scholarly journals Sun and Sea (Marina). A Trap for Conventions and the Audience

Menotyra ◽  
2020 ◽  
Vol 27 (2) ◽  
Author(s):  
Vaidas Jauniškis
Keyword(s):  
Social Networks ◽  
Performance Art ◽  
Sharing Economy ◽  
Social Aspects ◽  
Art World ◽  
The Arts ◽  
The Social ◽  
Counter Culture ◽  
And Performance ◽  
Venice Biennale

The analysis of the opera-performance Sun and Sea (Marina), the winner of Venice Biennale 2019, shows how the contradictory traditions of opera and performance enrich each other and break numerous canons of the art world. Opera, which at the very birth of the genre was titled the most conventional and unnatural art, earned the top position in the social pyramid amongst the arts. Performance art represented counter-culture due to its naturalness and liveness. In their work, Lapelytė, Grainytė, and Barzdžiukaitė suggest playing with different contexts and different social aspects and questioning traditions of the arts. Opera changes due to a performative turn, interdisciplinarity, and revolutions in the opera world (Wilson and Glass Einstein on the Beach) due to the society of sharing economy, participatory theatre, social networks, and an experiential turn.

scholarly journals The Social Aspects of Sexual Health: A Twitter-Based Analysis of Valentine’s Day Perception

Sexes ◽  
2021 ◽  
Vol 2 (1) ◽  
pp. 50-59
Author(s):  
Andrea Sansone ◽  
Angelo Cignarelli ◽  
Daniele Mollaioli ◽  
Giacomo Ciocca ◽  
Erika Limoncin ◽  
...  
Keyword(s):  
Social Networks ◽  
Sexual Behavior ◽  
Sexual Health ◽  
Ad Hoc ◽  
Healthcare Research ◽  
Social Aspects ◽  
The Social ◽  
The Us ◽  
Valentine's Day ◽  
The Uk

Sentiment analysis (SA) is a technique aimed at extracting opinions and sentiments through the analysis of text, often used in healthcare research to understand patients’ needs and interests. Data from social networks, such as Twitter, can provide useful insights on sexual behavior. We aimed to assess the perception of Valentine’s Day by performing SA on tweets we collected between 28 January and 13 February 2019. Analysis was done using ad hoc software. A total of 883,615 unique tweets containing the word “valentine” in their text were collected. Geo-localization was available for 48,918 tweets; most the tweets came from the US (36,889, 75.41%), the UK (2605, 5.33%) and Canada (1661, 3.4%). The number of tweets increased approaching February 14. “Love” was the most recurring word, appearing in 111,981 tweets, followed by “gift” (55,136), “special” (34,518) and “happy” (33,913). Overall, 7318 tweets mentioned “sex”: among these tweets, the most recurring words were “sexy” (2317 tweets), “love” (1394) and “gift” (679); words pertaining to intimacy and sexual activity, such as “lingerie”, “porn”, and “date” were less common. In conclusion, tweets about Valentine’s Day mostly focus on the emotions, or on the material aspect of the celebration, and the sexual aspect of Valentine’s Day is rarely mentioned.

Applauders and authors: Notes on the profits and losses of audience engagement

2020 ◽  
Vol 6 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Sophie Purchase
Keyword(s):  
Social Practice ◽  
Collaborative Work ◽  
Art World ◽  
Community Based ◽  
Audience Engagement ◽  
Building Relationships ◽  
Positive Effects ◽  
High Profile ◽  
The Arts ◽  
Venice Biennale

Social practices, whether described as socially-engaged, participatory or community-based, share the potential to transform audience members into active participants in an artwork or project. However, the purpose of this public engagement is sometimes in conflict with the private experience of the viewer, constructing a complex relationship between audience, artist and gallery. Beginning by contextualizing the historic position of the audience in relation to the arts, the present article uses this as grounding to unpick elements of the dynamic which exist today. ‘The audience’ investigates the reported social benefits of engaging in the arts, questioning how evidence of these positive effects is reported and judged. This article exemplifies Marcelo Sánchez-Camus’ work with patients in palliative care and Spacemakers’ community-based projects as artworks intended to instigate positive social change. Further, ‘The artist’ explores the relationship between those facilitating these projects and their audience. By breaking down the term ‘audience’ into viewers, participants, collaborators and co-authors, one can use levels of agency to segment those involved and the differing experiences of their involvement. Petra Bauer’s long-term collaborative work with SCOT PEP is used to demonstrate how a group’s agency and stakes within an artwork can be enhanced by building relationships on equal terms. Finally, ‘The gallery’, uses the high-profile examples of Tate Group and Venice Biennale to demonstrate how the more powerful entities in the art world can misrepresent engagement and participation as quantitative markers of success or accessibility. This article ultimately aims to question what motivates the production of social practice and how these entities are important in constituting a successful process and outcome, for audience, artist and institute.

International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale

2017 ◽  
Vol 46 (1) ◽  
pp. 41-65 ◽  
Author(s):  
Emily H. Merson
Keyword(s):  
Indigenous Peoples ◽  
Knowledge Production ◽  
World Politics ◽  
Art World ◽  
Transnational Politics ◽  
Colonial Power ◽  
Video Installation ◽  
And Performance ◽  
Venice Biennale ◽  
Visual Interface

Drawing from and contributing to the International Relations (IR) aesthetics literature, I analyse how Anishinaabe artist Rebecca Belmore’s 2005 Venice Biennale performance-based video installation Fountain is an enactment of creative presence at an intersection of international and transnational politics. Belmore’s aesthetic method of engaging with water as a visual interface between the artist and viewer, by projecting the film of her performance onto a stream of falling water in the Canadian Pavilion exhibition, offers a method of understanding and transforming settler colonial power relations in world politics. I argue that Belmore’s artistic labour and knowledge production is an expression of Indigenous self-determination by discussing how Fountain is situated in relation with Indigenous peoples’ transnational land and waterway reclamations and cultural resurgences as well as the colonial context of the international art world dynamics of the Venice Biennale. My analysis of Belmore’s decolonial sensibility and political imagination with respect to water contributes to IR aesthetics debates by foregrounding the embodiment of knowledge production and performance artwork as a method of decolonisation.

A time for play: Interstitial time, Invest/Express games, and feminine leisure style

2016 ◽  
Vol 20 (1) ◽  
pp. 105-121 ◽  
Author(s):  
Shira Chess
Keyword(s):  
Social Networks ◽  
Video Games ◽  
Social Networking ◽  
Mobile Devices ◽  
Social Relationships ◽  
Social Aspects ◽  
The Social

Games such as FarmVille and other casuals played on social networks and mobile devices have recently become increasingly popular. Research on Social Networking Games (SNGs) often focuses on the “social” aspects—how this newer style of games engenders social relationships from disparate locations. This essay examines the genre of gaming in terms of their industry category, “Invest/Express Games.” Using the Invest/Express label as a means of rethinking the role of interstitial time, this essay proposes that the gaming style taps in to what can be understood as “feminine leisure style.” In many ways, the significance of Invest/Express embodies a shift toward a feminization of popular video games.

scholarly journals Presença e morte: o carácter efémero das artes do corpo.

2021 ◽  
Author(s):  
Pedro Bessa ◽  
Mariana Assunção Quintes dos Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Fine Arts ◽  
Classical System ◽  
Physical Object ◽  
The Body ◽  
Contemporary Dance ◽  
The Arts ◽  
Technical Reproducibility ◽  
And Performance

This paper aims to reflect on a hypothetical threshold-space between contemporary dance and performance art, questioning at the same time the prevalence of too strict a boundary between them. To this end, a range of works involving hybridization of artistic languages ​​were selected and analyzed, from Signals (1970) by American dancer and choreographer Merce Cunningham to Café Müller (1978) by German choreographer Pina Bausch. Both dance and performance art are ephemeral arts or, according to the classical system, arts of time as opposed to the arts of space - painting, sculpture and architecture. They have also been called allographic arts, performative arts or, perhaps more specifically, arts of the body (Ribeiro, 1997). Unlike traditional fine arts, which materialize in a physical object other than the body, unlike video-art and cinema, arts without originals, mediated by the process of “technical reproducibility” (Benjamin, 1992), performative arts require the presence of a human body - and the duration of the present - as a fundamental instrument for their realization. In that sense, the paper also focuses on the ephemerality factor associated with dance and performing arts, and the consequent devaluation these have suffered vis-à-vis other artistic practices, considered to be academic and socially more significant.

Looking Sociologically at Family Coping with Visual Impairment

1994 ◽  
Vol 88 (4) ◽  
pp. 329-337 ◽  
Author(s):  
H.L. Nixon
Keyword(s):  
Social Support ◽  
Social Networks ◽  
Social Construction ◽  
Visual Impairment ◽  
Social Structures ◽  
Social Aspects ◽  
Family Coping ◽  
Family Social Support ◽  
The Social ◽  
Support Relations

This article provides an overview of relevant sociological perspectives and knowledge about major social aspects of family coping with visual impairment. Special attention is given to the importance of the social structures and dynamics of families as social networks, the social construction of impairment experiences by families, family social support relations, and the visual impairment of older family members.

scholarly journals Engagement and Performance Studies of Media Agencies Publications on Social Networks

2020 ◽  
Vol 8 (3) ◽  
pp. 4
Author(s):  
Mohcine Kodad
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Performance Studies ◽  
Research Work ◽  
Future Research ◽  
The Social ◽  
The World ◽  
And Performance ◽  
Interaction Strategy ◽  
Facebook Pages

This paper presents a study that contributes to the existing work on the social diffusion and interaction strategy in social media. The aim is to know the most shared post by some electronic media in the world from end to end social network, and also to know post nature of the most successful one, and the link between different kind of interaction these are main objectives of this study. Our work is also considered as a ground and a base for social network analysis researchers in all social networks in order to allow them to benefit and help in their future research work from all information collected and results found via this study. An empirical analysis using multiple methods is conducted based on 275 Facebook publications gathered from the Facebook pages of 5 electronics journals the best one in its original country represented 5 countries in the world. This contribution discovered a set of important information and it is also projected to confirm hypothesis addressed in pre-existing studies

Work relationships: counteracting the negative effects of conflict

2016 ◽  
Vol 27 (2) ◽  
pp. 225-248 ◽  
Author(s):  
Martijn Jungst ◽  
Boris Blumberg
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Job Engagement ◽  
Content Type ◽  
Moderated Mediation Model ◽  
The Social ◽  
Network Quality ◽  
And Performance ◽  
The Relationship

Purpose Guided by social resource theory, this study aims to examine the influence of conflict (i.e. task and relationship) on performance. The authors investigated whether job engagement mediates this relationship and whether social network quality moderates the relationship between conflict, job engagement and performance. Design/methodology/approach The authors built and tested a moderated mediation model, using data from 217 graduate students. Findings Results showed that job engagement operates as a mediating mechanism between task conflict and performance. The authors also found that the indirect effect of job engagement depended upon the quality of the social networks. When the quality of the social network was high, both the task and relationship conflict did not negatively influence the association between job engagement and performance. Research limitations/implications These findings provide new insights into how social embeddedness in the form of social network quality can create a social context in which conflict works out less detrimental. Practical implications Given that employees are interdependent and coworkers are likely to differ in their personal values and opinions, the authors conclude that managers should facilitate the development of meaningful relationships at work. Originality/value Whereas prior research has found conflict (i.e. task and relationship) to negatively associate with performance, the authors show that social networks do affect the strength of the relationship between conflict (i.e. task and relationship) and performance.

Bridging the gap

2016 ◽  
Vol 37 (5) ◽  
pp. 900-916 ◽  
Author(s):  
Seungjin Choi
Keyword(s):  
Social Capital ◽  
Social Networks ◽  
Social Relationships ◽  
Content Type ◽  
Reciprocal Relationships ◽  
The Social ◽  
Group Members ◽  
And Performance ◽  
The Relationship ◽  
Practical Implications

Purpose – The purpose of this paper is to theoretically clarify the relationship between public service motivation and performance by suggesting a framework in which social networks among members provide an explicit mechanism linking employees’ PSM with their performance and by proposing several empirically testable propositions. Design/methodology/approach – The author suggests a theoretical framework based on a literature review and combining insights from several major strands of theory including social capital and social network theories. Findings – Conceptually, the paper shows that, first, the extent of the social relationships among group members and their positions within a network vary depending on the level of PSM; second, individuals with high PSM are more likely to complete their tasks when they are in central positions in a network of advice relations and less likely to complete their tasks when they are in peripheral positions in central positions and a network of advice relations in a network of adversarial relations; third, group members with high PSM are more likely to complete group tasks when the group has higher density in a network of advice relations and less likely to complete tasks in a dense network of adversarial relations. Practical implications – The author demonstrates the possibility of reciprocal relationships between PSM and social networks, in which PSM builds social capital that reinforces each member’s PSM by enhancing relationship quality, which will positively affect performance. Originality/value – This paper provides opportunities for future empirical research by developing the discussion about a new conceptual mechanism in the relationship between PSM and performance, proposing an initial conceptual framework that clarifies the PSM and performance linkage, and suggesting several testable propositions.

Art and Its Publics, c. 1800

2006 ◽  
Author(s):  
James J. Sheehan
Keyword(s):  
Visual Arts ◽  
Geographical Location ◽  
Art World ◽  
Old Regime ◽  
Revolutionary Era ◽  
The Public ◽  
The Arts ◽  
National Values ◽  
The Social ◽  
Relationship Of

This chapter begins by sketching the principal ingredients of what Paul Kristeller called ‘the modern system of the arts’: the concept of art itself; art as created by an artist; and art as public. It then examines the condition of the visual arts at the beginning of the nineteenth century, that is, in the middle of the great revolutionary era that began in 1789. In talking about the arts, a Tocquevillian sense of continuity between old regime and revolution is wholly appropriate. The revolution changed the modern art world in several important ways. Three of these changes are discussed. The first has to do with the social setting of art and artists, and especially with artists' changing relationship to patrons and the public. The second concerns the geographical location of art, particularly the shift in the visual arts' centre of gravity away from Italy to Paris, which would remain the artistic capital of Europe for the next century. The third theme is about the complex relationship of national values and national themes to European art, especially painting.

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