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Based on the analysis of interaction during a public meeting, this article considers how people argue in sequential environments where direct interaction is precluded. The meeting in question was organized so the turns ofaudience speakers and local authority representatives were produced during different periods; initial actions and their oppositions, counters, etc., could be separated by anything up to 25 minutes. The article describes how speakers adapt their language practices to construct arguing turns and series of action-opposition pairs in (...) social settings thus organized. (shrink)

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Publicparticipation broadcasting has recently become the focus of attention in media studies, as well as from the social interactional perspectives of discourse and conversation analysis, and it has been argued in particular that the talk show genre has given new and enhanced status to the `authentic' voice of lay members of the public. What remains largely unexplored is how lay participants discursively construct authentic positions for their own knowledgeableparticipation in such discourse. Expert speakers in public (...) class='Hi'>participation broadcasts are typically attributed names, rank, institutional affiliation and status, which legitimizes their position, and in so doing provides their warrant to talk about whatever issue they have been brought in to discuss. Lay participants typically do not have this status attributed to them, but need to establish their own position from which to talk. In this article I examine the public identities that lay speakers build for themselves in these broadcasts, and show how they routinely draw on a range of discursive resources to construct situated, local identities which provide a warrant for what they have to say. (shrink)

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We are particularly interested in how poetry and phenomenological research come together to increase understanding of human phenomena. We are further interested in how these more aesthetic possibilities of understanding can occur within a community context, that is the possibility of a process in which understanding is shared through an ongoing process ofparticipation. In this way phenomenologically-oriented understandings may meaningfully speak of that which is common between us as well as that which may be uniquely lived for each (...) of us in terms of its individual context and nuance. In this paper we reflect on a process by which we engaged with participants to poetically re-present a description of an experiential phenomenon. As part of this process we offered an evocative description of a health care scenario, and facilitated collectively created ‘embodied responses’ inspired by the interactive form of Japanese Renga. We ask the question: “What kind of phenomenology is this?” Through so doing we attempt to address the theme of this special issue, namely, a focus on a wide embrace of the notion of evidence. We do this by drawing out the epistemological implications of a phenomenological approach that attends to the ‘awakening of presences’ in embodied and linguistic ways. In this pursuit we are assisted by the writings of Gendlin, Gadamer, Levinas and Shotter. Indo-Pacific Journal of Phenomenology , Volume 12, Special Edition July 2012. (shrink)

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In this article Goffman's theories onparticipation framework and change in footing are applied to discursive material from the South African Truth and Reconciliation Commission. The main finding is that a discursive setting such as the public hearings of a truth and reconciliation commission can be highly intricate and layered when considering the role of the various discourse participants. The testifying victims, the TRC commissioners and theaudience engaged in various forms of subordinate communication — byplay, crossplay and (...) sideplay — in addition to the standardized and expected interaction between victims and commissioners. This tells us that face-to-face talk should not be regarded as the prototypicalparticipation framework, even not in a highly stage-managed discursive setting. Moreover, by paying attention to the co-presence of also a `virtual'audience, the Goffmanian framework is taken beyond its confines of only discussing interaction between discourse participants who are physically present in a speech situation. In the end, each of the discourse participants tried to exploit the possibilities offered by this complex framework, thus adding to the impact the TRC had on South African society at large. (shrink)

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The public communication of science and technology has become increasingly important over the last several decades. However, understanding theaudience that receives this information remains the weak link in the science communication process. This essay provides a brief review of some of the issues involved, discusses results from anaudience-based study, and suggests some strategies that both scientists and journalists can use to modify media coverage in ways that can help audiences better understand major public issues that involve (...) science and technology. (shrink)

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In public communication contexts, such as when a company announces the proposal for an important organizational change, argumentation typically involves multiple audiences, rather than a single and homogenous group, let alone an individual interlocutor. In such cases, an exhaustive and precise characterization of theaudience structure is crucial both for the arguer, who needs to design an effective argumentative strategy, and for the external analyst, who aims at reconstructing such a strategic discourse. While the peculiar relevance of multiple (...) class='Hi'>audience is often emphasized in the argumentation literature and in rhetorical studies, proposals for modelling multi-audience argumentative situations remain scarce and unsystematic. To address this gap, we propose an analytical framework which integrates three conceptual constructs: Rigotti and Rocci’s notion of communicative activity type, understood as the implementation of an interaction scheme into a piece of institutional reality, named interaction field; the stakeholder concept, originally developed in strategic management and public relations studies to refer to any actor who affects and/or is affected by the organizational actions and who, accordingly, carries an interest in them; the concept of participant role as it emerges from Goffman’s theory of conversation analysis and related linguistic and media studies. From this integration, we derive the notion of text stakeholder for referring to any organizational actor whose interest becomes an argumentative issue which the organizational text must account for in order to effectively achieve its communicative aim. The text stakeholder notion enables a more comprehensive reconstruction and characterization of multipleaudience by eliciting the relevant participants staged in a text and identifying, for each of them, the interactional role they have, the peculiar interest they bear and the related argumentative issue they create. Considering as an illustrative case the defense document issued by a corporation against a hostile takeover attempt made by another corporation, we show how this framework can support the analysis of strategic maneuvering by better defining theaudience demand and, so, better explaining how real arguers design and adapt their topical and presentational choices. (shrink)

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This Correspondence argues in response to Coolsaet et al. (2024) that there is an important role to play for stance-independent justice discussions that are not tied to specific social, political or critical perspectives. These can be valuable for climate research audiences, but also as a basis upon which to critically debate and research injustices.

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This exploratory study engages with eight case studies of music performances broadcast online to investigate the role of music in facilitating social cohesion, intercultural understanding and community resilience during a time of social distancing and concomitant heightened racial tensions. Using an online ethnographic approach and thematic analysis of video comments, the nature ofaudience engagement with music performances broadcast via YouTube during COVID-19 lockdown of 2020 is explored through the lens of ritual engagement with media events and models of (...) social capital. The eight case studies featured virtual choirs, orchestras and music collaborations of various genres, including classical, pop and fusion styles drawing from European, Asia Minor, South African, West African, North African, Arabic, South Asian, and East Asian cultural origins. Five overarching themes resulted from thematic analysis of video comments, includingInteraction,Unity,Resilience,Identity, andEmotion. The paper contributes important theorisation that ritual engagement and social learning fosters intercultural understanding through engaging with music both cognitively and emotionally, which can in turn shape both individual and collective identity. Online platforms provide scope for both bonding and bridging opportunities. Community resilience is supported through the sharing of knowledge, sustaining music practice during social distancing, as well as emotional support shared amongaudience participants, with potential wellbeing outcomes. (shrink)

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Scientists, their allies, and opponents engage in struggles not just over what is true, but who may validate, access, and engage contentious knowledge. Viewed through the metaphor of theater, science is always performed for anaudience, and thataudience is constructed strategically and with consequence. Insights from theater studies, the public understanding of science, and literature on boundary work and framing contribute to a proposal for a framework to explore the construction of audiences during scientific controversy, consisting of (...) three parameters: history, composition, and role. Applying this framework to the controversy over the presence of genetically modified maize in Mexico demonstrates how multiple and contested audiences form during a scientific controversy. Different scientific ?productions? construct distinct or overlapping audiences; audiences constructed at one time become ?easy recruits? for later stages of the controversy; and the various roles cast for different audiences showcase strategies for building scientific power and reflect assumptions about the capacity for publics to participate in the governance and production of science. (shrink)

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This paper aims to explore the changes that representative democracy is experiencing as a result of the transformation of communication channels. In particular, it focuses on non-electoral representation in the form of movements that emerged throughout the 2010s and that were defined by a strong social media presence (e.g. Occupy Wall Street, Black Lives Matter, #MeToo, Yellow Vests). Despite not attempting to gain political power via elections, these movements, through online and offline activities, nonetheless managed to shape the realm of (...) politics. The paper thus analyzes the movements’ inner representative dynamics and the ways they reshape representative democracy. It engages with a critical reading of Hanna Pitkin’s concept of symbolic representation and draws on Michael Saward’s framework of the representative claim to reevaluate Bernard Manin’s notion of “audience” democracy as today’s form of representative government. The argument is that, as digital development provides citizens with less demanding modes of politicalparticipation and platforms of representative claim-making, it enhances the sphere of opinion formation and the role of non-electoral representation. This sphere entails a tendency towards a re-depersonalization of politics, thus leading towards the transformation of “audience” democracy. (shrink)

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This article asks whether Perelman’s concepts of theaudience can help us achieve a better understanding of the InternetAudience in the specific context of the recent French and American presidential elections. It concludes that Perelman’s notion of “argumentation before a single hearer” is most useful for that purpose. Applying it to Internetaudience allows us to discern some of the communicative devices, such as appeal toparticipation and appeal to proximity, used by candidates in order (...) to achieve a higher degree of involvement on the part of the surfers and potential voters, which in turn is translated to action by the surfers/voters on behalf of the candidate. The application of Perelman’s concept shows that on the Web the interaction between the candidate and the surfer shifts from an argumentative situation per se to a context in which what appears to be a dialogue or conversation invites connivance between rhetor andaudience. (shrink)

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This article aims at shedding light on how civic engagement matters for the emergence of a European public sphere. It investigates the citizen's role in constituting it and asks how citizens, being located in different cultural and political contexts, participate in and appropriate EU political communication. First, the article develops a pragmatic approach to the European public sphere emphasizing the importance of citizens' communicativeparticipation and, moreover, considers the transnational and transcultural character of European political communication. It is assumed (...) that the constitution of public spheres – representing social constructions fulfilling democratic functions – ultimately relies on the citizenaudience's perception of the impact of common problems and the EU's political decisions as well as on their subsequentparticipation in public discourses. The second part of the article presents the findings of empirical case studies conducted in France, Italy and Germany to explore citizens' engagement in and appropriation of the European constitutional debate. (shrink)

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Existing evidence suggests that children from around the age of 8 years strategically alter their public image in accordance with known values and preferences of peers, through the self-descriptive information they convey. However, an important but neglected aspect of this 'self-presentation' is the medium through which such information is communicated: the voice itself. The present study explored peeraudience effects on children's vocal productions. Fifty-six children (26 females, aged 8-10 years) were presented with vignettes where a fictional child, matched (...) to the participant's age and sex, is trying to make friends with a group of same-sex peers with stereotypically masculine or feminine interests (rugby and ballet, respectively). Participants were asked to impersonate the child in that situation and, as the child, to read out loud masculine, feminine and gender-neutral self-descriptive statements to these hypothetical audiences. They also had to decide which of those self-descriptive statements would be most helpful for making friends. In line with previous research, boys and girls preferentially selected masculine or feminine self-descriptive statements depending on theaudience interests. Crucially, acoustic analyses of fundamental frequency and formant frequency spacing revealed that children also spontaneously altered their vocal productions: they feminized their voices when speaking to members of the ballet club, while they masculinized their voices when speaking to members of the rugby club. Both sexes also feminized their voices when uttering feminine sentences, compared to when uttering masculine and gender-neutral sentences. Implications for the hitherto neglected role of acoustic qualities of children's vocal behaviour in peer interactions are discussed. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part II)'. (shrink)

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People may exhibit two kinds of modifications when demonstrating action for others: modifications to facilitate bottom‐up, or sensory‐based processing; and modifications to facilitate top‐down, or knowledge‐based processing. The current study examined actors' production of such modifications in action demonstrations for audiences that differed in their capacity for intentional reasoning. Actors' demonstrations of complex actions for a non‐anthropomorphic computer system and for people (adult and toddler) were compared. Evidence was found for greater highlighting of top‐down modifications in the demonstrations for the (...) human audiences versus the computeraudience. Conversely, participants highlighted simple perceptual modifications for the computeraudience, producing more punctuated and wider ranging motions. This study suggests that people consider differences in their audiences when demonstrating action. (shrink)

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Although considerable attention has been paid to the application of leadership in virtual communities, the field of live streaming has not been involved. This exploratory study aimed to explore how different broadcaster leadership traits influence audiences’ loyalty. Andaudience self-construal was chosen as a key moderator. The top 15 broadcasters from the regional rankings were selected from each of the two popular live streaming platforms, Douyu and YouTube, for the study. And we used snowball sampling with a link to (...) an online questionnaire as a recruitment procedure. 310 audiences with live streaming experience from the Chinese Mainland and Taiwan participated. Hierarchical linear modeling was adopted for the analysis. This study found that broadcasters with servant and charismatic leadership traits positively affected cognitive loyalty. Broadcasters with servant leadership traits also had a positive effect on conative loyalty. Additionally, independent self-construal negatively moderated the relationship between servant leadership and cognitive loyalty. Independent self-construal positively moderated the relationship between authoritarian leadership and conative loyalty. Furthermore, interdependent self-construal negatively moderated the relationship between charismatic leadership and conative loyalty. Interdependent self-construal positively moderated the relationship between authoritarian leadership and conative loyalty. These conclusions extend the understanding of broadcasters’ traits and audiences’ psychology concerning the booming phenomenon of live streaming and can help platform managers motivate audiences’ loyalty on these platforms. (shrink)

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This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance ofaudience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied toaudience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative (...) as normative for sport experience over that of the participant athlete or player, eliding player experience. Imposition of external narratives over experience risks fossilising interpretation and inhibits the beneficial effects of play for self-realisation, especially as a form of self-examination and creation through internal self-narrative. (shrink)

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Flow describes a state of intense experiential involvement in an activity that is defined in terms of nine dimensions. Despite increased interest in understanding the flow experience of musicians in recent years, knowledge of how characteristics of the musician and of the music performance context affect the flow experience at the dimension level is lacking. In this study, we aimed to investigate how musicians’ general music performance anxiety level and the presence of anaudience influence the nine flow dimensions. (...) The participants were 121 university music students who performed solo a music piece once by themselves and once in front of anaudience. Their general MPA level was measured with an adapted version of the STAI and ranged from 27 to 76. The level of the nine flow dimensions was assessed with the Flow State Scale-2 after each performance. The levels of “concentration on task at hand,” “sense of control,” and “autotelic experience” decreased significantly with increasing general MPA level. The levels of “unambiguous feedback” and “loss of self-consciousness” decreased significantly with increasing general MPA level during the public performance only. The level of “sense of control” was significantly lower during the public performance than the private performance across participants. The level of “unambiguous feedback” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 47. The level of “loss of self-consciousness” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 32. In contrast, the general MPA level and theaudience did not significantly affect the levels of “challenge-skill balance,” “clear goals,” and “action-awareness merging.” These results show that the effects of general MPA level andaudience vary greatly across flow state dimensions. We conclude that musicians’ flow state should be analyzed at the dimension level rather than as a global score. We discuss how our findings could inform the development and implementation of interventions. (shrink)

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A common theme conspicuously emerges from the few translated and published narratives of Vietnamese who participated in resistance against French colonialism in the 1950s. These narratives tend to identify moments of being anaudience member to theater as having significant roles in these individuals’ political awakening and desire to sacrifice themselves for anticolonial struggle. Drawing on these narratives, this essay shows how someaudience members engage in an empowering kind of political theorizing that elicits cross-cultural revelation, is progressive, (...) generates feelings of solidarity, and inspires them to engage in political action. In showing how being anaudience member can lead to revolutionary action, these cases exceed the expectations of theorists of revolutionary theater such as Bertolt Brecht and Augusto Boal. They also offer a direct refutation of Jean-Jacques Rousseau’s famous claim that being anaudience member at a theatrical performance is politically and morally enervating. (shrink)

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In the current digital environment, people can visit every corner of the world without leaving their homes. New media technology compresses distance and time, but it also subverts the traditional mode ofaudience presence. Many traditional, offline content expression modes are also moving toward the digital field, and digital art is among them. Digital new media is a new art form that requires itsaudience to have a new media literacy; this literacy is necessary for esthetic experience and (...) foraudienceparticipation. At present, the relatively lack of objective methodology for scientific research on aesthetic and media literacy has limited our current understanding. Therefore, we need to develop a new model and conduct empirical research with college students as theaudience. Empirical research was conducted with anaudience of college students. The study had the following purposes: to add a new dimension to the esthetic model, namely new media literacy, to align the model with the current digital environment, and to test the moderating effect of new media literacy on esthetic emotion as represented by interest and confusion. The experiment verified the study’s hypothesis that higher new media literacy was associated with higher esthetic interest and lower confusion. By contrast, has a substantial influence on the cognitive processes in humans, lower new media literacy was associated with lower esthetic interest and higher confusion. New media literacy is an essential quality for contemporary audiences. This knowledge may be useful for effective design. It provides a traditional and favorable learning environment and empirical reference for the subsequent improvement of digital aesthetics and media literacy. (shrink)

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After the collapse of the totalitarian regimes,participation into public matters has been an objective of democratic theory. Judging by a variety of instances from the sixties to today, it can be said that finding new means for encouraging audiences to participate in their works has become the major concern for contemporary art as well. Therefore, we can say that the problem ofparticipation is the focal point of art and politics.

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This study investigatesaudience perceptions of AI-generated news across ten African countries, focusing on trust, bias, and transparency. Using a non-probability cross-sectional online survey, data were collected from 1960 participants between May and July 2024. The sample encompassed diverse demographics, leveraging social media for broad reach. The study revealed that trust in AI-generated news is generally neutral, with significant variations influenced by demographic factors, particularly age. A moderate positive correlation between perceived bias and trust suggests that awareness of potential (...) biases does not necessarily erode trust. Younger participants showed greater receptiveness to AI-generated content, especially when transparency and readability were prioritized. The findings underscore the need to address bias, transparency, and digital literacy to build trust in AI-generated news, particularly among older audiences. The study advances theoretical frameworks, including uses and gratifications, digital divide, and cultivation theory, while highlighting the importance of digital literacy in shaping media consumption patterns. Practical implications emphasize the need for culturally relevant AI applications in journalism and digital literacy programs to bridge the trust gap in AI-driven news across Africa. These insights are crucial for news organizations, policymakers, and educators aiming to understand the interaction between AI and Journalism in Africa. (shrink)

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L'émission de télévision française Loft Story, diffusée au printemps 2001, peut être interprétée comme le signe de l'aboutissement de la logique de l'audience dans le régime télévisuel. Nous proposons ici de montrer que le diffuseur et le producteur ont agencé une industrialisation de l'audience et orchestré une instrumentalisation de la critique. Industrialisation de l'audience en ce sens que tous les ressorts déjà expérimentés ailleurs ont été utilisés ici pour maximiser le nombre de téléspectateurs réunis devant leur écran (...) et pour optimiser la vente de l'espace publicitaire aux annonceurs. Et surtout, instrumentalisation de la critique car la pluralité des voix qui se sont élevées pour discuter du sens social de ce programme de «télé-réalité» a tout à la fois masqué la finalité strictement économique du dispositif et participé à sa réussite.The French television programme "Loft Story" broadcast in spring 2001 can be interpreted as the ultimate illustration of the drive for high TVaudience ratings. We aim to show that the broadcasters arranged an 'industrialization ' of ratings and orchestrated a reaction by critics. The ratings were industrialized in the sense that all methods previously established were used here to maximize the number of the viewers and to optimize the level of exposure of advertisements. More specifically, the orchestration of a critical reaction was illustrated in the abundance of critics ready to raise their voices to discuss the social connotations of this "reality television" programme. This not only masked the financial purpose underlying the programme but also contributed to its success. (shrink)

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The rise of social media provides convenient mechanisms for audiences to participate in secondary science communication. The present study employs the theory of consumption values and theory of planned behavior to predict audiences’ SSC intentions. The results indicate that emotional value, social value, altruistic value, attitude, internal perceived behavioral control and subjective norm are significant predictors of audiences’ intentions to share or to repost science content on their social media. These results suggest that the theory of consumption values, together with (...) the theory of planned behavior, is a useful framework for understanding SSC behaviors. (shrink)

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ABSTRACT:This article aims to enhance understanding of employee anonymous online dissent (EAOD), a controversial phenomenon in contemporary digital environments. We conceptualise and scrutinise EAOD as a communicative and interactional process among four key actors: dissenting employees, online outlet administrators, audiences, and targeted organisations. This multi-actor, dialectical process encompasses actor-related tensions that may generate unethical consequences if single voices are not brought out and confronted. Appropriating a Habermasian ethical and discursive lens, we examine and disentangle three particular challenges emerging from the (...) EAOD process: lack of accountability and potential opportunism; equalparticipation and resolution of actor-related tensions; and organisationalparticipation and internalisation of dissent. We show that EAOD can initiate plural dialogue that helps co-construct and balance different voices within an informal and noninstitutionalised context for interaction and public deliberation. We conclude our inquiry by offering reflections on practical implications and a research agenda for further investigation. (shrink)

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This exploratory study is focused on the perceptions of science communication practitioners about the activities of scientists and the audiences of the marine sciences outreach in Portugal. Using the qualitative method of thematic analysis and collecting data through semistructured interviews of 14 practitioners of diverse professions, backgrounds, ages, and stages of career, it was found that the role of marine scientists in this area is traditionally viewed as reduced, but with a slight improvement in the past 5 to 10 years. (...) Despite having a historical connection with and curiosity about the sea, audiences were considered to have a mostly utilitarian interest in the marine sciences. Most practitioners had a view of science communication connected to the knowledge deficit model, with a minority articulating a more dialogical model. Although there are signs of conflict between science communicators and scientists, the proliferation of training opportunities in science communication at the national level, the perceived increase of interest andparticipation of marine scientists in public communication in the past years, and the consolidation of science communicators as part of the scientific community offer positive prospects for the future of outreach of marine sciences in Portugal. (shrink)

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In studying how lay people evaluate arguments, psychologists have typically focused on logical form and content. This emphasis has masked an important yet underappreciated aspect of everyday argument evaluation: social cues to argument strength. Here we focus on the ways in which observers evaluate arguments by the reaction they evoke in anaudience. This type of evaluation is likely to occur either when people are not privy to the content of the arguments or when they are not expert enough (...) to appropriately evaluate it. Four experiments explore cues that participants might take into account in evaluating arguments from the reaction of theaudience. They demonstrate that participants can useaudience motivation, expertise, and size as clues to argument quality. By contrast we find no evidence that participants takeaudience diversity into account. (shrink)

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This interdisciplinary study brings together research on audiences’participation in the media, and an up-close exploration of communicative entitlement of and for suchparticipation. Viewing visitor books as situated, public media, the study asks two related questions: how museums and institutions that employ this medium frameparticipation of ‘ordinary’ people in the public sphere, and how, in return, visitors variously articulate theirparticipation. The article first examines the context in which visitor books mediateparticipation, and (...) how museums frame them so as to invite ‘authentic’ expressions by ‘ordinary’ visitors. The analysis depicts a taxonomy ofparticipation, evincing five types of entitlements found in visitor book texts. These entitlements shed light on howparticipation in the public sphere is both understood and pursued. The article responds to calls for empirically rich studies on mediation practices and processes. It adds to the literature on communicative entitlements by examining an under-researched hitherto public medium and by illuminating a shift from talk-in-interaction to the context of text-in-interaction. (shrink)

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The author compares two theoretical models which develop constructs of an idealaudience. Chaim Perelman's universalaudience serves a methodological function within the New Rhetoric which provides for the examination of philosophical arguments on values. Implicit within the work of Isocrates is a competing image which asserts that the idealaudience is empowered by the conditions of argument to engage the advocate in discursive praxis to construct and embody a consensus on contingency-driven value debates. The author concludes (...) that the concept of an idealaudience will be most valuable where interest in adherence to theses is less central than attendance to relationships born in and borne by discourse. Such a view has purchase within a constitutive view of rhetorical relations which asserts that the most useful role for argument is as an invitation to engagement. The situation of argumentation within a deontological ethics requires the partnership andparticipation of individuals in a mutually constructed discursive praxis. (shrink)

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This article examines how US activists articulated the third-person effect, a widespread perception that others are more influenced by media messages than the self is. The discursive, qualitative approach used here contrasts with surveys and experiments prevalent in TPE research: groups watched a news program and responded to non-directional questions in a naturalistic setting. Group members, who reported feeling better informed about current events than the average person, alternately identified themselves as invulnerable and vulnerable to media influence. Discourse analysis showed (...) participants using the pronoun ‘they’ to distinguish themselves from the massaudience; however, they also used ‘I’, ‘we’ and ‘you’ to convey first-person and second-person perceptions, suggesting multiple and shifting identifications. This study reveals three conversational strategies — role-playing, inventing dialogue and posing hypothetical statements — through which even people who feel a sense of ‘media superiority’ over others imagine themselves being susceptible to mainstream news. The results, derived from a context allowing people to express mobile and conflicting identities, have implications both for communication scholarship and for social-change agents. (shrink)

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Athenian citizens deliberate in the assembly, but the theatre also becomes a place for public debate. In addition to being a consequence of economic or cultural aspects, democracy is a consequence of the development of a democratic imaginary. Located in that imaginary, Greek tragedies, regarded as «democratic myths», work to reaffirm Athenian democracy. Far from being dogmatic, the tragic myth explores the contradictions of social and personal life and implicitly or explicitly seeks their correction. This dramatic genre encouragesparticipation (...) from the spectator (citizen) that greatly exceeds the schematic reduction in Aristotelian theory of catharsis. Greek tragedy proposes the existence of an «audience», of spectators who need a sufficient level of maturity to make that assessment. Democracy is a path, or perhaps an active utopia, which should combine the political order with a coherent culture and art.Los ciudadanos atenienses deliberaban en la asamblea, pero también el teatro se convierte en un lugar de debate público. Porque una democracia (también la ateniense) no solo es consecuencia de aspectos económicos o de orden cultural, sino también del desarrollo de un imaginario democrático. Y es en dicho imaginario donde se inscriben las tragedias griegas, consideradas como «mitos democráticos» que servían para reafirmar la democracia ateniense. Lejos de cualquier dogmatismo, el mito trágico explora las contradicciones de la vida social y personal, y se pregunta, de manera expresa o tácita, por su posible corrección. Este género dramático induce a una participación del espectador (ciudadano), que va más allá de la esquemática reducción de la teoría aristotélica de la catarsis. El teatro griego propone la existencia de un «público», de unos espectadores que precisan de una gran madurez para emitir ese juicio. La democracia es un camino, o quizás una utopía activa, que debe conjugar el orden político con una cultura y un arte coherentes. (shrink)

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With the worldwide spread of the Internet, human activity has become permeated by digital media, which shapes communication and interaction and speeds up the improvement of the experience and diffusion of museum exhibitions. Contemporary museums must understand their audiences, especially with respect to online preferences and surfing involvement experiences. Museums are changing in an effort to attract young netizens to access and use museum resources. Virtual museums are increasingly using digital exhibitions to preserve and apply their collections and establishing online (...) community platforms to interact with young people. This study investigates the underlying mechanism of online community characteristics that enhance audiences’ emotional resonance and involvement. Results from a questionnaire survey of Taiwan undergraduate students show that perceived relevance and esteem improve their emotional resonance, which can attract new people and maintain existing relationships within their communities. Following flow theory, maintaining community relationship characteristics increases emotional resonance, which, in turn, enhances user involvement, but we found only small significant effects of emotional resonance on involvement. These findings illuminate the mechanism of the attitudinal relationship building and maintenance for online museum communities and advance the practical contributions of online museum community use and effects. (shrink)

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The current coronavirus disease 2019 pandemic has led to essential adjustments in clinical research involving human subjects. The pandemic is substantially affecting most procedures of ongoing, as well as new clinical trials related to diseases other than COVID-19. Procedural changes and study protocol modifications may significantly impact ethically salient fundamentals, such as the risk-benefit profile and safety of clinical trial participants, which raise key ethical challenges the subject-matter experts must face. This article aims to acquaint a wideaudience of (...) clinical research professionals, ethicists, as well as the general public interested in this topic with the legal, ethical and practical considerations in the field of clinical trials during the COVID-19 pandemic and to support the clinical researchers and study sponsors to fulfil their responsibilities in conducting clinical trials in a professional way that does not conflict with any legal or ethical obligations. (shrink)

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The Opera of the National Theater in Belgrade was founded in 1920, but it is well known that opera performances were held long before its official opening. Despite the fact that this is the sole opera house in Belgrade, as well as the fact that it did not face any strongaudience fluctuation, it is unusual that no one ever tried to investigate and profile itsaudience. During the last decades we were witnessing the popularization of the opera (...) via various medias, as well as development and extention of the music industry, which surely changed its social status. The aim of the investigation that is going to be presented is to discover if this social life of opera changed itsaudience and does it still consists of - according to stereotypes - elderly, high educated individuals of certain professions and high material standards, i.e. at which level the opera is present in the private and public sphere of their lives. Opera Narodnog pozorista u Beogradu osnovana je 1920. godine, ali je poznato da su operske predstave izvodjene i pre njenog zvanicnog osnivanja. Iako u radu nije nailazila na vecu fluktuaciju publike, a i dalje predstavlja jedinu opersku kucu u Beogradu, do sada nije bilo pokusaja da se naucno istrazi i profilise njena publika. Poslednjih decenija svedoci smo sve vece popularizacije operske muzike putem razlicitih medija, te razvijanjem i sirenjem muzicke industrije, sto dovodi i do promene njenog socijalnog statusa. Cilj ovog dela istrazivanja jeste da sazna da li je izmenjeni socijalni zivot opere izmenio i njenu publiku, da li nju - prema ustaljenim shvatanjima - i dalje pretezno cine visokoobrazovani, stariji pojedinci odredjenih zanimanja i visokog materijalnog standarda, odnosno koliko je opera zaista prisutna u privatnoj i javnoj sferi njihovih zivota. (shrink)

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This study examinedaudience perceptions of a political candidate’s credibility and likeability as a function of varying the candidate’s responses to an opponent’s nonverbal disparagement during a televised debate. 412 participants watched a purported televised debate between candidates for mayor in a small city in Utah. In all six versions, one debater engaged in strong nonverbal disagreement during his opponent’s opening statement. His opponent responded to the nonverbal behavior with one of six decreasingly polite messages. Results indicated that more (...) direct messages increasedaudience perceptions of the speaker’s expertise and character compared to providing no response. The results also showed a significant interaction between response type andaudience member’s level of trait verbal aggressiveness. The “indirect” and “on-record with redress” responses led to stronger perceptions of speaker composure and extroversion for members high in verbal aggression and the “off the record” strategy led to higher perceptions of extroversion and composure for members low in verbal aggression. (shrink)

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Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that (...) the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the culturalparticipation of a non-sightedaudience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

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Little is known on the appraisal of ethically questionable not- for-profit actions such as social marketing advertising campaigns. The present study evaluates the ethical acceptance by adults of anti-obesity threat appeals targeting children, depending on the claimed effectiveness of the campaign. An experiment conducted among 176 Belgian participants by means of an online survey shows that individuals’ acceptance of social marketing practices increases along with the claimed effectiveness of the campaign. As such it demonstrates that theaudience adopts a (...) pragmatic perspective, challenging the non-consequentialist stance of social marketers who refrain themselves from using these ‘questionable’ techniques although highly effective. The trade-off between ethical judgment and claimed effectiveness varies depending on whether the threats focus on the child’s physical integrity or social life. Individual characteristics such as parenthood and age also influence the relationship. All in all, it seems that people with stronger connections to the issue such as parents are more ready to compromise. These findings enrich our insights into consequentialism in social marketing campaigns, how people respond to controversial messages targeted at vulnerable group, and open new venues to social managers and public policy makers. Managerial implications and concrete advice on how to communicate with the various audiences are proposed, as well as suggestions for future studies. (shrink)

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Persuasion is an important and yet complex aspect of human intelligence. When undertaken through dialogue, the deployment of good arguments, and therefore counterarguments, clearly has a significant effect on the ability to be successful in persuasion. A key dimension for determining whether an argument is good is the impact that it has on the concerns of the intendedaudience of the argument ( e.g., the other participant(s) in the dialogue). In this paper, we investigate how we can acquire and (...) represent concerns of a participant, and her preferences over them, and we show how this can be used for selecting good moves in a persuasion dialogue. We provide results from empirical studies showing that: (1) we can gather preferences over types of concern; (2) there is a common understanding of what is meant by concerns; (3) participants tend to make moves according to their preferences; and (4) the persuader can use these preferences to improve the persuasiveness of a dialogue. (shrink)

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While a growing number of researchers are embracing Internet-based data collection methods, the adoption of Internet-based recruitment methods has been relatively slow. This may be because little is known regarding the relative strengths and weaknesses of different methods of Internet-based participant recruitment, nor how these different recruitment strategies impact on the data collected. These issues are addressed in this article with reference to a study comparing the effectiveness of three Internet-based strategies in recruiting cannabis users for an online study. Consideration (...) of the recruitment data leads us to recommend that researchers use multipronged Internet-based recruitment campaigns with appropriately detailed recruitment messages tailored to the population of interest and located carefully to ensure they reach the intendedaudience. Further, we suggest that building rapport directly with potential participants, or utilising derived rapport and implicit endorsements, is an important aspect of successful Internet-based participant recruitment strategies. (shrink)

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In order to be exercised meaningfully, political freedom requires the capacity to actually identify available policy options. To ensure this, society ought to engage in deliberation as a discussion oriented towards mutual learning. In order to highlight this issue, I define deliberation in terms of the participants’ openness to preference change, i.e. the deliberative stance. In the context of the systemic approach to deliberative theory, I find several factors causing the atrophy of such a deliberative stance. I note that this (...) state can occur not only when debaters are representatives or are in the presence of anaudience, but also when they face the prospect of a binding decision. It is the latter effect that is a serious challenge to the micro-deliberative strategy, one that strives towards decisional powers being granted to deliberative minipublics. Presenting my findings, I propose—as an alternative to the power-oriented ‘ladder ofparticipation’—a distinction between traditional co-decision and deliberative consultation, the latter one being an environment that is more conducive to deliberative stance. This new typology highlights factors that lead to preference petrification and allows for the appreciation of the non-decisional character of micro-deliberation. All of it leads to the conclusion that, in order to preserve their deliberative character in the systemic context, deliberative minipublics should not always be required to have decision-making powers. (shrink)

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This article is a historical foray intoparticipation of the Ural and the Chelyabinsk regions in the World Expos in the context of cross-cultural communication, in which the interaction between the exhibiting countries on the global questions of modernity takes place through the dialogue of cultures. In the broad sense, exhibition first and foremost is a significant attribute of culture and cultural life of a particular environment, and form of distribution of culture. The scientific literature features the following definition: (...) “…exhibitions are the key presentation instrument of cultural policy of the country”. The real scientific achievements are concentrated in a single space. Each exhibition promotes different cultural traditions and contributes to the enrichment of cultures. As pertains to theparticipation of Ural, it is too early to speak of the full-fledgedparticipation in the dialogue of cultures at World Expos; however, the region has made decent steps towards it. There is no doubt that the World Expo is an remarkable international event. Each host country makes every effort to ensure an immense scale of the event, attract wideaudience of visitors and exhibitors. Therefore, the exhibition should be viewed from the global perspective. (shrink)

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The scope of this paper is to conceptualise a data-based research framework for the role of creative networks in cultural exchange.Participation in culture measured asaudience per 1000 residents and expenditures on culture-related activities were analysed in relation to such territorial assets as accessibility to creative infrastructure, the economic status of residents, the governance networks of civil society, and cultural capital. The results indicate how accessibility, governance networks, and cultural capital contribute toparticipation measured via (...) class='Hi'>audience indicators while a low poverty rate has explanatory value with respect to expenditures on culture. (shrink)

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This study examines online advocacy campaigns by five women action groups in Nigeria and Ghana. Based on modern social movement theories, the study utilizes computer-mediated discourse analysis to qualitatively analyze the content of the websites and social media platforms of these groups. Findings show that social media provide women advocacy groups a voice that tend to defy intimidation and the traditional patriarchal stereotypes to demand the rights of women to political leadership. Discourse structures of protest discourses include imperative statements or (...) direct acts that demand change by all means. Through online activism, the advocacy groups extend their voices, and activities to reach national and international audiences and communities of people – also reaching out to the most vulnerable rural women and the underprivileged. However, only a small percentage of women in rural areas have access to the Internet, thereby limitingparticipation in online activism in cities and urban centers. (shrink)

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Audio description remains the cornerstone of accessibility for visually impaired audiences to all sorts of audiovisual content, including porn. Existing work points to the efficacy of audio description to guarantee immersion and emotional engagement, but evidence on its role in sexual arousal and engagement in porn is still scant. The present study takes on this challenge by comparing sighted and visually impaired participants’ experiences with porn in terms of their physiological response [i.e., cortisol and heart rate ] and self-report measures (...) of affect [Positive and Negative Affect Schedule ; Watson et al., 1988], anxiety [State-Trait Anxiety Inventory ; Spielberger et al., 1970], sexual reactivity and arousal [Sexual Inhibition/Sexual Excitation Scale ; Moyano and Sierra ; and the Ratings of Sexual Arousal ; Mosher ], and narrative engagement or transportation [The Transport Narrative Questionnaire, Green and Brock ]. 69 Spanish participants were allocated into three different groups: 25 sighted participants who watched and heard the porn scenes in their audio-visual version ; 22 sighted participants who listened to the audio described version without images ; and 22 visually impaired participants who also listened to the audio described version without images. Overall, results on physiological and self-report measures revealed no significant differences between groups or different versions of the clips. The analysis of cortisol reactivity to porn as the maximum increase or decrease in cortisol with respect to baseline values revealed no significant differences between the groups, but pointed to a higher percentage of non-responders than responders in the three groups, the highest being found in the ONCE group. As for participants’ cardiac response to the clips, no significant differences were found across the groups, with the highest HR levels being registered in the baseline phase. Self-report measures revealed significant between-group differences in negative affect. The ONCE group displayed the highest pre-task levels of negative affect and was the only group that showed a decrease in negative affect after exposure to the clips. Sighted and visually impaired participants reported to be moderately aroused and immersed in the films, regardless of exposure to AV or AD porn. In addition, correlations found between participants’ levels of self-report sexual arousal and transportation and post-task affect pointed to a positive relationship between exposure to porn and perceived levels of sexual arousal and affect. Results from the study reflected the efficacy of audio description in providing sighted and visually impaired audiences with a similar experience to that offered by original AV porn scenes. This study is exploratory but provides valid, initial groundwork for further research on the impact of audio description on porn reception. (shrink)

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Interactive Cinema explores cinematic practices that work to transform what is often seen as a receptive activity into a participatory, multimedia experience. Combining cutting-edge theory with updated conventional film studies methodologies, Marina Hassapopoulou presses at the conceptual limits of cinema and offers an essential road map to the rapidly evolving landscape of contemporary media.

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Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation,audienceparticipation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to (...) popular music. But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening byaudience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm ofparticipation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

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Given that computers are not merely information-processors but rather representation-processors, who are the people most suited to dealing with representations of consciousness or the lack of it, once these consist in a computer? Who are the experts on irredundant holism when it comes to making sense of and manipulating these representations? Neither scientists nor philosophers, but rather artists, poets and so on. If this is the case it is not surprising that there already exists, in and out of the computational (...) domain, a body of knowledge about and evidence for the synthesis in an almost alchemical way of the scientific and philosophical (spiritual, one might almost say) approaches to consciousness. This presentation will examine aspects of zombie in both computer-based and traditional art, with several previously unknown examples of the use of zombie-like imagery in classical art leading to contemporary attempts to portray the nothing that being a zombie is like.Audienceparticipation will be more or less obligatory. This document is really background notes to the above, pretending to be a paper. (shrink)

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