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Be SpectACTive! Challenging Participation in Performing Arts
Abstract
Be SpectACTive! is a project co-funded by the Creatie Europe Programme of the European Union based on audience development, involving organisations workin on active spectatorship in contemporary performing arts. This project were accompanied by an action research team of the University of Barcelona, Université de Montpellier (CNRS) and the Fondazione Fitzcarraldo, with sevelral practical and theroretical exchanges, including international conferences. This book intends to share these experiences -successes, limits and perspectives- through case studies and reflections written by the different researchers and participants of the project.
In a global world, increasingly mediated by new technologies, but where place, communities and territories assume even more importance, the valuing of culture and creativity faces new conceptual and operational challenges. This paper addresses these challenges in order to question the measurement tools usually applied in valuing the impact of culture in society, proposing a new conceptual grid to assess the impacts of creative and cultural activities, in all their diversity and multidimensionality. This results from an intense co-construction process, over the few past years, involving a variety of cultural agents, both in Portuguese and European contexts, in the scope of several research projects. This analytical framework helps disentangling the increasing complexity of the mechanisms underlying value creation in cultural activities, enabling self-assessment of its diverse impacts, in a particular territory or community. A specific grid is presented, comprising five main dimensions (cultural, economic, social, environmental; citizenship and participation), for assessing the territorial impacts of cultural activities. These are subdivided into 15 subdimensions and operationalized in 75 different indicators. This analytical framework is being transposed to a digital application that allows the systematization, self-assessment and self-awareness of value creation and their impacts by the agents of the cultural/creative sector.
Event organizers tend to seek collaboration with different actors, both as a way to reach legitimization and as a possibility to reach out for resources that would otherwise be unavailable or too costly to achieve. In this chapter, we examine how participation is interpreted and enacted in iterative urban events. We argue that the institutional logics informing stakeholders’ views and meaning of participation affect the governance of participatory cultural events and the evolution of the activities proposed by event organizers. Based on the longitudinal analysis of an iterative participative cultural initiative (IPCI) taking place in Milano since 2012, our work contributes to the understanding of how IPCIs are structured and evolve. The emphasis on the interplay between different institutional logics associated with the meaning of participation and the governance and activities related to the cultural initiatives sheds light on the specificity and the intrinsic fragility of IPCI where participation becomes overtime a resource—if successfully managed—or liability in itself. At the same time, though, it highlights the incredible potential of participative models in creating distributed value across very different stakeholders.
Recent research has suggested that consumers collectively co-create value through consumption practices. This paper provides additional insights into value creation by demonstrating how individual consumers play distinct roles in the value creation process. By focusing on microdimensions of co-consuming groups, we show how individual consumers engage in value creation processes in the context of brand culture. We bring together concepts of value creation, working consumers, and double exploitation to demonstrate the roles played by consumers and communities in value co-creation. We focus on value creation in a particular type of co-consuming group: an online football fan community. Results show that co-consuming groups are platforms for value creation. We argue that double exploitation is not necessarily a threat to consumers because it may instead enable them to play active roles in value co-creation and gain power against brand owners. This paper contributes to the existing literature on brand community and the value co-creation paradigm by: (1) demonstrating the dynamic roles played by consumers in the value co-creation; (2) revealing new forms of consumer organization; and (3) illustrating how working consumers work among themselves in managing brand communities.
Over 3,600 entries
‘…not only a dictionary of communication and media but also a liberal education that enables users to see interesting relationships between many of the concepts it discusses.’ Professor Arthur Asa Berger, San Francisco State University
This authoritative and up-to-date A–Z offers points of connection between communication and media and covers all aspects of interpersonal, mass, and networked communication, including digital and mobile media, advertising, journalism, social media, and nonverbal communication.
In this new edition, over 2,000 entries have been revised and more than 500 have been newly added to include current terminology and concepts such as artificial intelligence , cisgender , fake news , hive mind , use theory , and wikiality . It bridges the gap between theory and practice and contains many technical terms that are relevant to the communication industry, including dialogue editing , news aggregator and primary colour correction . Additional material includes a biographical notes appendix, and entries are complemented by approved web links which guide further reading.
This is an indispensable guide for undergraduate students of media and communication studies and also for those taking related subjects such as television studies, video production, communication design, visual communication, marketing communications, semiotics, and cultural studies.
Culture defines a society's identity and pegs its history with benchmarks, codes, norms and models, attitudes about life and knowledge products full of symbols. A number of researches into cultural anthropology have highlighted the distinct role culture plays in the process of building and maintaining the balance both at social and individual levels. Part of one's identity, culture is also embedded into one's quality of life. in the same time, the culture playing "a substantial role in adolescent development. Development scientists have shown increasing interest in how culture and religion are involved in the processes through which adolescents adapt to environments." . This paper is made and published under the aegis of the Research Institute for Quality of Life, Romanian Academy as a part of programme co-funded by the European Union within the Operational Sectorial Programme for Human Resources Development through the project for Pluri and interdisciplinary in doctoral and post-doctoral programmes Project Code: POSDRU/159/1.5/S/141086
This book offers readers an understanding of the theoretical framework for the concept of Arts Talk, provides historical background and a review of current thinking about the interpretive process, and, most importantly, provides ideas and insights into building audience-centered and audience-powered conversations about the arts.
In the early 1990’s emerged a new artistic practice: participatory art. This post-studio practice is characterized by an embodied collaboration between the artist and the participants. Numerous artists are internationally renowned for their work in the field, such as Thomas Hirschhorn, Jeremy Deller, Javier Téllez or Michael Rakowitz. One interested in this new artistic practice might encounter some frustration when trying to analyze these works: how can we analyze artworks which take the non-spectacular forms of a cooking lesson, of a craft workshop, of informal conversations between participants, of biking wanderings in the city? Where do we start? More precisely it is the work of the artist himself which becomes challenging to describe: at first sight, it seems characterized by a lack of technique or expertise. Should the artist’s work be compared to one of a facilitator as Jeremy Deller put it, as an organizer of events and meetings? Should we see participatory art as another manifestation of the deskilling phenomenon analyzed by Claire Bishop? We put forward the hypothesis that this framework of understanding is symptomatic of a lack of concepts and tools adapted to the formal specificities of this new practice. We offer to analyze the work of the artist in participatory art in the light of the concept proposed by French philosopher Gilbert Simondon: implicit form (Simondon 1965). We study conversation, crafts and cooking as materials chosen by the artist for the implicit forms they contain, for the decisive formal consequences they involve. The artistry of the artist in participatory art would be the mastering of the implicit forms of all human practices, which can be considered as the specific material of participatory art.
The position of the art institution today is reflected through the perspective of the relation between two notions, precarisation and participation, which are simultaneously discussed in the contemporary performance and visual art in the recent years. Art institutions are involved in the normalisation of precarity and in many cases became an example for the new modes of working and production of sociality. They are deeply embedded in the constant exposure of vulnerability as a main social capital: not only that many of them are working with a very badly paid or voluntary working force, but they also work under extremely vulnerable and unstable conditions, which demands the constant implication of measures of protection. To protect their own vulnerability they have to continuously reach out, develop themselves as social places, as the unique place of precarious experience, and therefore invent new forms for the exposure of sociality, give the form to this glittering force of human productivity. The link between precarisation of artistic experience and governmental precarisation, which finds today its most visible form in the rise of participatory events and exhibition of sociality. We are more and more surrounded with responsiblé institutions, which could be only exposed as social places because of the meticulous normative procedures, excellent logistical skill and top-off curatorial management.
Is the Internet democratizing American politics? Do political Web sites and blogs mobilize inactive citizens and make the public sphere more inclusive?The Myth of Digital Democracyreveals that, contrary to popular belief, the Internet has done little to broaden political discourse but in fact empowers a small set of elites--some new, but most familiar.Matthew Hindman argues that, though hundreds of thousands of Americans blog about politics, blogs receive only a miniscule portion of Web traffic, and most blog readership goes to a handful of mainstream, highly educated professionals. He shows how, despite the wealth of independent Web sites, online news audiences are concentrated on the top twenty outlets, and online organizing and fund-raising are dominated by a few powerful interest groups. Hindman tracks nearly three million Web pages, analyzing how their links are structured, how citizens search for political content, and how leading search engines like Google and Yahoo! funnel traffic to popular outlets. He finds that while the Internet has increased some forms of political participation and transformed the way interest groups and candidates organize, mobilize, and raise funds, elites still strongly shape how political material on the Web is presented and accessed.The Myth of Digital Democracy. debunks popular notions about political discourse in the digital age, revealing how the Internet has neither diminished the audience share of corporate media nor given greater voice to ordinary citizens.