interpreters gave both control and test interpretive programs, with 404 participants completing surveys at the site for a period of about one month. The interpreters were then asked to reflect on their practice at the end of the study. The research also discusses viewpoints of professionals in the field of interpretation about the current use and perception of touch. Trough three angles, the research demonstrated that AIT positively affects a visitor's perception of the interpreter and the message shared. The research also highlights and discusses boundaries in the use of touch and next steps toward researching AIT's role in the field of interpretation.
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Kjærboe, Rasmus. "Embodied discourse in the bourgeois museum: performative spaces at the Ordrupgaard collection." Museum and Society 12, no. 2 (April 20, 2015): 65–87. http://dx.doi.org/10.29311/mas.v12i2.2784.
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In a suburb just north of Copenhagen is Ordrupgaard. At the inauguration in 1918, it was arguably the best collection of impressionism open to the public outside France and the USA. This paper has two goals: First, to reconstruct and analyze the important yet little known original exhibition ensemble at Ordrupgaard, and second, to develop a view of the bourgeois art exhibition as a performative ritual. Building on ideas of exhibition narratives and visitor involvement derived from diverse work done within museology and museum studies, the paper proposes a close examination of how collective memory and performative embodiment drive exhibition experience. From this, Ordrupgaard emerges as an early example of a museum that offers its audience the possibility of a pleasurable enactment of middle class identity within a setting encompassing nature, art and architecture. The case of a small collection museum therefore reveals important mechanics at work within a potentially much larger field of institutions.
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Honorato, Cayo. "The Predicament of Representation in the Politics of Diversity: A Discussion Through Tate Encounters." Museum and Society 18, no. 4 (October 30, 2020): 409–24. http://dx.doi.org/10.29311/mas.v18i4.3363.
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Considering the recognition by Arts Council England that cultural diversity within national museums and cultural organizations is ‘treading water’, the article proposes a typology of the criticisms available before putting forward the hypothesis that, no matter how legitimate those criticisms are, most of them are underpinned by an essentialist concept of representation. In order to test this hypothesis, it discusses Tate Encounters, a research project carried out at Tate Britain from 2007 to 2010, as a case study at the intersections of cultural policy and museology, visitor studies and audience engagement. The project provides a situated and multitextured account of the limitations restricting cultural diversity policy. However, it also demonstrates the difficulties in attempting to overcome those limitations – what I call ‘the predicament of representation’. Building upon a post-structuralist perspective, the article understands that, since we cannot escape from representing and being represented, a non-essentialist conception of representation has to be put into practice.
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Seal, David. "We Have Been Visited: Divine Encounter through the Lukan Benedictus (Luke 1:68–79)." Biblical Annals 11, no. 2 (April 29, 2021): 231–46. http://dx.doi.org/10.31743/biban.11564.
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Recent discussions of the Benedictus have focused on its function in Luke- Acts. However, little if no attention has been given to the persuasive force of the passage and how it may have functioned to create a divine encounter for the implied audience. This study will address this gap. Following a brief survey of Luke’s purpose and a discussion of the nature of prophecy, I will argue, first, that divine revelation was often cast in poetic form. Second, I will describe the poetic features of the Benedictus, emphasizing its divine nature. Third, I will explain the ancient perception that deities had a superior ability to name persons, places, and objects. I will follow this discussion with a listing of the divinely authored names in the Benedictus. Fourth, I will contend that the Old Testament vocabulary and the tone of confidence in Zechariah’s prophecy further enhances its divine nature. Finally, considering the above, I will explain how a skilled lector reading the prophecy to Luke’s original audience may have allowed them to experience something of the aural presence of God.
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Ushkarev, Aleksandr A. "Art Museum Audience: The Arguments of Consumer Choice." Observatory of Culture 15, no. 4 (October 25, 2018): 444–59. http://dx.doi.org/10.25281/2072-3156-2018-15-4-444-459.
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Diversification of artistic supply and growing competition in the market of cultural services lead to the fact that the quality of artistic product (performance, concert, exhibition) is perceived as increasingly relative and loses its former importance as a decisive argument of consumer choice. What guides people in their communication with art? What are the determinants of their consumer behavior and are there any patterns in it? The chance of overcoming communication barriers and establishing a constructive dialogue between cultural institutions and their potential audience depends on whether the answers to these and other questions will be found. The article deals with the cultural aspect of this interaction — the role of motivation and individual preferences in art consumption, their influence on people’s cultural activity. The article is based on the results of a large-scale sociological study of visitors to the State Tretyakov Gallery, conducted by a research group from the State Institute of Art Studies. The museum’s audience was studied not only by the objective parameters traditionally described by art sociologists, but also by a number of difficult-to-measure content features that go far beyond socio-demographic descriptions. The study allows us to get closer to understanding some general patterns of consumer behavior in art, to determine the nature of consumer motivations and individual preferences’ influence on cultural choice. The article proves the existence of a statistically significant connection between these subjective behavioral determinants and the measure of personal cultural capital. The use of methods of mathematical statistics and econometrics expands the traditional potential of sociology of art and provides a qualitatively new level of reliability of results.
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Silva, Susana, and Paulo Carvalho. "Visit and Management of Historic Gardens during COVID-19 from the Owners/Managers Perspective: Portugal as a Case Study." Sustainability 15, no. 3 (January 25, 2023): 2229. http://dx.doi.org/10.3390/su15032229.
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Gardens around the world, including in Portugal, were enjoying a growth in visitor numbers before the COVID-19 pandemic. The closing of the gates was followed by an immediate fall in visitor numbers and consequent loss of income. However, this disruptive period also acted as a challenge and an opportunity for tourist attractions such as gardens to adapt and reinvent themselves in the wake of new demands imposed by COVID-19, aiming to restore the trust of visitors and maintain or increase the public’s engagement with gardens and consequently maintain its sustainability. Taking this framework into account, the purpose of this study is to ascertain the impact of the pandemic on visiting and managing gardens, especially in terms of the precautions applied when they reopened and the measures taken to keep them functioning and reaching people during this period. To accomplish this, a literature review has been carried out and a survey questionnaire subsequently applied to the managers or owners of a selected group of Portuguese historic gardens regarded as major tourist attractions. The findings show that a drop in visitors and income were the immediate and the main negative impacts, having both negative and positive consequences for the maintenance of spaces. Gardens were also able to adapt and continue to function under adverse conditions as well as to incorporate safety requirements in their reopening periods. However, not all gardens responded in the same way to the challenges posed by the pandemic with regard to their relationship with the public. Two groups of gardens were recognized: one that remained passive and took no relevant actions in this period, and another more pro-active group that implemented or reinforced strategies to encourage visits both physical and virtual, and to strengthen their connection with the public, particularly in the digital domain. Respondents also note that they recorded a positive response from the public, specifically local residents. The vast majority agree that gardens became popular places immediately after the lockdown periods; future studies on garden visitors could consolidate this finding. In the post-COVID period, the gardens’ challenge is to maintain or improve their connection and interaction with audiences achieved during the pandemic, especially the national and local communities.
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Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (October 1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.
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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.
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Lysakova, Iryna. "DIALOGIC DISCOURSE IN MUSEUM PEDAGOGY OF UKRAINE AND SPAIN." Aesthetics and Ethics of Pedagogical Action, no. 16 (September 9, 2017): 94–105. http://dx.doi.org/10.33989/2226-4051.2017.16.175985.
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Fragmentation of scientific research and insufficient understanding of the background on which the modern museum pedagogy should be based slows down its development. In practice, a museum does not always become an intermediary between an exhibit and a visitor that can provide their cognitive and emotional contact. Forms of such contact are varied. The article presents several results of the analysis of work of Ukrainian and Spanish museum organizations from the point of view of innovative experience of socio-cultural activity. The article also studies the dialogic discourse as the basis of the modern museum pedagogy.Dialogic discourse is understood as the cognitive-communicative activity of communicants in a broad (situational, sociocultural, cognitive-psychological) context, fixed by a dialogical text. The museum exhibition itself (exposition) can be viewed as a dialogical text, because as a matter of form it is a human thought fixed on material carrier. In the dialogic discourse between a museum and visitors, we can note such properties as presence of text recipients, complexity of unfolding of discourse moves and their spontaneity, thematic unity of the dialogue, individuality of meanings for each addressee depending on his/her level of preparedness, etc. Thus, we can consider dialogic discourse as an essential part of socio-cultural interaction between a museum and visitors.Since the museum pedagogical activity is often aimed at the younger generation, the article explores examples of work of Ukrainian and Spanish museums with children and families. For example, it analyses the Prado museum’s educational and family programs, audio excursions, game and theatrical "paths", the Prado School program contents, as well as the museum website information. It also views the Rules for visitors of the Prado museum that contain valuable information for parents.In the course of exploration of the Ukrainian museum and pedagogical space, it has been established that each region uses its specific capabilities in order to develop a dialogue with visitors. For example, Odessa Bleshchunov Museum has created a special guidebook for families with children, Skovoroda city museum has an interactive game, Kherson Regional Museum has opened its Museum Center for Child Leisure and Kiev organizes a competition for young museum guides.Summarizing the analysis, we can conclude that the dialogical forms gradually penetrate the process of museum work. However, the discursive part – namely, the "answer" - the response of the museum audience still requires higher attention and scientific research.
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Stern, Marc J., and Robert B. Powell. "Taking Stock of Interpretation Research: Where Have We Been and Where are We Heading?" Journal of Interpretation Research 25, no. 2 (November 2020): 65–87. http://dx.doi.org/10.1177/10925872211023205.
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We reviewed all manuscripts published within the Journal of Interpretation Research from 2010 to 2019 to identify lessons learned from the past decade and to propose future directions to advance the field. The last decade of the Journal featured a wide diversity of studies, including evaluations of interpretive programs and trainings, examinations of specific interpretive techniques, and various other related topics. We summarize the decade’s contributions and share lessons learned associated with interpretive techniques; organizational practices; professional development; diversity, equity, inclusion, and justice; visitor characteristics; and motivating attendance at interpretive programs. We then identify eight areas for future research, including: (1) measuring more ambitious outcomes; (2) identifying effective practices for diverse audiences; (3) studying innovations through adaptive management; (4) examining intergenerational learning; (5) evaluating professional development; (6) conducting organizational studies; (7) investigating the politics of interpretation and sensitive topics; and (8) partnering on research for diversity, equity, inclusion, and justice.
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Davydova, Sofya Aleksandrovna. "Methodological development of children's interactive classes in the museum." Uchenyy Sovet (Academic Council), no. 7 (June 8, 2021): 529–32. http://dx.doi.org/10.33920/nik-02-2107-05.
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The article describes the features of developing interactive programs for primary school students in the context of a literary museum and the successful experience of involving colleagues in this process. Speaking about such a form of museum work as a children's interactive lesson, the author draws attention to the specifics of both the preparation process and the conduct of the children's lesson itself. Working on such projects requires non-standard approaches, which are mostly not typical for classical museum studies. The very idea of a children's lesson arises from the desire of museum staff to tell about a particular topic in a language that is understandable and close to the children's audience. Every museum employee who has experience in conducting children's excursions knows that for young visitors, tactile sensations play an important role in cognition, as well as knowledge of the specifics of its functioning. Thus, an important task of the museum worker is to maintain a balance between attracting the children's audience and storing memorial exhibits.
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Cudny, Waldemar, and Patrycja Ogórek. "Segmentation and motivations of the attendees’ of the Mediaschool Festival in Łódź, Poland." Bulletin of Geography. Socio-economic Series 24, no. 24 (June 1, 2014): 41–56. http://dx.doi.org/10.2478/bog-2014-0013.
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Abstract The article presents the case study of the Mediaschool Film Festival held in Łódź, a large Polish post-industrial and post-socialist city. The authors’ main goals were to establish the number of the festival visitors, as well as investigate their structure, main motivations to attend the festival, and the level of satisfaction with the festival services. As a result, the authors draw conclusions concerning the role of the festival as a place of the film culture consumption, as well as its role in the development of social capital. The basic method of study was the survey, conducted among the festival visitors in 2011. It contained questions concerning the structure of the festival audience, the evaluation of the event, and the main motivations to attend it. The method was adapted from the event studies, which was a tactical move in order to place the research on the borderline between cultural geography and event studies. Other methods typical of cultural geography and used in the present study included participant observation and semi-structured interview with the festival organisers. The event is one of the urban festivals created after the fall of communism. It is visited mainly by young people, often connected with the Łódź film school. First of all, the festival satisfies the need for contact with culture and film art, thus contributing to the creation of social capital and the development of the film school in Łódź (a part of the cluster of film institutions in the city). The event is a meeting point for film people from Łódź, Poland and abroad. Thus it could be also described as an obligatory point of passage in film-related network of connections.
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Bilá, Magdaléna, and Ingrida Vaňková. "Tourist Notices in the Spotlight of Linguistic Landscape and Translation Studies." Russian Journal of Linguistics 23, no. 3 (December 15, 2019): 681–97. http://dx.doi.org/10.22363/2312-9182-2019-23-3-681-697.
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In the 21st century, even local tourist spots are globally accessible and need to be communicated in a globally shared language, a lingua franca (Ben-Rafael & Ben Rafael 2015). The language of most obvious choice among speakers from different linguacultural backgrounds is English. When translating notices in national parks into English, translators should predominantly consider the function of the TT (target text), the target audience (not exclusively L1 speakers of English but, the speakers of a variety of languacultures communicating in English as lingua franca (ELF) and opt for translation solutions that would account for visitors representing a diversity of languacultures. The present paper aims at finding out what modifications in translation of visitors’ rules may be necessary if the target readership is to be considered, and at explicating the translation process through applying a transdisciplinary perspective of ELF studies, linguistic landscape (LL) studies, cross-field studies on conceptualization, translanguaging and translation studies. The study shows that these modifications affect the significance and hierarchy of the four principles operating in LL (presentation-of-self, power-relations, good reasons and collective-identity) and are projected into specific LL-tailored translation solutions (shifts in modality, lexis, style and discourse markers). The modifications are achievable in ELF, which, as a form and function, a de-regionalized and de-culturalized artifact of global village, is capable of catering for a variety of languacultures with their specific societal conventions, practices, and the whole explicit and implicit axio-sphere.
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Handalan, Najmi Zahir, Affrilyno Affrilyno, and Muhammad Nurhamsyah. "PERANCANGAN KAWASAN SIRKUIT BALAP 150CC PONTIANAK." JMARS: Jurnal Mosaik Arsitektur 10, no. 1 (February 16, 2022): 132. http://dx.doi.org/10.26418/jmars.v10i1.52645.
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Motorsports in Indonesia are growing. This is proven by the increasing number of areas with permanent and/or non-permanent racing circuits with improvements on existing ones. The Sultan Syarif Abdurrahman Pontianak racing circuit was closed since 29 October 2020 until an undetermined time. West Kalimantan and Pontianak City require racing circuits with national standards and adequate facilities. The author's Design of the Pontianak 150cc Racing Circuit Area tries to answer the required racing circuit. The author studied the racing circuit standards which are referenced by IMI, FIM and CIK-FIA also the precedents of racing circuits and race events. An analysis conducted related to the design subject and the facility needs of a racing circuit. The author determines which sites around the city of Pontianak with an adequate area. The design refers to the needs of the 150cc class race which is often held in West Kalimantan Province. The design's concept is arena concept. The design has pit building, medical building and visitor/audience buildings which are placed around the racetrack. With the learning outcomes of circuit standards, circuit precedents and racing event precedents, the design concept can be the beginning of a racing circuit construction needed by West Kalimantan and Pontianak City.
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Nikonanou, Niki, and Foteini Venieri. "Interpreting social issues: Museum theatre’s potential for critical engagement." Museum and Society 15, no. 1 (June 9, 2017): 16–32. http://dx.doi.org/10.29311/mas.v15i1.659.
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Museum theatre and its potential within museum education is explored at the Museum Education and Research Laboratory at the University of Thessaly, Greece. There, the leading research project Museums and Education: methods of approaching and interpreting museum objects’aims to address how, over the last few decades, museum theatre has been in ever-increasing use to vocalize the sensitive issues of a multicultural society and marginalized social communities. Recent studies highlight museum theatre evoking empathy and critical engagement in the audience with the subject-matter of the performance. One such performance was organized by the School of Drama at the Aristotle University of Thessaloniki and studied in depth. Titled Voices of the City: Historical Routes through Theatre, the performance embodied controversial social issues, and its implementation was evaluated using qualitative methodology to examine the responses of visitors.
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Varghese, Bindi. "Editorial." Atna - Journal of Tourism Studies 8, no. 2 (July 1, 2013): v—vi. http://dx.doi.org/10.12727/ajts.10.0.
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Atna-Journal of Tourism Studies (ATJS) has continued to make progress in terms of publishing peer-reviewed articles and has attracted an ever increasing national audience of authors, research investigators, and scholars, as indicated by the increasing number of submissions and published papers. The scholarly contributions featured in the current issue range across such areas as wine tourism, medical tourism, film induced tourism, celebrity endorsement and SWOT analysis of eco-lables. Anupama Kotur Kaddi in her article Event Motivation Study of Wine Festival Visitors in Maharashtra highlights growing interest among Indian travelers in wine tourism within the country and outside. “Medical Tourism and Inclusive Growth:
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Falcão, Cleire Lima da Costa, and José Falcão Sobrinho. "Educational material about soil education: from academic production to extension actions in basic education." Geopauta 5, no. 1 (March 31, 2021): 5–25. http://dx.doi.org/10.22481/rg.v5i1.7008.
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This article presents results of research and extension on “Education in Soils” project that consists in knowing, instrumentalizing and propagating the theme, showing new ways of studying and evaluating soil teaching, especially in basic education. It also seeks to encourage the exchange of information and experiences between teaching and research institutions. The analysis of didactic resources / materials is carried out by the students, through visits, which are monitored in the Pedology and Erosive Processes in Studies Laboratory. After the visits, questionnaires are applied to the visitors, for the purpose of evaluating the products. This time, it is possible to verify the value of the didactic resources produced, as well as the positive involvement of the research target audience.
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Gordon, Benjamin D. "Sightseeing and Spectacle at the Jewish Temple." AJS Review 43, no. 2 (November 2019): 271–92. http://dx.doi.org/10.1017/s0364009419000497.
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Jerusalem in the late Second Temple period (second century BCE–70 CE) was transformed into the largest pilgrimage city of the Hellenized East and the sole locus of sacrificial worship of the Jewish God in greater Judea. As argued in this paper, it also became a place for sightseeing and spectacle. By the early Roman era, movement to the city for pilgrimage was a significant component of Mediterranean and Near Eastern travel. The Jewish festival experience may have evolved to cater to the tastes of foreigners now regularly visiting the city from the Jewish Diaspora. The architecture of Herod's Temple complex and the distinctive religious customs practiced within its walls intrigued visitors, whether Jewish or non-Jewish. For those unable to witness the Temple or participate in one of its festivals firsthand, a virtual visit through a “walking-tour” description would have to suffice. Such descriptions, which are attested from the earliest days of the Second Temple, can charter in imaginative invention in order to foster a sense of awe and wonder for the audience.
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Siegelbaum, Lewis. "Sputnik Goes to Brussels: The Exhibition of a Soviet Technological Wonder." Journal of Contemporary History 47, no. 1 (January 2012): 120–36. http://dx.doi.org/10.1177/0022009411422372.
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The first universal exhibition of the post-Second World War era and a major battleground in the ‘cultural Cold War’, the 1958 Brussels Exposition served as an appropriate venue for the display of Sputniks I and II. As the centerpiece of the enormous Soviet pavilion, the Sputnik replicas enabled the USSR to bask in the reflective glow of its scientific and technological achievement before an international audience of 40 million. Based on archival sources (from Brussels and Moscow) as well as contemporary published material, this article employs a modified version of Stuart Hall's reception theory to analyze Soviet authorities' production (or ‘encoding/writing’) of the exhibit and its appropriation (‘decoding/reading’) by radically different publics – non-Soviet visitors and Soviet readers back home. It argues that the producers exercised only tenuous control over the meaning of Sputnik.
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Pilcher, Danielle Robyn, and Nick Eade. "Understanding the audience: Purbeck Folk Festival." International Journal of Event and Festival Management 7, no. 1 (March 7, 2016): 21–49. http://dx.doi.org/10.1108/ijefm-09-2015-0039.
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Purpose – Despite the ongoing research into visitor motivation in the live events and tourism industries, only a limited amount of research has examined the motivational factors exhibited in individual segments of society. The purpose of this paper was to identify a relationship between visitor demographics and visitor motivation, for the purpose of enhanced market research at folk festivals in the UK. Design/methodology/approach – In this research, a qualitative study of visitor demographics and their accompanying motivation to attend Purbeck Folk Festival is reported. The study was conducted in the form of interviews, which investigated the underlying motivation behind visitor attendance to Purbeck Folk Festival in 2014. The research process, guided by the literature of Robson (2011) and Bryman (2012), aimed to establish the extent to which visitor demographics did or did not impact visitor motivation to attend the event. Findings – The study revealed five motivational dimensions, and from this devised five core audience segments including: the escapists, the socialites, the family type, the experience seekers and the folkniks. This study highlights the correlation between visitor demographics and visitor motivation and suggests further applications of this research and similar research in the field of live events. The study contributes an insight into the audience of Purbeck Folk Festival and may be used to provide an understanding of audience profile and behaviour at folk festivals within the UK. Research limitations/implications – Due to the nature of the research, participants will be secured through non-probability quota sampling, which is a method of convenience. This approach may place limitations on the validity of the findings, as researcher bias may occur when selecting participants, for example, avoiding visitors who look intimidating or abnormal (Robson, 2011). The use of open-ended questions in the capacity of a greenfield event was identified as a potential difficulty, as participants are required to think about their answers and provide opinions, unlike a closed question method, which although quicker and easier, may not be as effective (Kumar, 2014). Therefore, to keep participants engaged and willing to provide further information, the interview design was kept short and questions are easily comprehendible. Originality/value – The research study reflects early the work of Mayo (Dickson, 1973), Maslow (1954) and Herzberg (1966), and builds on more recent literature by Kruger and Saayman (2012), which analysed the relationship between audience profile and motivation to attend.
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Quiñones Vilá, Claudia S. "What’s in a Name? Museums in the Post-Digital Age." Santander Art and Culture Law Review, no. 2 (6) (2020): 177–98. http://dx.doi.org/10.4467/2450050xsnr.20.015.13018.
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This article examines the recently proposed ICOM museum definition and its detractors in order to trace the history of museums and their social purpose as they move from a traditional past into a tumultuous present and uncertain future. As countries begin to reframe the role of arts and culture in shaping a world affected by a global pandemic, museums will need to address not only practical measures – such as social distancing guidelines and limited visitor numbers – but also how these institutions are situated within the greater social context. Technology is particularly useful for museums to share their collections with audiences and transcend geographical boundaries, and it also allows these institutions to reposition themselves as relevant within the ongoing cultural heritage dialogue and context. However, it is debatable whether online and digital offerings classify as museums. Even if there is no consensus on the textbook definition of museum, pinpointing common traits will help establish their evolution and role for current and future generations. Embracing digitization, virtual museums, and other non-traditional frameworks allows for a more expansive and inclusive conception of museums, taking into account their dual role: as custodians of public knowledge and spaces for education and development.
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Ceconello, Mauro Attilio. "Design storytelling through archive materials." Convergences - Journal of Research and Arts Education 15, no. 30 (November 30, 2022): 51–60. http://dx.doi.org/10.53681/c1514225187514391s.30.140.
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Industrial design intended as cultural heritage is witnessing a period's industrial production and creative thought; this legacy needs to be shared with a broader audience. The Milan area is full of studios and ateliers, where most Italian design projects were born. Even though they are no longer operating, these locations are still linked to the creative process and convey the atmosphere of the golden age of Italian design. Design research is essential in investigating archives' potential in constructing historical narratives and new research paths and learning tools. The paper describes two case studies for enhancing Design Culture through digital technology. A digitisation project for the archive of the famed Italian modeller Giovanni Sacchi to link heterogeneous data – sketches, technical drawings, images, physical models – to create an overall view of the design process and highlighting the creative thought. The second describes LfAC, a mobile location-based application designed to lead visitors to discover Achille Castiglioni's projects in downtown Milan: works are valorised and brought back to life through contextual contents delivered to visitors' smartphones.
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Brida, Juan Gabriel, Marta Meleddu, and Manuela Pulina. "Understanding museum visitors’ experience: a comparative study." Journal of Cultural Heritage Management and Sustainable Development 6, no. 1 (May 16, 2016): 47–71. http://dx.doi.org/10.1108/jchmsd-07-2015-0025.
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Purpose – The purpose of this paper is to examine museum visitors’ experience. The objective of the research is to explore preferences, behaviour, overall. This study experience and the determinants on repeated visits to two heritage sites. In particular, a more comprehensive regression approach is introduced and employed to compare results at two regional museums. Design/methodology/approach – First, a factor analysis identifies a set of orthogonal factors related to visitors’ perceptions on their positive and negative experiences at two different museums. Second, a two-step cluster analysis is implemented to identify specific demand segments. Third, a regression analysis reveals the key determinants that influence visitors’ perceptions on the quality of services provided at the cultural sites. The empirical data were collected at two archaeological museums located in Sardinia and Trentino Alto Adige (Italy). Findings – On the whole, some homogeneous findings have been obtained for the two cultural sites, regardless of the different levels of attractiveness exerted by these two museums. Moreover, the outcomes highlight that the two museums need to be reinterpreted and reorganised with the provision of supplementary services, able to satisfy a broader audience, and enriching their traditional mission that is to collect, preserve and exhibit the archaeological heritage. Practical implications – The methodological approach presented in this paper is for practitioners and curators to deepen their understanding of their consumers and to improve the overall quantity and quality of services offered. Originality/value – This paper presents a novel and integrated approach to investigate customers’ experience and their needs with the aim of improving the overall quality of the services provided at the museum. The proposed methodology is used to analyse multidimensional aspects of the visit to a cultural site. Within the literature on museum marketing and management, this methodological framework can be regarded as an alternative approach to analyse visitors’ experience, characteristics, behaviour, preferences and to elicit specific characteristics of different segments of demand.
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Shen-Jin, L., PA Todd, Y. Yan, Y. Lin, F. Hongmei, and W. Wan-Hong. "The effects of visitor density on sika deer (Cervus nippon) behaviour in Zhu-Yu-Wan Park, China." Animal Welfare 19, no. 1 (February 2010): 61–65. http://dx.doi.org/10.1017/s0962728600001172.
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AbstractVisitors to zoos are a source of potential stress to certain captive-housed animals. Much research has focused on Europe and America, whereas the effect of human audiences on the behaviour of captive animals in Chinese parks has so far not been investigated. Sika deer (Cervus nippon) housed in Zhu-Yu-Wan Park, Yangzhou City, Jiangsu Province, China, were studied to determine the effect of different visitor density levels on the animals’ activity. From June 21 to December 10, 2006, and again from February 21 to July 10, 2007, 21 subjects were observed for 10 h per week for a total of 44 weeks. Continuous focal animal sampling was used to quantify behaviours, and visitor density was recorded every minute. Friedman's tests were used to examine the effects of visitor density on the behaviour of sika deer. Results showed that high visitor density was significantly related to foraging, resting, watching and ‘non-visible’ behaviours. The findings demonstrate that high numbers of visitors have an effect on the welfare of sika deer.
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Ghaderi, Farah, and Wan Roselezam Wan Yahya. "EXOTICISM IN GERTRUDE BELL'SPERSIAN PICTURES." Victorian Literature and Culture 42, no. 1 (February 19, 2014): 123–38. http://dx.doi.org/10.1017/s1060150313000247.
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Victorian travelers in colonial contextsencountered differences in landscape, mores and manners, society, politics and culture, among other things, and registered their responses to the places visited in their published travel books for the home audience. Postcolonial critics contend that exoticism, i.e., a Western traveler's response to and description of the differences encountered in the context of travel, was deeply informed by the asymmetrical power relation between the representer/colonizer and the represented/colonized. As a result, these critics argue, exoticism in colonial travel writing was appropriative since it tended to construct the dichotomy of self/other in such a way as to justify imperial interventions in other countries (Forsdick, “Sa(L)Vaging Exoticism” 30–34; Said 1–28). As Graham Huggan rightly argues, difference of the colonial other in its various aspects was denigrated and dismissed as exotic when “translated into the master code of empire,” since it superimposed “a dominant way of seeing, speaking and thinking onto marginalised peoples” (24).
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Sluis, Ageeth. "BATACLANISMO! Or, How Female Deco Bodies Transformed Postrevolutionary Mexico City." Americas 66, no. 4 (April 2010): 469–99. http://dx.doi.org/10.1353/tam.0.0258.
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In the spring of 1925, Santa Anita's Festival of Flowers seemed to follow its tranquil trend of previous years. The large displays of flowers, the selection of indias bonitas (as the contestants of beauty pageants organized in an attempt to stimulate indigenism were known) and the boat-rides on the Viga Canal, all communicated what residents of neighboring Mexico City had come to expect of the small pueblo in the Federal District since the Porfiriato: the respite of a peaceful pastoral, the link to a colorful past, and the promise that mexicanidad was alive and well in the campo. Unfortunately, wrote Manuel Rámirez Cárdenas of El Globo, “the modern newspaper,” the next day, this idyllic tradition was rudely interrupted by a group of audacious, scantily clad women. The culprits were actresses of Mexico City's Lirico theater, who walked around Santa Anita's streets in “picaresque clothing”—stage outfits that left little to the imagination, particularly in broad daylight—and upset visitors and campesinos alike. According to Cardenas, abuelitas and mamas were shocked by the display, averting their eyes from the female spectacle in fear of “elpecado mortal.” Thankfully, for the mothers and grandmothers in the audience, the festival continued in predictable fashion after the initial uproar. Organizers continued with the traditional dances, and judges selected an india bonita from a pool of young, decente mestizo girls to represent the pueblo and the festival.
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Rooij, Pieter de. "Understanding cultural activity involvement of loyalty segments in the performing arts." International Journal of Culture, Tourism and Hospitality Research 9, no. 2 (June 1, 2015): 103–16. http://dx.doi.org/10.1108/ijcthr-07-2013-0043.
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Purpose – The purpose of this paper is to describe and understand dimensions of cultural activity involvement and the relationship between cultural activity involvement and behavioural loyalty. Design/methodology/approach – Semi-structured in-depth interviews with 47 customers of a theatre were held. Findings – The study shows that the concept of cultural activity involvement consists of six dimensions: attraction, centrality, self-expression, social bonding, cultural transmission and financial contribution. Three customer segments are taken into consideration according behavioural loyalty levels: incidental spectators, interested participants and the core audience. There are large differences between the three customer segments regarding cultural activity involvement. Research limitations/implications – Introspection might have decreased the reliability. As the study is a case study, problems with external validity are recognised. Practical implications – Given the decline of subsidies in the arts world, it becomes more important to attract more visitors and to increase spending. Performing arts organisations might attract more visitors in case they provide additional services which enable cultural transmission. Moreover, the study shows that certain visitors are willing to contribute additional money to the arts. Originality/value – Current studies about leisure involvement focus on recreation and distinguish four dimensions of involvement. This study focuses on cultural activity involvement and explores these four dimensions, but also shows there are two new dimensions. This study contributes to a further understanding of the relationship between cultural activity involvement and behavioural loyalty.
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Kobyshcha, Varvara. "How Does an Aesthetic Object Happen? Emergence, Disappearance, Multiplicity." Cultural Sociology 12, no. 4 (January 9, 2018): 478–98. http://dx.doi.org/10.1177/1749975517742212.
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In studying visual and plastic arts, social researchers tend to assume that an aesthetic object is pre-given to a viewer who does not participate in the process of the object’s becoming. They problematise the aesthetic status of an artwork, but not its objectness. This article shows that audience perception, considered as interaction and situated practice, does not merely define the meanings and emotions attached to a certain object, but plays a constitutive role in the object’s physical state and its very existence as an object, i.e. as an integrated unity extracted from its surroundings and affording a direct, intensive encounter. Synthesising the conceptual resources of Hennion’s pragmatics of taste, Simmel’s aesthetic theory, gestalt theory, and social phenomenology, I explain various ways an object in the situation of perception happens and achieves a certain mode of existence or fails to happen and disappears. The article is based on three empirical examples derived from the ethnographic study of the open-air land art/architectural festival ‘Archstoyanie’. The first case illustrates how an object is extracted from the environment and the festival’s infrastructure; the second, how the visitors destroy the incomplete boundaries of an object so that it dissolves into the surroundings; and the third, how an object maintains its integrity despite its inner complexity and multiple centres that attract the visitor’s attention.
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Parodi, Laura E. "Kabul, a Forgotten Mughal Capital: Gardens, City, and Court at the Turn of the Sixteenth Century." Muqarnas Online 38, no. 1 (December 6, 2021): 113–53. http://dx.doi.org/10.1163/22118993-00381p05.
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Abstract Kabul was the seat of Mughal power during the first half of the sixteenth century, and—it is argued here—provided inspiration for the better-known Mughal metropoles of Hindustan. Sources suggest that the topography of Kabul was already well established, along with its major landmarks, decades before Babur made it the seat of his court in 1504. Among these landmarks were three remarkable royal gardens (all Timurid foundations), which performed complementary functions. The one known today as Bagh-i Babur acquired funerary connotations with the burial of Babur’s mother there in 1505, if not earlier. The Bagh-i Shahrara hosted the governor as well as distinguished guests, including widowed or divorced princesses and imperial visitors. The Chaharbagh was the seat of the court. Its functional units included residential quarters for the ruler and the harem, a courtyard of audience, administrative quarters, and service provisions. In this study, Kabul and its gardens are compared with Mughal counterparts in Hindustan, and (more briefly) with Timurid Herat and Safavid Isfahan. This comparison contributes to an understanding of the unique position occupied by gardens in the Timurid realm and in the courts of their Mughal and Safavid successors.
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Lyra, Franciane Reinert, Maria José Barbosa De Souza, Miguel Angel Verdinelli, and Jeferson Lana. "Corporate social responsibility: comparing different models." Social Responsibility Journal 13, no. 4 (October 2, 2017): 728–42. http://dx.doi.org/10.1108/srj-02-2017-0036.
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Purpose The purpose of this paper is to present theoretical investigation into two corporate social responsibility (CSR) models proposed by Schwartz and Carroll (2003, 2008). Design/methodology/approach A descriptive study was conducted using a quantitative approach with 200 visitors. Data analysis involved, first, a factor analysis and, subsequently, a canonical analysis. Findings The results reveal that there is indeed the characteristic of convergence on the CSR dimensions, as well as confirm the correlation between the two models. Research limitations/implications This is a single case study wherein data cannot be generalized and there is a lack, so far, of a specific measure scale for the VBA (value, balance and accountability) model. Practical implications The results can contribute to studies on the development of CSR scales directed toward consumers, particularly tourist companies in emerging countries, as well as a guidance for managers in planning socially responsible actions and achieving legitimacy of their consumers. Originality/value Studies on CSR from customers’ standpoint are still scarce in developing countries, and the existing ones do not use reliable measure scales, based on theoretical models and adapted to the features of this audience. The present paper helps this discussion by considering the perspective of an emerging market for the first time.
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Li, Mimi, and Miriam Akoto. "Review of Recent Research on L2 Digital Multimodal Composing." International Journal of Computer-Assisted Language Learning and Teaching 11, no. 3 (July 2021): 1–16. http://dx.doi.org/10.4018/ijcallt.2021070101.
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This article reviews 26 empirical studies on digital multimodal composing (DMC) published in well-established journals between 2010 and 2020. It provides a holistic overview of these studies in terms of context and participants, multimodal tasks, technology, and research data. Research strands and themes are also identified. This review shows that most studies on DMC were conducted in tertiary ESL/EFL contexts. The research was informed by various theoretical/pedagogical frameworks across multiple disciplines. The multimodal writing tasks included digital storytelling, digital video production, and multimodal presentation. Data were analyzed to address three main strands: 1) L2 students' DMC process, 2) students' perceptions of DMC, and 3) effects of DMC. Of note, DMC practices were reported to have benefited L2 students, such as enhancing audience and genre awareness, learner autonomy, language learning investment, identity development, multimodal communicative competence, and L2 competence. This article ends with pedagogical recommendations and directions for future research.
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Park, Hyungji. "“GOING TO WAKE UP EGYPT”: EXHIBITING EMPIRE IN EDWIN DROOD." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 529–50. http://dx.doi.org/10.1017/s1060150302302080h.
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IN 1821 IN PICCADILLY, Giovanni Battista Belzoni staged a spectacular full-scale reproduction of royal tombs he had uncovered in the Valley of the Kings. Crowds of paying visitors milled through rooms at the Egyptian Hall, marveling at enormous stone artifacts and at colorful wall paintings replicating ancient Egyptian tomb interiors. About half a century later and around the globe, tens of thousands of guests, including many European luminaries, witnessed the grand 1869 opening of the Suez Canal and fêted the achievement of its chief engineer, Ferdinand de Lesseps, with fireworks and extravagant feasts. The driving forces behind these exhibitions were very different — one was an entrepreneur’s packaging of ancient Egypt into a leisure excursion for Londoners, the other evidence of Egyptian acquiescence to European pressure for enhanced trading routes; one was available for a middle-class, fee-paying popular British audience; the other to specially invited international guests traveling thousands of miles — but both were public displays that rendered Egypt, past and present, into a cultural and visual commodity for the West. Dickens’s final, unfinished novel The Mystery of Edwin Drood (1870), written during the excitement and controversy over the Suez Canal and drawing on both de Lesseps and Belzoni as partial models for the title character, is deeply aware of such Egypt-gazing, but Egypt’s presence within the novel is in fact highly unspectacular, almost invisible.
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Queiroz, Marina, and Robert Young. "The Different Physical and Behavioural Characteristics of Zoo Mammals That Influence Their Response to Visitors." Animals 8, no. 8 (August 14, 2018): 139. http://dx.doi.org/10.3390/ani8080139.
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The factors underlying the ‘zoo visit effect’ (changes in animal behaviour/physiology in response to visitor presence) are still poorly understood, despite it being widely investigated. The present study examined the effect of zoo visitors on the behaviour of 17 different species of mammals at the Belo Horizonte Zoo, Minas Gerais, Brazil. The behaviour of the animals was recorded using scan (focal in one case) sampling with instantaneous recording of behaviour, during 12 continuous months. Data were analysed using a comparative method examining five different factors: diet, body weight, stratum occupied, activity cycle, and habitat, as well as three different visitor categories: small and quiet audience, medium size audience and medium noise, and large size and loud audience. Significant changes in the behaviour for each factor, especially increases in locomotor and resting behaviour, were observed in response to different visitor categories. The factors that most explained responses to visitor categories were habitat and activity cycle. Species from closed habitats compared to open habitats were significantly more impacted (more behaviour affected), probably, because they are, evolutionarily, less accustomed to visual contact with people. Diurnal species showed more behavioural changes than nocturnal ones, possibly, because they were being observed during their normal activity cycle. These results may help zoos identify which mammal species are most susceptible to the zoo visitor effect, and consequently, be more pro-active in the use of mitigating strategies.
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Taheri, Babak, Aliakbar Jafari, and Kevin O'Gorman. "Keeping your audience: Presenting a visitor engagement scale." Tourism Management 42 (June 2014): 321–29. http://dx.doi.org/10.1016/j.tourman.2013.12.011.
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Mayo, Cris. "Visitor." GLQ: A Journal of Lesbian and Gay Studies 26, no. 2 (April 1, 2020): 218–20. http://dx.doi.org/10.1215/10642684-8141718.
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Øien, Ida Falck, and Johanna Zanon. "‘No, YOU make it!’: Outsourcing production to fashion consumers to mediate labour." International Journal of Fashion Studies 8, no. 2 (October 1, 2021): 257–79. http://dx.doi.org/10.1386/infs_00053_1.
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This practice-based article examines an attempt to reconnect fashion labour with value, after the fast fashion system increased the gap between the two. Developed by Norwegian fashion brand and collective platform HAiKw/ (Harald Lunde Helgesen and Ida Falck Øien), the Drop-in Factory was a fashion design experiment conducted at the non-profit art space Kunsthall Oslo in 2019. In this experiment, labour was outsourced to consumers-visitors, who by contract paid for equipment rental and training, earning ‘Factory Coins’ that could only be spent on the finished product. Inviting amateurs to make their own garment in a workshop setting has become a common strategy of design activism in fashion. However, instead of focusing on teaching individuals craft expertise, the Drop-in Factory explored collective making practices in an industrial-like environment, inspired by manufacturing and scientific management. Tensions arose over pay when some participants felt that their labour was unfairly compensated. As a response, roleplaying emerged from the experiment. Interviews of participants, conducted months later, incidentally echoed roleplay debriefing sessions. Their accounts show that they acquired labour literacy and embodied knowledge of fashion manufacturing, which extended to contracts and remuneration. While it remains unclear whether the Drop-in Factory led participants to revalue fashion labour, audience participation itself became the mediation of fashion labour.
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Di Michele, Laura. "Performance and the City: Constructing Urban Identities in Contemporary London." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 157. http://dx.doi.org/10.14198/raei.2013.26.12.
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The relationship between spectators, performers and spaces is investigated in a critical perspective which aims at further developing the concept of the city as a performance place where precarious urban identities are dynamically and temporarily shaped and reshaped. Even if this essay takes into due account the seminal studies of Barthes (1971), H. Lefebvre (1974), and urban theorists such as Reyner Banham and Kevin Lynch who conceived of the city as a ‘legible’ text, at the same time it argues that textuality and performativity must be perceived as intertwined cultural practices that work together to shape the body of phenomenal, intellectual, psychic, and social encounters that frame a subject’s experience of the city. London 2012 Olympic Games, and in particular the stunning Opening Ceremony directed by Danny Boyle, for which visitors and overseas spectators were invited to transform themselves into a global theatrical audience, can be used as a privileged viewpoint from which to analyse the different ways of perceiving, but also being looked at and performing oneself, in and through spaces which tend at modifying, or at interrogating or destabilizing one’s traditional identity.
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Erdbrink, A., J. Michael, R. Kortmann, M. Hamel, K. Van Eijck, and A. Verbraeck. "Listening Space." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–20. http://dx.doi.org/10.1145/3458677.
Full textAbstract:
Classical music venues in the Netherlands and throughout the world are struggling to attract new audiences. Especially younger visitors are underrepresented. Previous research emphasizes the importance of providing new, potentially interested audiences with more means to consume the music. This paper presents an exploratory case study with the persuasive game Listening Space which we developed to help attract new audiences and thus preserve Western classical music heritage. In particular, we studied to what extent this game could promote more varied ways of listening to classical music and thus enrich the experience of visiting a classical music concert. We designed and executed a controlled randomized trial with surveys before and after the experiment as well as a series of in-depth interviews with participants after the experiment. Our treatment group consisted of 139 participants (both new and existing visitors). They played our digital game at their own convenience, followed by a visit to a concert in a renowned classical music concert hall. A control group of 165 participants only visited the concerts. We measured the effects of the game – changes in the ways participants listen to classical music – through self-report in questionnaires before and after the experiment. Results show that Listening Space seems most effective for new audiences: the game promoted more varied ways of listening in the treatment group and thus enriched their experience of visiting a classical music concert. The control group of new visitors did not show an effect and also no differences were found between the treatment and control groups of regular visitors of classical music concerts We employed regression analysis to identify predictors of the game's effect on listening styles: participants’ age and their level of appreciation of the classical music genre were negatively related to the effectiveness of the game. The way in which participants experienced the game also significantly influenced the effectiveness. This case study shows the potential of using games to promote classical music concerts: games seem to be valuable in attracting new, young audiences and, therefore, represent powerful instruments to help preserve Western classical music cultural heritage.