Audience

The perception of Greek movies by the audiences, as well as, the various ways through which, the movies affect the audiences’ consciousness are important factors within film studies. They are, however, significantly understudied, especially with regard to Greek popular cinema. They have garnered virtually no research interest although Greek popular cinema is given, recently, much attention. Most relevant film studies in Greece lay emphasis either on context or on merely film analysis. Therefore, there are no studies attempting to explore the interplay between film and audience and especially how this interplay is formed in reference both to the audience’s representation of cinema as spectacle, and to the subjects’ lived experience.
My presentation will show the interaction between Greek popular cinema and its audience, based on the agents’ lived experience recorded in a corpus of in-depth interviews that have been taken during the last eight years. Hence, I will problematise the methodological presuppositions regarding the examination of the audience’s response to Greek popular cinema, specifically of the Greek film audiences of the past. In this effort the methodological tool of cultural memory is very useful (see specialy the works of Annette Kuhn). My analysis will focus in the case study of melodrama, one of the two most important popular genres, along with comedy, in the Greek cinema of this period. In this sense, I find myself currying out the search of the “Structure of feeling” (Raymond Williams) that is, the cultural elements of Greek society during the 1950’s and 1960’s, through the perception of popular films.

There are different distances between the narrator of events, characters and the audience in different literary works, and these distances may be in the aspects of time, physical intellectual, emotional or moral attendance. For instance, the narrator of “The Sound and the Fury” is undoubtedly smarter than Bnjy. Whatever the story moves forward in Jalal Al-e Ahmad’s "Someone else's child”, the listener (audience) opposes the narrator (who is a woman), or in the story of Joseph the Prophet, He is more pious than his brothers. The authors of present paper have tried to show their understanding of the nature of the relation between the narrator and the audience, events and characters in fiction integrating the concepts and ideas discussed in the cognitive and linguistic approaches through an analytic-descriptive method and using the library resources in a restricted (but minute) list of Persian and non-Persian works.  The results show that there are outstanding differences, from different aspects, between the narrator, events, and characters from the perspective of narratology.

Most of us know someone who has inadvertently revealed something shameful or embarrassing online about themselves or someone else. With the growth of social media like Facebook and Twitter, we are heading towards a radically open society. In exploring this phenomenon, David R. Brake first provides an overview of the harms that can be posed by unwary social media use - not just for children but for all of us, young or old. He then draws on in-depth interviews, a range of related theories of human behaviour and a wealth of other studies to analyse why this happens. He explains in detail the social, technological and commercial influences and pressures that keep us posting what we should not and stop us fully appreciating the risks when we do so. This is an invaluable book for students, parents, policy-makers and any social media user.

This essay reports on the perspectives of young feminist-identified women who have listened to the music of the riot grrrls and/or the Spice Girls. In previous analyses, scholars have found the Spice Girls’ commercialization of the riot grrrls’ feminist message a
problematic instance of commodity feminism. This essay offers an alternative viewpoint: Commercialized girl power may actually lead some listeners back to the source, indicating that a consideration of the chronology of encounter is necessary in assessing the merits and problems of commodity feminist texts.

Die Masterarbeit beschäftigt sich dem Phänomen des Publikums unter dem Aspekt der Inszenierung. Sie untersucht zunächst die Begriffs- und Erscheinungsgeschichte von "Publika" in den bildenden und darstellenden Künsten sowie der Theaterwissenschaft. In einem zweiten Teil werden zeitgenössische Inszenierungen analysiert, die das Publikum explizit als Teil der Inszenierung der Aufführung begreifen.

Talking politics online is not exclusively reserved for those spaces dedicated to politics, particularly the everyday political talk crucial to the public sphere. However, past net-based public sphere research has focused mostly on political spaces thereby neglecting an array of other genres. The aim of this article is to move beyond politically oriented communicative spaces by investigating political talk within the British reality TV discussion forum Wife Swap. The purpose is to see whether a forum dedicated to reality TV provides the communicative space, content, and style for politics that extends the public sphere. The central question is whether it fulfils the requirements of rationality and ‘decent’ deliberation. Moreover, the analysis moved beyond a formal notion by investigating how expressives influence the more traditional elements of deliberation. The findings revealed that Wife Swap participants engaged in political talk that was often deliberative. Moreover, it was a space where the use of expressives played a key role in enhancing such talk.

How do students conceptualize writing college admissions essays for anonymous audiences, and how can teachers and admissions personnel develop practices responsive to these conceptualizations? In our study, we sought to understand how students were making sense of their audience and how they sought to engage with that audience during
college admissions essay writing. To do so, we specifically attended to their languaging—how people employ language as actions to build relations with others, including audiences for their writing

Many genres and media create a blurring line between reality and fiction. Radio serials and in particular radio soap operas have inspired devotion in their listeners to the point where their fans throw themselves wholeheartedly into a universe of outward unreality and inward reality. This leads to framing errors, by which I mean an extension of blurring of reality. We will look at several examples from world radio soaps, including those from the US, Britain, Turkey, France, and Poland. However, radio soap operas do not have a monopoly on the blurring line between reality and fiction. Instead, audio drama is poised to profit well from this uncertainty and has shown itself capable of it many times, beginning in the 1920s in Europe and most famously in War of the Worlds (1938). War of the Worlds is, however, not the end of the story, and the way audio drama uses framing errors continues to this day. The study

Con el relanzamiento de la TDT en España en 2005 se produce un aumento progresivo del consumo televisivo que alcanza su máximo histórico en 2012 con 246 minutos por persona y día. Las razones podemos buscarlas en factores como la proliferación de canales que trajo consigo la TDT y la crisis económica que comporta un aumento del paro y el consiguiente incremento del tiempo libre. Sin embargo, a partir de 2012 desciende el tiempo que dedicamos a ver televisión lineal hasta 230 minutos por persona y día en 2016. En este artículo estudiamos las variables que han influido en ese cambio de tenden-cia y la influencia en cuestiones como la inversión publicitaria a través de una metodolo-gía analítico-descriptiva basada en los análisis televisivos de GECA y Barlovento, informes del INE e Infoadex y los resúmenes climatológicos de la AEMET, además de la consulta de bibliografía y diversas páginas web. Comprobaremos cómo la coyuntura económica, la homogeneización de la programación televisiva y la climatología influyen en el descenso del consumo televisivo, aunque la televisión mantiene su preeminencia en el ecosistema mediático actual.

In 2005, TDT is relaunched in Spain. It brings with a progressive increase of the hours spent watching TV reaching the historical record of 246 minutes per person day in 2012. It is because of the channel proliferation brought by the TDT and the recession with the increase of the level of unemployment and of the free time at the same time. However, the hours spent watching TV go down since 2012 until 230 minutes per person day in 2016. The aim of this article is to study the reasons for this change in the trend and the influence in different issues, such as the advertising investment. We use an analytic-descriptive methodology based in the reports of GECA, Barlovento, INE, Infoadex and AEMET. Also, we use bibliography and websites. We prove how the economic situation, the uniformity of TV contents and climatology have influence in the descend of the hours spent watching TV, although television keeps its supremacy.

Eine Studie im Auftrag des Sie werden Digital Natives genannt, Millennials oder Gen Y – ihre Generation ist dadurch gekennzeichnet, dass sie den digitalen Wandel von Kindesbeinen miterlebt haben und die digitale Medientechnologie ebenso souverän wie selbstverständlich beherrschen. Dabei greifen Jugendliche und junge Erwachsene nur noch selten auf Zeitungsinhalte zurück. Zugleich sind personalisierter Facebook-Feed und YouTube-Account zum wichtigsten Knotenpunkt für digitale Information, Unterhaltung und Kommunikation geworden. Die vorliegende Millennial-Studie des BDZV von Stephan Weichert und Leif Kramp geht den Gründen für diesen Nut-zungswandel nach. Sie will eine Diskussionsgrundlage für zukunftsfähige Geschäftsmodelle und Informationsstrate-gien des Mediengeschäfts schaffen: Wie informieren sich Jugendliche und junge Erwachsene? Welche Endgeräte und Medienangebote nutzen sie – und warum? Und was bedeutet die digitale Mediennutzung für Zeitungsverlage? Diesen und weiteren Fragen geht die vorliegende Studie nach. Sie zeigt dazu aktuelle Problemfelder im Umgang mit digitalen Medien auf, formuliert aber auch Lösungsan-sätze und Handlungsoptionen für Zeitungsverlage mit Blick auf junge Zielgruppen. Ausgangspunkt unserer Überlegun-gen ist, dass es nicht nur um ein Generationenphänomen, auch nicht alleine um den wirtschaftlichen Erfolg journa-listischer Angebote geht. Es geht um nichts Geringeres als einen globalen Wettstreit mit den mächtigen Technologie-konzernen um die öffentliche Deutungshoheit, mithin die Existenz des Journalismus. Mit dieser Studie sollen deshalb Wege aufgezeigt werden, wie sich junge Menschen für hochwertigen Journalismus begeistern lassen.

The essay film is one emerging genre in which the sonic elements and the editing characteristics are constructing the basis of its communication structure within and beyond the audiovisual material. This paper will enlighten the unique language and the means of communication of the essay form. In the essay film, the voice functions as a means of expression as opposed to a stack of sounds. With the support of the editing elements, the voice becomes a stylistic reflection towards the world, where the audience perceives the tone of the filmmaker. The voice is also not a rhetoric that oppresses the viewer but functions as a bridge to communicate with, and throughout, the audiovisual material as an artistic act that demands an intellectual response, like an open letter to be finalized in the viewers’ mind. The essay film does not seek to provide answers. Rather, it asks questions to the viewer, directly or indirectly, throughout the dialogue as the core of this filmmaking style. For the filmmaker to communicate with their viewer effectively, they position themselves as part of the audience. The essay film strives to go beyond formal, conceptual, and social constraint. Its structure undermines traditional boundaries, and is both structurally and conceptually transgressive, as well as self-reflective. It also questions the subject positions of the filmmaker and audience as well as the audiovisual medium itself – whether film, video, or digital electronic. This work highlights the dialogical characteristics of the essay film through a selection of essay film works with a focus on the voiceover usage and editing characteristics, to understand how a body of essayistic work addresses the viewer for a dialogical relationship.

"It has been argued by some that the changes occurring in journalism has led to the audience becoming more important in a journalist’s creative process, particularly with newer work practices such as social media and online writing and tools such as Search Engine Optimisation. However, what this paper is contending is that the audience has always been one of the structures that journalists interact with in their creative process.

Using data from a doctoral research project that examined the creative practices of print journalists in Australia, this paper will demonstrate how journalists interact with their audience throughout the work process from story generation to research, writing, publishing and feedback. The discussion about print journalists and their audience demonstrates how the audience is important in a journalist’s creative process regardless of the platform they write for.

What this paper will also show is that the audience is a structure that both enables and constrains journalists in their creative process. Furthermore, writing for an audience becomes part of a journalist’s tacit knowledge (Schön, 1983), thus making the creative process easier. "

Because of the vast changes to the communication landscape over the last two decades, along with the influence of emerging technologies on students’ writing practices, empirical studies that describe students’ experiences in multimodal composing are required to determine how the goals and practices of composition teaching might be better supported and reimagined. In response to this exigency, this article presents findings from an empirical study of graduate and undergraduate writers’ multimodal composing processes. Findings from focus group interviews and written reflections show that students’ attempts to draw on their print-based rhetorical knowledge while composing multimodally worked well when they perceived print-based and multimodal composing tasks as similar, but they faced significant difficulties when they perceived the need to adapt their print-based composing knowledge to suit new or unfamiliar aspects of multimodal composing. Specifically, students found it difficult to conceptualize an audience and negotiate the multiple semiotic resources afforded by multimodal composing. In an effort to mitigate such challenges, we provide two conceptual frameworks that help students move more fluidly between print-based and multimodal composing. These pedagogical approaches enable writing specialists to better support students’ efforts to engage successfully in multimodal composition tasks.

Öz Film festivalleri filmleri, sanatçıyı, sinema emekçilerini ve izleyici kitlelerini buluşturan önemli organizasyon-lardır. Festivallerde film seyretmeye gitmek, gündelik yaşamda sinemaya gitmekten farklıdır. Film festivalleri sadece sinema seyircisini bir araya getirmekle kalmaz, film sanatı ile ilgilenenlere de yeni kapılar aralar. Ben-zer şekilde yönetmen, oyuncu, senaryo yazarı gibi film üretiminde yer alan kişilerle ya da gösterim olanağı bulamamış filmlerin seyirci ile buluşmasına aracılık eder. Aynı içeriği seyredenlerin, filmlerin ardından ko-nuşabilmesi için zemin hazırlar. Sinema tarihinin öne çıkan filmlerini sinema salonu atmosferinde seyredile-bilmesine fırsat verir. Elbette bir film festivalinin kişiye, topluma ve gerçekleştirildiği kente katkıları bu sayılan-larla sınırlı değildir. Bu araştırma ile 18 yıllık bir geçmişe sahip Uluslararası Eskişehir Film Festivali'nin izleyici profilini tanımlan-ma çalışmaktadır. Bu amaçla 06-14 Mayıs 2016 tarih-leri arasında rastlantısal örneklem alma tekniği ile bir anket çalışması gerçekleştirilmiştir. Geçerli 250 anket, SPSS programı ile değerlendirilmiş ve araştırmacıların festival organizasyonu deneyimleri ile harmanlanarak yorumlanmıştır. Ayrıca 2016 yılında Türkiye' deki film festivallerinin bir panoraması ortaya konulmuş ve film festivallerinin sinema sektörüne ve topluma olan etki-lerini ortaya koymak amacıyla yapılan yayınların ge-nel bir taraması da yapılmıştır. Abstract Film festivals are highly important events and organizations that unite films, artists, cinema workers and the viewing audience. Attending a screening at a festival is different than going to the local cinema throughout our daily lives. Film festivals not only unite moviegoers, it also opens new doors for everyone interested in the art of film. Similarly, it facilitates the opportunity for the audience to meet directors, actors, screenwriters and everyone else participating in the production of films as well as the screening of films that previously had not been screened. It provides a platform of discussion for the viewers of common content. It allows prominent films in cinema history to be experienced within the atmosphere of a movie theatre. The contributions of film festivals to individuals, society, and the hosting city are not limited to these influences. This study attempts to determine the audience profile of the Eskisehir International Film Festival, which has been a recurring event for 18 years. In this regard, a survey was conducted between 6-14 May 2016 using random sampling. The 250 valid questionnaires obtained were analysed with the SPSS statistical software and the results were combined with the researchers' festival organisation experiences for interpretation. Additionally , a portrayal of the film festivals in Turkey in the year 2016 was established along with a meta-analysis of the publications regarding the influence of film festivals on the film industry and on society.

Dans cet article, nous allons essayer de faire état des conditions de possibilité d’une mesure d’audience radiométrique qui fait consensus chez les principaux acteurs du monde de la radio, ce consensus étant l’un des ingrédients principaux de la fabrication de cette audience.
Pour cela, nous proposons, dans un premier temps, de revenir sur ce qui existait avant Médiamétrie car Médiamétrie a été créé en réaction à ce qui a existé pendant 40 ans. Puis, nous verrons le modèle Médiamétrie. Enfin, nous verrons les caractéristiques de la « 55 000 ».

« La 55 000 ou l’avènement de la radiométrie moderne », in Thierry Lefebvre (sous la direction de), Cahiers d’histoire de la radiodiffusion, n°129, juillet-septembre 2016, http://fr.slideshare.net/SebastienPoulain/la-55-000-ou-lavnement-de-la-radiomtrie-moderne ou http://cohira.fr/cahier-n-129-juillet-septembre-2016/

L’accélération du temps judiciaire gagne tout autant la Suisse, la Belgique que la France. La question des « moyens » est récurrente dans le discours des acteurs professionnels, qu’ils soient sur le terrain ou en amont. Il s’agit de changer le modèle de justice pour le rendre toujours plus efficace et moins coûteux. L’audience criminelle française est aujourd’hui menacée. Or, les procédures brèves éludent la compréhension de l’acte, elles tournent le dos à une justice « restaurative ». Il s’agit de s’interroger sur le sens de l’audience, sur la justice que nous souhaitons rendre. Le travail du juge n’est jamais vain car le souci de mettre tout en œuvre pour produire une vérité contribue à la restauration du lien social.

Петрова, Д. (2019). Конспиративни теории, реторика и аргументация. В: Стефанова, Н., Петрова, Д. (съст. и ред.). Реториката в съвременното общество. Сборник с доклади от конференция по реторика 27–28 септември 2017 г. София: УИ "Св. Климент Охридски", с. 155-167.

Резюме: Конспиративните теории са чест феномен в днешния свят и разглеждането им през призмата на реториката е интересно, тъй като те се стремят да убедят и увлекат последователи и да повлияят общественото мнение. Докладът разглежда конспиративните теории в три аспекта: на тяхното дефиниране и характеризиране; на начините на постигане на тяхната убедителност и специфичната им аргументативност и на водещите психологически характеристики и фактори, които правят дадени индивиди и групи повече склонни да приемат и развиват подобни теории на заговора.

Ключови думи: конспиративни теории, аргументация.

I will evaluate the effectiveness of focus groups as a research method. Throughout this reflection, I will be referencing my own experience of conducting a Focus Group Session within a group project and discussing the literature that grounded my understanding of this research method. The main purpose of this is to demonstrate the theoretical ideas implemented into our research and how it had a fundamental impact on the results of our group project. Then after establishing the theoretical framework which helped this project it is possible to discuss the demands that challenged me during this task. Firstly, it will discuss a brief history of focus groups, to give context to what underpinned the study as my personal consideration throughout this project. I will then breakdown the process discussing the successes and failures of preparing and conducting a focus group study and the subsequent demands learnt from partaking this exercise. It is important to first establish an initial understanding of the history of focus group interviews in order to give context to the rest of this critical reflection and then how this research shaped the way this study was firstly undertaken. In my initial research I found that Focus groups were first established by scientist Robert Merton; as a way of opening the dialogue between soldiers and their moral that focused on US military during the war. This

The dialogic nature of the dramatic art allows the female characters of Shakespeare to challenge the stereotypes advocated by the dominant culture. Chaperoned and silenced, the Renaissance female audience may find solace in the freedom of the female characters of Shakespeare. The plays of Shakespeare deconstruct the common image of women by showing that they are never allowed to speak for themselves. The play-within- the play technique offers the female characters of Hamlet and A Midsummer Night’s Dream a rare opportunity of assuming the role of the audience and the critic. This allows them to challenge the male characters representational hegemony from a less vulnerable position than that of the character. This paper tries to show how Shakespeare uses his fictitious female audiences to address and critique the dominant patriarchal myths about the nature of women.

Encouraging more – and different – people to attend the arts remains a vital issue for the cultural sector. The question of who consumes culture, and why, is key to our understanding of the arts. This book examines the relationship of audience development to cultural policy and offers a ground-breaking perspective on how the practice of audience development is connected to ideas of democratic access to culture. Providing a detailed overview of arts marketing, audience development and cultural democracy, the book argues that the work of audience development has been profoundly misunderstood by the field of arts management. Drawing from a rich range of interviews with key individuals in the audience development field, the book argues for a re-conceptualisation of audience development as an ideological function of cultural policy. Of importance for students, academics and researchers working in arts management and cultural policy, the book is also vital reading for anyone working in the arts, cultural and heritage sectors with an interest in understanding how our relationship with the audience has been constructed.

• Provides a new understanding of the relationship between audiences and the arts
• Fundamentally changes the idea of audience development and its relationship to cultural policy
• Argues that arts management has misunderstood arts marketing and audience development

“This is a wonderful book, situating the goal of audience development into the centre of cultural policy discourse, with a deeply researched history, and new perspectives on contemporary challenges.”
—Michael Rushton, Professor of Public and Environmental Affairs, Indiana University, USA


“Everyone who cares about audiences should read this book. It clarifies some very important ideas about audience development and the place and value of organised culture in society. An eye-opening walk through the history of audience engagement, it is as accessible and wry as it is intelligent and timely.”
—Anne Torreggiani, Chief Executive, The Audience Agency


“This meticulously researched monograph offers a nuanced, behind-the-scenes perspective of the evolution of cultural policies related to audience development. A must read for any serious arts management or cultural policy scholar. Given the importance of democratic access to culture, it is both timely and important.”
—Ben Walmsley, Professor of Cultural Engagement, University of Leeds

Theatre is a complicated pastime, bridging the fields of arts and leisure and the drivers of aesthetics, hedonics, emotions, education and entertainment, to name but a few.

Pincus (2004) claims that quantitative research has failed to provide a true synthesis of motivation; and while some insight can be gleaned from recent research into the motives of event-goers and museum and gallery visitors, as well as from impact analysis of arts and cultural events, the complex motivations of theatre audiences remain unclear.

This paper therefore aims to explore the fundamental drivers behind theatre-going and to fill a gap in the literature on audience motivation. The paper achieves this through a comprehensive qualitative study of theatre-going at Melbourne Theatre Company and West Yorkshire Playhouse, which was carried out in 2010. The methods employed comprise a combination of qualitative techniques, including responsive depth interviews and participant observation.

The research finds that the key motivating factor for participants was the pursuit of emotional experiences and impact. This contests previous findings in other arts and leisure sectors, which prioritised escapism, learning, enhanced socialisation and fun. The paper concludes that motivation should be regarded as a construct determined by a complex combination of drivers and recommends that theatre organisations invest time and money in customised motivational segmentation and in enhancing the audience experience.

Key words: audience motivation; consumer behaviour; arts marketing; theatre-going; motivational segmentation.

Pop Art, 1950’li yılların başında özellikle ABD ve İngiltere'de soyut dışavurumculuğa tepki olarak ortaya çıkmış bir akımdır ve popüler kültürün ikonlaşmış endüstriyel tüketim imgelerini konu edinmiştir. Claes Oldenburg da Amerika’da Pop Art’ın heykel alanında ana konusu hamburger, pasta, diş macunu, sigara izmaritleri, patates kızartması, klozet gibi objeler olan çalışmalar üretmiş önemli sanatçılardan biridir. Oldenburg, Amerikan toplumunda benimsenmiş tüketim nesnelerini konu edinirken ikonlaşmış bu imgelere zekice ve alaycı bir mizah yoluyla göndermelerde bulunmuştur. Heykellerini abartılı ölçülerde büyüterek anıtsallaştırmış, sıradan nesneleri endüstriyel, ucuz ve yumuşak malzemelerle üretip, farklı bir bakış açısıyla izleyiciye yeniden sunmuş ve insan-nesne ilişkilerini sorgulamıştır. Oldenburg, geleneksel heykelin “katılık” ve “kalıcılık” gibi kalıplaşmış yapısını değiştirmiş, çağdaş heykel sanatına “yumuşak heykel” kavramını kazandırmış, kendinden sonraki sanatçılara ilham vermiştir.

The processes ideas are produced, created and shared are at the center of our world today. However, we also have to include the transformation that the audience of the idea experience, and their feedback in our world. This is because neither the message, nor the medium, or the producer and receiver of the message are the same as they were before. Representations cannot be distinguished from the means of representation. In our world of representations, “this is not a pipe” became “this can be anything”. Contemporary art works have become so difficult to comprehend even for the class of art producers, let alone the average audience. The basic principle of the contemporary art seems to be democratization of the artwork, erasing its borders and cult status, as Benjamin would think, and the result is an annihilation affect that the audience experience: “I can do the same!” In some others, the audience are involved in an interaction with the artwork in order to create a new language. If all these efforts are for nothing, then what are the positions of the artist, of the artwork, and of the audience? How can the trace and representation of the “artifact” produced find its place in the audience’s semantic world? Do the audience still have the right to object, and to think out aloud? Will the audience be able to find a way to contact with the artifact? Will this contact become an interactive one? In this paper, I will focus on these questions. 

Günümüz dünya tasarımının içine yerleştirdiğimiz fikir üretim, yaratım ve paylaşım sürecine bir de fikir ile karşı karşıya gelen izleyicide gerçekleşen değişimi ve geribildirim eylemlerini eklemek gerekiyor. Çünkü artık üretilen mesaj da mesajı üreten de mesajın iletildiği kanallar da, izleyici ya da alıcı da değişikliğe uğradı. Temsil edilen ne varsa, temsil eden araçlar ile arasındaki sınırları ortadan kaldırdı. Bu yüzden de “o bir pipo değildir” den “o artık her şey olabilir”e doğru evrilen bir temsiller dünyası yarattık. Bu temsiller dünyasında üreteci sınıf olarak bizlerin bile zorlanarak seyrettiği güncel sanat fanusunu, izleyicinin nasıl anlamlandırdığı ya da anlamlandıracağı da önemli sorulardan biri. Benjamin’in deyimiyle kült’leşen sanatı demokratikleştirme, sınırlarını yok etme ve izleyicide “Ben de yaparım.” duygusu yaratarak hiçleştirme güncel sanatın temel argümanlarından gibi görünüyor. Zaman zaman da izleyiciyi, üretilen eserlerle interaktif bir şekilde etkileşime sokarak, farklı bir dil yaratmaya çabalıyor. Peki her şey, hiçbir şey içinse gerek sanatçının gerek eserin gerekse izleyicinin konumu nasıl değişiyor? Üretilen “şey” lerin, izleyicinin anlam dünyasındaki sureti ve izi nasıl belirecek? İzleyicinin itiraz ve sesli konuşma hakkı ne olacak? Üretilen şey ile bir ilişki kurabilecek mi? Bu iletişim interaktif bir etkileşime dönüşebilecek mi? Bu bildiriyle bu soruları yanıtlamaya çalışacağım.

Adaptability is the key word when referring to the social history of opera, its institutions, its protagonists, its sponsors, its audiences and publics. This paper intends to illuminate only a limited number of certain historical aspects of opera’s social life in terms of its publics, audiences, consumers, appreciators and supporters. Opera’s social power has been for centuries in service to legitimate the power of authorities, to ensure the prestige of elites, and to heat the passion of masses. By referring to relevant literature and illustrative examples, it will be established at the end of this article that the element that ensured opera’s success and long survival was and remains its adaptability to whatever historical contexts, social conditions, economic situations, political regimes and cultural milieus surrounded it.

Mass media is defined as the forms of communication in a society that operates on a large scale and it is largely agreed that it is a very powerful tool in communicating ideas globally. Sociologists however are divided on the rate at which media messages are received and if they are received directly from the mass media or indirectly through other mediums. Direct theories focus on the role of the media as having a strong, usually pessimistic, and direct influence on audiences where indirect theories see the effect on the audience as slow and cumulative. There are also limited theories which provide a grey area between the two extremes. They focus on the ways audiences receive media messages whether directly or indirectly through social interaction with other people where the original media message is relayed and reinterpreted repeatedly throughout the audience.

Pemahaman komodifikasi audiens merupakan komoditas utama dari media massa. McQuail mengutarakannya sebagai hubungan resiprokal (timbal balik), kaitan ini dipandang dan diposisikan bahwa audiens sebagai pasar sekaligus komoditas (khususnya pengiklan). Setidaknya ada relasi segitiga dalam tradisi kritis studi ini, yakni: media, audiens, dan pengiklan. Kesemuanya memiliki kebutuhan utama dan kepentingan yang direpresentasikan audiens dan hubungan sosial antar kahalayak melalui mekanisme perilaku, seperti: pola perhatian, penafsiran, dan respon audiens berkaitan dengan isi dari jenis program TV. Oleh karenanya, menarik untuk dikritisi lebih jauh bagaimana program acara TV dalam mengkomodifikasi audiens sehingga dapat dijual kepada para pengiklan dan bagaimana implikasi dari sebuah sistem rating sebagai instrumen komodifikasi audiens terhadap public sphere. Asumsi dasar yang digunakan dalam telaah kritis ini adalah audience analysis yang merujuk pada praktik pertukaran ruang opini dimana setiap wacana (masalah-masalah sosial) dapat muncul secara bebas.

Apprenticeship Business Administration - Unit 9 - Deliver a presentation
Analyse the advantages and limitations of different methods of, and media for, making presentations
Explain how the type and size of the audience affects the delivery of a presentation
Explain the factors to be taken into account in developing contingency plans when delivering presentations
Explain voice projection and timing techniques when delivering presentations
Explain the factors to be taken into account in responding to questions from an audience
Explain different methods for evaluating the effectiveness of a presentation

There are numerous empirical sociological researches of transmedia storytelling media consumption. However, they mainly record either the practices of media consumption of specific media formats included in the structure of a transmedia project or the producers’ ways for constructing a narrative that creates transitions between media platforms. Often, researchers pay little attention to the circumstances of users’ interaction with the fictional world and their social relationships that form around a transmedia project. This study consists of a series of in-depth interviews and observations on the media consumption practices of users and fans of the fictional world which has formed around a series of fantasy works under the general name The Witcher. This transmedia project is interesting because, unlike specially created transmedia franchises with the expansion structures carefully planned by media companies, it forms itself spontaneously, as a result of the activities of different institutions and user participation, does not have a single development strategy, and is shaped by “grass-root” practices. The observation of media consumption practices of transmedia storytelling allows us to conceptualize construction’s peculiarities, such as narrative structures. Based on this data, it is possible to construct a network of interactions formed by the user migration between media platforms and compare such practices with the audience’s everyday practices. Since modern people form their understanding of the world based on their own experience and by using mediatized communication, transmedia storytelling represents a special kind of virtual reality or its particular case, which can be supplemented with the help of VR-technologies.
Эмпирические социологические исследования, посвященные медиапотреблению трансмедийных произведений, проводились неоднократно, но они главным образом фиксируют практики взаимодействия с конкретными медиаформатами, входящими в структуру трансмедийного проекта. Зачастую мало внимания уделяется обстоятельствам взаимодействия пользователей с вымышленным миром и их социальным отношениям, формирующимся вокруг трансмедийного проекта. Данное исследование состоит из серии глубинных интервью и наблюдений за практиками медиапотребления пользователей и поклонников вымышленного мира, сформировавшегося вокруг цикла произведений в жанре фэнтези под общим названием «Сага о Ведьмаке». Данный трансмедийный проект интересен тем, что в отличие от специально созданных трансмедийных франшиз, где структура расширения заранее спланирована медиакомпанией, он расширяется стихийно, благодаря деятельности разных институций и пользовательского участия, не имеет единой стратегии развития и сформирован практиками пользователей. Наблюдение практик медиапотребления трансмедийных произведений позволяет выявить способы конструирования подобных нарративных структур в формах медиатизированной коммуникации. На основе этих данных становится возможным построить сеть взаимодействий, формирующуюся вследствие миграции пользователей между платформами, и сравнить подобные практики с повседневными практиками аудитории. Так как современный человек формирует представление об окружающем мире не только исходя из личного опыта, но также использует медиатизированные средства коммуникации, трансмедийный сторителлинг, таким образом, предстает особого рода виртуальной реальностью или частным ее случаем, который может быть дополнен с помощью VR-технологий.

With the evolving generation, the world of television has taken over our lives. More than reading newspapers and magazines, people watch television in their free time. Reality shows have become the mantra of Television producers to amplify TRP as people are bored of watching the same melodrama. As the Indian serials are viewed by most of the adults, so is the reality shows loved by the today's youth. If people give a thought over the rising impact of Reality Shows on youth, the image can be horrifying. Entertainment along with twist in plot in reality shows is gaining the attention of youth. But the impact of these shows can either be positive or negative or both. The perception of youth can change drastically if they follow the reality shows. The purpose of the television producers is to make Reality Shows to entertain the audience. But along with the purpose, arises the impacts of these shows created in the minds of the youth. The main motive of this research paper is to study the impact of reality shows on youth and whether the show leads to behavioural changes in their life. The youth of today are mostly influenced by the content they watch on television or social media. They spend most of their free time in front of screens thus, the research paper includes an analysis of the responds collected by the youth (15-24 age group) of Delhi-NCR through the questionnaire method which included questions related to reality shows and its effect in their life. I. INTRODUCTION People are fond of Reality Shows. No wonder, the reality shows can make the audience cry, laugh etc at the same time. These shows comprising of talented people across the world can target the emotions of the viewers easily. In simple words, Reality Show is a platform where an individual gets a chance to showcase their talents. The world of reality shows is emerging and we can see how one can get an opportunity to perform in various fields like singing, dancing, modelling etc. It is not limited to just one talent. Reality Shows are accepted all over the world and they are not scripted. The individual has to perform instantly in front of the judge. They are not aware of what can happen at any moment in the show and this is what makes the reality shows unique and gains the attention of the audience at the same time. No doubt, there are so many debates claiming that the show is scripted. One thing that the reality show does is that they give the opportunity to the common people so that they can come forward and participate in the show. The viewers feel more connected when they see the common people performing and it gives them a confidence to step forward and give it a try if they have that talent. To make it more interesting, the concept of online voting is also available where one can vote for their respective favourite participant. The reason why reality shows are shown on Television is to entertain the audience and to find out the best performer rewarding them with a winning amount. If a person gets a chance to audition for the show and if they selected, it is a big opportunity for the person to strengthen his talent and also learn a lot through other participants. The platform is such where everybody leaves the show with growth and lessons. The judges are often seen motivating the participants and helping them to boost their confidence. The common people are recognized and loved by the audience. The youths specially look forward for new actions and talents. This behaviour is observed in most of the families where the youth (15-24 age group) watches the reality show with utmost dedication and start loving what the show portrays. They often follow the participants on social media so as to know more about their life history. After all, reality show is all about publicity. With the rise in popularity, comes criticism. Everything has its own good and bad. The factor of moderation comes to play. Bringing into light, the world of reality shows has not only done good because the world of youth is affected when they watch these shows. The age of 15-24 is the age where a child observes many things which tends to bring a change in their behaviour and thinking. The impact of reality shows on youth is a rising problem as some children do not watch these shows for entertainment. They want to become like the participants and believe that whatever is shown in the Television can be copied. The impact is greater on the youth as the adults have a better reasoning and maturity. The success of the Indian shows started from the establishment of "Kaun Banega Crorepati" which is hosted by popular superstar, Mr. Amitabh Bachchan. The show has the winning prize amount of Rs 1 crore. This amount is a lot for people who are struggling in their life. This show brought the real time success and opened the doors for reality television on small screens. On one hand, we see how "Kaun Banega Crorepati" helps to increase the general knowledge of the people and on the other hand, the reality show like "Big Boss" and "Roadies" are hyped leaving a negative impact on youth. The reason is the viewers get to see plotting against each other in the show.

Living in Mixed Realities
What does it mean to live, play and work in a world shaped and perceived through digital media, networks and architectures of real and virtual space? How can the development of complex communication spaces, life environments and economic models be designed as an interplay of technological, social, and artistic forces, as Mixed Realities of Art, Science and Technology.

The design of a Mixed Reality Architecture, which connects processes in virtual space to the social environments and everyday cultural practice, poses challenges to technologists, scientists and artists alike. Basic design elements are networked structures, which allow new collaborative forms of work and Knowledge Discovery, human-oriented interaction and Awareness, media spaces, Room ware and advanced interfaces.

cast01 artists and scientists will present innovative technologies, tools and research projects from the European Commission Information Society Technologies Programme (IST). Artists will show aesthetic concepts of digital culture and new interactive media formats.

Some of the topics that symbolize the influence of information technology on patterns of life and work in a networked society are Agents, Avatars, Semantic Web, poetic interfaces. cast01 explores new ways in which the next generation of cultural techniques can be understood, explored and supported through creative interdisciplinary strategies.

cast01 demonstrates outstanding examples of research, technological development and artistic production in the form of research papers and artistic presentations as well as blueprints and posters about ideas still under construction. More than 400 researchers, artists, theorists, practitioners and entrepreneurs submitted interdisciplinary projects and critical concepts on Mixed Reality. Highlights of the conference are the launch of the Internet media lab »netzspannung.org« and the »digital sparks« initiative.

CAST01 // RESUME
http://netzspannung.org/version1/cast01/resume/index.html

REVIEW of recurring issues by maia engeli and phoebe sengers
http://netzspannung.org/version1/extensions/cast01-proceedings/pdf/cast01_resume.pdf

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cast01 // Living in Mixed Realities: Conference on artistic, cultural and scientific aspects of experimental media spaces.
September 21-22, 2001. Sankt Augustin (Bonn, Germany)
Organiser: MARS-Exploratory Media Lab, GMD Institute for Media Communication.
Under the patronage of Edelgard Bulmahn, German Federal Minister for Education and Research

Cette recherche propose d’examiner la motivation des décisions criminelles en France, en Belgique et en Suisse comme l’aboutissement d’une mise en ordre des éléments de preuve recueillis tout au long de la procédure. À partir des liens que tisse la motivation avec l’audience cette recherche aborde les questionnements suivants : que traduit la motivation acquise par l’oralité des débats d’une assemblée composée de magistrats et de non-professionnels (jurés en France et en Belgique, juges laïcs en Suisse) ? La motivation est-elle une garantie contre l’arbitraire ou bien n’est-elle qu’un habillage juridique ? Le débat public et contradictoire de l’audience n’est-il pas plus apte à garantir un procès équitable ? Quel est l’impact de la communication de la motivation auprès des destinataires que sont l’accusé, la partie civile, l’opinion publique ? Les motivations françaises, belges et suisses assurent-elles la garantie d’un verdict compris par l’accusé comme le préconise la jurisprudence de la Cour européenne des droits de l’homme depuis l’arrêt Taxquet (2009) ? Enfin, les motifs des décisions criminelles, en rendant plus lisible l’acte de juger, parviennent-ils à renforcer la confiance des justiciables en l’institution judiciaire ?
La méthodologie
L’immersion dans les salles d’audience et les contacts noués avec les acteurs de la procédure – magistrats, avocats, greffiers – caractérisent la démarche ethnographique suivie durant les deux années de la recherche. Au total, plus de deux mois ont été consacrés à l’observation des audiences en France (Paris et Province), en Belgique (Bruxelles et Liège) et en Suisse dans trois cantons (Genève, le canton de Vaud (Lausanne, Vevey) et le canton du Tessin italophone (Locarno, Lugano)). Les jugements recueillis ont été mis en relation avec les notes d’audiences et les entretiens semi-directifs menés auprès des professionnels et des théoriciens du droit spécialistes de la procédure pénale : Benoît Frydman et Damien Vandermeersch pour la Belgique, André Kuhn pour la Suisse. La recherche a été ponctuée par des phases de terrain et de restitution des données, des phases de discussions entre les chercheurs, d’analyses croisées avec les professionnels.

Les principaux résultats
La catégorie juridique « inquisitoire / accusatoire » est apparue obsolète pour rendre compte des nouvelles pratiques judiciaires européennes. En Suisse, depuis 2011, alors que le procureur se substitue au juge d’instruction pour mener l’enquête, le président poursuit à l’audience l’instruction des faits à l’image du président de la cour d’assises française et belge. La description ethnographique des audiences a permis de dépasser cette catégorie juridique en apportant un regard transversal et nuancé de la réalité.

Cette recherche souligne enfin, le déficit de la représentation démocratique dans les juridictions criminelles : réduction du nombre de jurés en France (réforme du 10 août 2011), recours aux tribunaux correctionnels en Belgique (réforme de février 2016), suppression du jury populaire en Suisse (Nouveau Code de procédure pénale unifié appliqué en 2011).

Cette recherche démontre que les justices criminelles française, belge et suisse s’inscrivent dans un mouvement de rationalisation des débats qui tend à réduire les coûts. L’accélération du temps judiciaire gagne la Suisse, la Belgique et la France dans un souci de gestion managériale. Il s’agit alors de s’interroger sur le sens de l’audience : doit-elle être un lieu d’échanges capable d’offrir un espace de parole et d’écoute ou doit-elle être une rencontre formelle entre professionnels qui entérine une procédure écrite ? Autrement dit, quelle justice défendons-nous ? Préférons-nous faire appel à des magistrats au risque de privilégier une justice plus technique et routinière ? Ou, tenons-nous à une justice qui envisage une juste peine dans une perspective de réinsertion pour l’accusé associé à un travail de reconstruction pour la partie civile ? Selon cette perspective la motivation écrite mais aussi orale en lien avec l’audience prend tout son sens. Le travail du juge n’est jamais vain, le souci de mettre tout en œuvre pour entendre les parties contribue à la restauration du lien social. Le juge devient alors un faiseur de paix.