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The kind of transactional, or tit-for-tat giftedness that so many programs identify and develop will not help to create a better world. Yet, if anyone is in a position to create a better world, it is our gifted young people. In this article, roles are presented that can be used to create change in the world. Some of these roles, when applied toward good causes, can be positive—advocate, activist, and champion. Others tend to be negative—fool, fanatic, and spoiler. We should teach in a way that encourages gifted students to become champions of positive causes—to take leadership roles in effecting positive change. This article discusses how those in the gifted field might think about this task. [ABSTRACT FROM AUTHOR]

This paper examines the art forms that use motion as the main medium. It focuses on the various kinds of movable books that share the capacity for physical transformation and are collectively known as pop-up books. In the last 30 years, contemporary art museums have included them in their publishing programs; museum bookstores have increased the number of special displays, creating a physical neighborhood with kinetic artworks, which are primarily associated with motion-based art. Consequently, the problem of the relationship between the two arises. Despite the common forms and themes they tackle, there is a distinct gap between kinetic art and the pop-up book in theoretical discourse. It manifests itself, first, in vocabulary, as a lack of clear definitions and terms; second, through the isolation of the theoretical studies in these two domains. Referring to ideas of Frank Popper and George Rickey on kinetic art and focusing on the spectator's perspective, I seek to define the elements of a common vocabulary. Based on a comparative study of kinetic artworks and pop-up books, I propose a classification of art forms from two perspectives – the first relying on motion and physical mechanisms and the second centered around the effects of movement. [ABSTRACT FROM AUTHOR]

Abstract Background The current understanding of the relationship between physical activity involvement and flourishing, as well as the underlying psychological mechanisms, remains limited. Building upon the basic psychological need theory, this study investigates whether and how engaging in physical activities, either as a spectator (e.g., in sports events such as the World Cup) or a participant, explains individual differences in flourishing. Methods A total of 1201 Hong Kong-based Chinese adults (M age = 42.90, SD = 11.40; 54% female) completed an anonymous online survey from the quarter-final to final stages of the 2022 FIFA World Cup in December 2022. Results Findings showed that spectator (World Cup) involvement and participant involvement were positively correlated. Moreover, both types of involvements were correlated with flourishing. In addition to the hypothesized positive association with relatedness satisfaction, spectator (World Cup) involvement was also demonstrated significant associations with autonomy and competence satisfaction. Path analysis indicated that associations between physical activities and flourishing were partially mediated by the satisfaction of all three basic psychological needs. Conclusions This study is the first to apply the basic psychological need theory in the context of physical activity and supports its relevance in understanding individual differences in flourishing. Different stakeholders are encouraged to recognize the benefits of both spectator and participant involvements in physical activities, which may help them develop supportive strategies (e.g., physical activities with parents, sports events for spectators and participants, and funding for media/communities) in mental health promotion.

Background: The current understanding of the relationship between physical activity involvement and flourishing, as well as the underlying psychological mechanisms, remains limited. Building upon the basic psychological need theory, this study investigates whether and how engaging in physical activities, either as a spectator (e.g., in sports events such as the World Cup) or a participant, explains individual differences in flourishing. Methods: A total of 1201 Hong Kong-based Chinese adults (Mage = 42.90, SD = 11.40; 54% female) completed an anonymous online survey from the quarter-final to final stages of the 2022 FIFA World Cup in December 2022. Results: Findings showed that spectator (World Cup) involvement and participant involvement were positively correlated. Moreover, both types of involvements were correlated with flourishing. In addition to the hypothesized positive association with relatedness satisfaction, spectator (World Cup) involvement was also demonstrated significant associations with autonomy and competence satisfaction. Path analysis indicated that associations between physical activities and flourishing were partially mediated by the satisfaction of all three basic psychological needs. Conclusions: This study is the first to apply the basic psychological need theory in the context of physical activity and supports its relevance in understanding individual differences in flourishing. Different stakeholders are encouraged to recognize the benefits of both spectator and participant involvements in physical activities, which may help them develop supportive strategies (e.g., physical activities with parents, sports events for spectators and participants, and funding for media/communities) in mental health promotion. [ABSTRACT FROM AUTHOR]

This study aimed to test the Turkish adaptation of the Stadium Atmosphere Scale (STAS) and reveal its psychometric properties. We collected data from 324 football spectators and fans, which were selected using the convenience sampling method. We carried out four different tests for Turkish adaptation and psychometric properties of the scale after performing Turkish language co-validation. The CFA analysis with varying configurations of the model revealed that the construct of the STAS fit well in both the correlated factor model and the hierarchical model and best fit the data collected from the Turkish population. Additionally, we tested measurement and structural invariance to examine if the scale was also performed for spectators participating for different purposes in the same way and determined that the relevant scale preserved its basic structure in both football spectators and fans and that the scale could be used as an appropriate measurement tool. These results demonstrated that the STAS would be used as a valid and reliable measurement tool for the population in Turkey.

His article presents the results of research realized from the movie "Como nossos pais" (2017) by Laís Bodanzky. The goal was to understand the imbricated genre relations in the movie via a spectation research guided by the lens of psychology and cinema. The methodological dimension was directed by the spectation-research, perspective that approaches the title by its affections, effects and details noticed by the investigator spectator. The analytical process was starred by the relations between art and politics, especially the idea of "Espectador emancipado" and the political dimension of art. The unfolding of this research refers to the genre stereotypes builded and socially naturalized in movies, beyond the cinema constructions as the social imaginary investigation field, and the possibilities of knowing other(s) reality(ies) from the audiovisual. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aimed to test the Turkish adaptation of the Stadium Atmosphere Scale (STAS) and reveal its psychometric properties. We collected data from 324 football spectators and fans, which were selected using the convenience sampling method. We carried out four different tests for Turkish adaptation and psychometric properties of the scale after performing Turkish language co-validation. The CFA analysis with varying configurations of the model revealed that the construct of the STAS fit well in both the correlated factor model and the hierarchical model and best fit the data collected from the Turkish population. Additionally, we tested measurement and structural invariance to examine if the scale was also performed for spectators participating for different purposes in the same way and determined that the relevant scale preserved its basic structure in both football spectators and fans and that the scale could be used as an appropriate measurement tool. These results demonstrated that the STAS would be used as a valid and reliable measurement tool for the population in Turkey. [ABSTRACT FROM AUTHOR]

For sports to thrive in the long run, it is crucial to understand what motivates fans to attend games and tournaments. This study investigated the factors influencing home-game attendance for a professional football team. 370 supporters who were 18 years of age or older freely completed the surveys at a Malaysian Football League game held at Stadium Likas in Kota Kinabalu, Sabah. Two surveys used a five-point Likert scale to gauge team loyalty (The Tsiotsou scale, 2013) and spectator satisfaction (Oliver, 1980). The Stadium Attendance and Non-Attendance Reason Scale (SANARS) used a Likert-type scale ranging from 1 to 7 to measure stadium attendance, general atmosphere, team impact, and personal relaxation. Cronbach's Alpha for the scales ranged from 0.76 to 0.84, demonstrating excellent reliability and validity. The data was analyzed using SPSS 23.0 package software, using both descriptive statistics and Structural Equation Modelling. Attendance at a stadium was shown to be significantly affected by factors including general atmosphere, spectator satisfaction, team loyalty, personal relaxation opportunities, and team effect. This research also showed how fans' satisfaction during games and the team effect influences fan loyalty. In conclusion, the long-term viability, growth, and success of football clubs and leagues depend on identifying and anticipating the characteristics that affect fan attendance. In the future, researchers may look into why local supporters refrain from frequenting their home stadium. When assessing the effectiveness of the proposed model, it is also essential to consider the demographics and regional behaviours of fans. [ABSTRACT FROM AUTHOR]

In this article, a conceptual model for service quality of eSports events was proposed including four dimensions: competition quality refers to the perceived quality of the actual game itself; physical environment quality dimension stands for the physical surroundings where the service is produced and delivered; event execution quality measures the intangible items in the peripheral service, which can be directly designed or managed by the event organizer; and interaction quality measures the interaction among spectators, such as crowd experience or social factor. The validity of each dimension in other service industries and its suitability in the eSports context are both taken into consideration. At the current stage, the model is conceptualized from existing literature, thus demanding further qualitative and quantitative study. [ABSTRACT FROM AUTHOR]

How to think about mediation in the online universe? This question is the starting point for the practical mediation proposal for the comic show "Leave your problems out there" by the Curitiba-based group Antropofocus, designed and conceived for online presentation with live transmission. The work portrays an auditorium program in which the presenting characters ask viewers to forget the enormous amount of bad news that probe the current moment. The research aims to contribute to the analysis of proposals for theatrical mediation developed in a virtual environment with a focus on the new appreciation format that the online environment provides and which implies a new way of being a spectator. [ABSTRACT FROM AUTHOR]

Copyright of Online Journal of Recreation & Sports is the property of Online Journal of Recreation & Sports and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In an effort to decrease the number of missed calls and to improve officiating during sport events, various sports leagues have implemented media technology (e.g., Video Assistant Referee, Hawk-Eye). More importantly, the use of officiating technology has significantly influenced spectatorship in various ways (e.g., perception of and attitude toward the technology). Although officiating technology is an impressive tool for communicating final decisions to spectators, few scholars have examined how spectators perceive the use of officiating technology, and no psychometric measurement scale exists that measures this perception. To fill this void, we developed and validated the Performance Expectancy of Officiating Technology (PEOT) scale to measure the perceptions of spectators, one of the most important stakeholder groups in the industry. We identified four sub-dimensions of PEOT: fair judgment, enjoyability, efficient game operation, and convenience of review; a multi-dimensional framework that provides a psychometrically sound approach to assessment. The results reveal that PEOT had a positive and direct impact on attitude toward and intention to watch sport events. In addition, attitude partially mediated the relationship between performance expectancy and intention to watch sport events. Theoretical and practical implications are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Sport for All & Recreation / Herkes Için Spor ve Rekreasyon is the property of Journal of Sport for All & Recreation / Herkes icin Spor ve Rekreasyon Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Being a spectator in the theater has not always meant watching a performance while sitting quietly in the dark. There was a time when theaters were fully lit and very noisy. A whole range of legislative, administrative, architectural, and aesthetic reforms as well as state ordinances were needed to tame this quarrelsome and undisciplined mass and to transform it into a contemplative and empathic audience that became a function of the imagination. There is a close connection between the development of a theater that had become an agent of government and the emergence of increasingly effective mechanisms of theatrical illusion. Governmentality generates a new aesthetic that aims to steer the audience in certain directions, to determine and to control it. It goes without saying that theater, especially modern theater, has had a decisive effect in this direction. Theater was and is both an agent of governmentality and its critique. Now, this critique has manifested itself and continues to manifest itself in projects aimed at emancipating the public from any kind of governmentality via the stage itself. Yet the stage remains an agent of governmentality even as it seeks to evade this function. This is a paradox that is perhaps constitutive and necessary to theater. The question now is whether this paradox can be resolved and whether an autonomous emancipation of the audience—one that is not governed by the stage—can be imagined, and, if so, in what forms. Put otherwise, it is a question of whether the spectator “without someone else’s guidance” can alienate himself from this position and become a self-determined subject.

This essay examines the “actator,” who is found in early modern Spanish theatre to be the original example of the micronaut. First, the definition of the actator will be explored, in both directions, from spectator to actator and from actor to actator, with additional information about the channel of communication between actor and spectator, and the intermediary space thereby formed, with attention paid to the glass, or fourth, wall. Second, a detailed analysis of the multiple examples of the actator in Alonso del Campo’s medieval play Auto de la Pasión will be given, studying both actors and spectators through the examination of the deployment of the dramatic devices, such as the monologue, in all of its sub-categories and functions. Research findings by Carmen Torroja Menéndez, María Rivas Palá, Hans-Jürgen Diller, and Cynthia Bourgeault will be referenced. Then, a cursory examination of the renaissance-baroque metatheatre of Miguel de Cervantes, specifically in the entremés «El retablo de las maravillas» and the comedia Pedro de Urdemalas, will offer additional examples of the early actator, including the most ambitious of all, Pedro de Urdemalas himself. Here, the investigative work by Thomas Austin O’Connor and Jean Canavaggio will be included. Finally, all of this is expected to substantiate and prove that the first micronaut is actually the actator, as found in early modern theatre of Spain.

Over the past few decades, dark tourism has become increasingly popular. The level of participation of the dark tourist within a dark site underlies the variety of experiences that can be produced, depending on the type of audience engagement. This study attempts to design the discourse of a performance-based typology of dark tourism, built on the representations of tourists' participation within the Netflix documentary series Dark Tourist. As screen tourism can influence behavior patterns, a typology of spectator, spect-actor, and actor roles is presented. [ABSTRACT FROM AUTHOR]

The Present Study has Disburse to Determine the Factors Affecting Attendance of Iranian Spectator in Volleyball World League and its Relationship to their Purchase Behaviors. This Study was a Correlation Research and in form of Field Study. To Collect Data Standardized Questionnaires Factors Affecting Attendance’s Alimohammadi (1390) and Purchase Behavior’s Kim (2008) between Samples (n=372) were Collected and Distributed. The Opinions of Professors and Experts in the field of Sport Management Was Used to Ensure Renewed of Validity of Questions and Items that Used to Measurement the Implications of the Study. The Reliability of the Instrument Was Approved by Using Cronbach's alpha Coefficient in order for the Questionnaires Factors Affecting Attendance and Purchase Behavior Was 0/85 and 0/70. The Results Showed that Vicarious Achievement, Information and Attraction and Excitement were the most Important in Factors Affecting Attendance Spectator and in front of the Facilities, Attending and Support, Scheduling and Inform were the least Important. Results also Showed that the Attending and Support (t=4.44 and β=0.243), Operation (t=2.102 and β=0/117) and Excitement (t=2.43 and β=0/136) has a significant causal relationship with the Purchase Behavior. Considering to the Findings of Research on the Factors Affecting Attendance Spectator could be Provide Guidelines for the Management of the Federation in Attractant Spectators. [ABSTRACT FROM AUTHOR]

The visual magic of the miniature world allows the depiction of the past using a combination of advanced contemporary, as well as classical technologies. For the viewer to be transported back in time, the miniature must be a hyper-realistic representation that acts on the viewer's memory and imagination. A miniature, appreciable in size, in which the scenes turn out to be drawn from the reality of the past, constitutes an extremely effective method of actualizing a tragic episode of history. And since miniatures can transform reality into art, they are, simultaneously, artistic compositions. [ABSTRACT FROM AUTHOR]

Montage is commonly identified solely with film-editing. Why this is the case when conceptually it is synonymous with the practice of collage is due largely to the Soviet insistence that Russian editing practices - montage - differed substantially from Hollywood editing practices. In asserting the specificity of a Soviet montage practice which seeks to entirely control the message of film for the spectator, Sergei Eisenstein set himself against the thinking of his rival and contemporary Dziga Vertov. In this dispute, the focus becomes the politics of reading more generally. This dispute around the politics of active reading is later echoed and amplified in Jacques Derrida's arguments around the postcard, and picked up in South Africa around the understanding of a recent montage text, 40 nights/40 days: from the lockdown. The dynamics of what it is to be a "fearful reader" are here taken further through the question of montage in play and the politics of reading in the moment of Covid-19. [ABSTRACT FROM AUTHOR]

This article proposes how theatre, as a site of expert adult imaginative play, provides a unique window into how E-cognition can advance our understanding of imagination as a lifelong practice. I characterize theatrical activity as highly developed actions and strategies for wielding bodies, objects, and environments as imaginative practice. Through an enactively based case study of the play Provenance by Autopoetics (2018), I reveal how creation and performance processes literally and epistemically engineer novel niches for the spectator. This case study investigates how Provenance's recurring theatrical device of newspaper manipulation constitutes a cognitive device for an affordance-oriented and predictive spectator. As I track the priorities and processes of these longstanding play development and performance techniques informed by the theatrical tradition of Jacques Lecoq (1921–1999), I suggest how concepts such as affordances, affordance spaces, predictive engagement, and the free energy principle are apt conceptual tools for understanding how these practices engender imaginative encounters. I follow this analysis by suggesting, via the free energy principle's conception of "models," that there may be cognitive consequences to the possible changes experienced by the spectator that exceed theatrical experience. I conclude this discussion by pointing toward how my 4-E inflected insights on the imaginative practices of Provenance may be applicable to imagination and pretense in other arenas not just behind but also beyond the footlights. [ABSTRACT FROM AUTHOR]

This paper revisits the online documentation of Eduardo Kac’s work Genesis (1999) in order to address the problematic of embodiment as it emerges in the process of specta(c)torship afforded by this work. The central piece of Genesis consisted in a genetically modified bacteria which incorporated an artist-designed synthetic gene created by translating into DNA base pairs a sentence from the biblical book of Genesis. The reading that I propose problematizes the meaning of the human body in view of the complex entanglement of living and technological systems that appears in this work. Relying on elements from the archival theory formulated by Jacques Derrida, this paper reads Genesis as an attempt to playfully undo the origin (the human master of nature, and the associated duality between culture and nature) form inside the very history that this origin grounds, by folding into one another the cultural archive of the written biblical fragment, the technological archive that makes the work possible, and the DNA as an archive of chemical sequences that constitutes the fundament of life. The article also raises the question of how to address environmental crisis from a perspective that does not rely on the figure of the human and on the nature/culture divide.

Spectators are an important part of sports events. With this knowledge, marketers have always attempted to recognize their demands, requests, and behavioral intentions to clarify the reason and quality of spectators' behaviors during their presence in sports events. The aim of the present research was to examine the impact of experiential marketing on the behavioral intentions of the spectators of the Iranian professional football league through the satisfaction of the event. The methodology of the study was a descriptive correlative type, which was implemented in the field. The statistical population of the research was the spectators of the teams present in the seventeenth Iranian football premier league (2017-2018). Among sixteen clubs present in the premier league, eight clubs were selected based on geographical zoning (stratified sampling method) and questionnaires were distributed among them (917 people) and then collected. To collect data, questionnaires of Experiential Marketing by Tasser, Chiaw, and Wang (2007), the Brand Equity by Acer (2009), and the Behavioral Intentions by Theodrakis et al. (2013) were used. In order to confirm the validity of the tools for measuring the components related to the main variables of the research in the studied society, content validity and structure of the confirmatory factor analysis approach were used. And to verify the reliability of the tools, Cronbach's alpha coefficient was used, the values of which are 0.89, 0.76, and 0.91 for the questionnaires of experiential marketing, brand equity, and behavioral intentions, respectively. Data analysis was done using the structural equation model (Smart PLS software) at the significance level of P < 0.05. The results revealed that experiential marketing has a positive and significant effect on brand equity (0.63) and behavioral intentions (0.20). Brand equity played the role of mediating variable in the relationship between experiential marketing and behavioral intentions, and finally, the research model was confirmed. According to the results of the research, it can be stated that part of spectators' behavioral intentions can be justified through experiential marketing and brand equity. Therefore, it is suggested that the authorities provide the necessary grounds for increasing these variables. To achieve this goal, sports clubs should try to improve their interaction with sports spectators. [ABSTRACT FROM AUTHOR]

The history of the photo book is practically old as the history of photography. A photo book is more than just an object with leaves and pages, photographs, with or without text. Throughout The Core, the work of the young artist Mladen Teofilović, the text analyses the photography book as the relationships between text, images, and spectator. According to the artist's idea, the photo book looks like a metal box that imitates a hospital file. Conceiving the work in this way, the artist reveals and interprets the fragments from his life: his struggle with a severe migraine, his attempt to find a solution, to accept his condition and live with it. Teofilović directs his photo book to the spectator, inviting him to take a part in disassembly, analysis and reading where every picture, text or sentence does not have to but can take on a different meaning. [ABSTRACT FROM AUTHOR]

Contemporary site-specific (environmental) theatre spaces not only determine the nature of performances, but also have a powerful impact on spectatorship. These spaces are not as representational as in traditional practice. The performance is not presented as a mere object of aesthetic contemplation, but rather through the involvement of the spectator in the space, with direct emotional effects. This “displacement”, which means the shift of performance from the traditional (perspective stage) space to a concrete, artistically neutral context, has visible consequences in terms of the use of space, the visuals, and, not least, the reception. The defining discourse of the present research tries to shed light on the somatic forms of the spectator’s (aesthetic) experience, since not only the actor’s body, but also the spectator’s bodily experience is interpreted differently in different paradigms. The paper argues that the viewer’s somatic experience is tightly related to spatiality, and therefore it seems essential to explore the problems associated with spatiality. I would like to point out the essential shift in how non-traditional, site-specific theatrical spaces can change the somatic experience and perception of the spectator, and how these spaces have a concrete impact on the spectator and on reception. [ABSTRACT FROM AUTHOR]

Value co-creation measurements in a recurring sporting event sprang from an academic and a practical desire to understand value co-creation. This study aims to (1) identify and explore the co-production and value-in-use, two dimensions of value co-creation measurement; (2) verify the validity of the measurements of the value co-creation model; and (3) examine whether noteworthy differences exist between residents and tourists in co-creation, respectively. For this purpose, this study conducted two studies. Study 1 establishes the value co-creation model and compares the reflective and formative models. Study 2 tests the proposed model's validity and reliability and examines the moderating effect of travel patterns (residents and tourists). The results indicated that the value co-creation measurement is hierarchical and exhibits reliability and validity in the reflective model. The results further demonstrate that co-production and value-in-use patterns differ by residents or tourists. The current study uses S-D logic to better understand value co-creation's hierarchical theoretical nature from the perspective of residents and tourists in the recurring sporting event context, thus contributing to sport management literature. Furthermore, this paper contributes to value co-creation studies, showing that various attendees (residents and tourists) perceive different levels of co-creation because resources may vary by social group. [ABSTRACT FROM AUTHOR]

Objective: Although the health benefits of playing sports are well-known, the association between watching sports and health is not well understood. We examined the longitudinal association of watching sports with 20 different health and well-being outcomes., Methods: Three-wave cohort data from 6327 adults (4851 workers) in the Meiji Yasuda LifeStyle study were used to draw causal inferences. We assessed the frequency of watching sports games on media or in-person using a self-reported questionnaire in 2018. Outcomes, including health behaviors, physical, mental, and work-related outcomes, were evaluated in 2019. In 2017, sociodemographic factors, prior exposure, and outcome values were evaluated and used as covariates. Three different statistical models (logistic, modified Poisson, or linear regression) were used according to the nature of the outcome variable., Results: Watching sports on media had a favorable dose-response association with a lower risk of becoming physically inactive and skipping breakfast, as well as higher happiness (p for trend < 0.05). Conversely, watching sports on media had an adverse dose-response association with higher body mass index and increased risks of developing hypertension and diabetes (p for trend < 0.05). Watching sports in-person had a dose-response association with lower risks of exhibiting the precontemplation stage of health behavior change, moderate/severe psychological distress, and dyslipidemia (p for trend < 0.05)., Conclusions: Despite the observed detrimental association between watching sports and cardiometabolic health, which should be interpreted cautiously and studied further, the study findings suggest that watching sports could be a new modifiable protective factor for developing healthy lifestyles and improving mental well-being., Competing Interests: Declaration of competing interest The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (Copyright © 2024 The Authors. Published by Elsevier Inc. All rights reserved.)

The restriction imposed by COVID-19 pandemic has caused a great social change in the world and has affected many sectors, including the sport industry by having an impact and altering the normal development of the sport competitions and events. Therefore, it is fundamental to know sport fans’ opinions about the professional championships during the confinement period. The sample is composed by 1025 professional sports leagues fans and major sporting events celebrated in Spain, with people in the age range 18-70. The instrument used to collect data was an adaptation of the American questionnaire designed by Seton Hall University. The results show that 55% of fans thought that sport leagues and events were cancelled on time. Furthermore, 92.8% of the survey respondents would not attend a live match without social distancing measures or without the existence of a vaccine; 67.4% would follow it through mass media resources with the same interest. The population group under 25 feels safe attending sports leagues or events (9.7%). These results might help to take decisions based on preventive measures to guarantee security within the sport context. Keywords: football; spectator; assistants; social distancing; restrictions.

A notable stylistic element of 2001: A Space Odyssey (1968) is the innovative use of classical music, which, isolated from dialogue or sound effects, possesses an autonomous dimension of meaning. Borrowing Michel Chion’s concept of “anempathetic music”, we posit that two musical pieces—the Also sprach Zarathustra fanfare and the Blue Danube waltz—have very specific narrative and formal functions, to be analyzed here in terms of Lacan’s concepts of the imaginary and the symbolic, the gaze, suture, spectatorship, and the Kantian sublime. We aim to address and build on Annette Michelson’s formulation, in her seminal criticism, that 2001 is a film of cognitive restructuring and redefinition of cinema’s “shape of content”, through the role of music.

John Dewey argued that for education to be democratic, it is important for students to be not merely spectators but also participants in learning. Teachers sometimes find personal computing devices to be distracting or to contribute to passivity rather than activity in the classroom. In this essay we examine the question of whether a student's Google search on a subject matter discussed in class is participatory or passive. We argue that with proper guidance students' use of online searches and related tools can empower students democratically as sources of ideas, conceptualizations, information, and insight while emphasizing participation in deliberation and judgment in the classroom. We begin with a look at the criticisms and then defenses of using online tools in the classroom. Finally, we examine Dewey's distinction between the spectator versus the participant models of learning to apply his insights to the use of online tools in the classroom. [ABSTRACT FROM AUTHOR]

Copyright of Nigde University Journal of Physical Education & Sport Sciences / Nigde Üniversitesi Beden Egitimi ve Spor Bilimleri Dergisi is the property of Journal of Physical Education & Sports Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The questions of co-operation of artist and spectator, intercourse of those and other, through perception of artistic work are examined in the article. Reasons and methods of creation of artistic work are analyzed, and conformities to the law of his perception by a spectator.

The success of ephemeral scenographic event representations is partly explained by the capacity of the event to touch the spectator and to immerse him in a multisensory experience likely to awaken and appeal to his senses. The scenographic representation offers the spectator the possibility of experiencing the urban space in a different and plural way. This multisensory perception of the place of performance offers a new vision of space. The spectator realizes an association between the real space and the space perceived through his senses. By combining time, space and act, the spectator perceives the scenographic event space as a cognitive act that deepens his understanding of his ephemeral spatial environment. In other words, ephemeral event creation makes it possible to interpret the place and design the space differently (Eisenstein, 2007). Indeed, through the process of perception and identification, the spectator constructs a mental image of a temporary reality and is part of a process of physical and symbolic transformation of the place of the installation. This multisensory process upsets the viewer's relationship with the space and permanently modifies the social space. We will focus in this article on the study of the multisensory experience of the spectator in the scenographic representation by taking the example of the Festival of Lights in Lyon in 2019 and that of the Immersive Art Festival which took place in Paris in October 2019. We will first seek to highlight the perceptual-active process and the relationship between the viewer and the space. Secondly, we will illustrate the extent to which walkable scenography is capable of mutating space spatially and socially. Finally, we will demonstrate the influence of the perceptions that the individual may have on the very existence of space. [ABSTRACT FROM AUTHOR]

We propose to discuss the notion of dramaturgy written on stage as an emerging form in the twenty-first century theatre. Also, we emphasize the idea that this form of creating the performance is rooted in a theatrical tradition. Thus, we notice that, in Eugenio Barba’s vision, the dramaturgy of the performance, structured on three levels of organization, respectively the organic or dynamic dramaturgy of the actor, the narrative dramaturgy of the director and the evocative dramaturgy that includes the dramaturgy of the spectator, is representative for the collective creation as the actors are co-authors of the performance, but, at the same time, it is representative of that type of performance that embodies the director’s thought, reminding of the practitioners-playwrights’ way of creating dramaturgy. In the dramaturgy of the performance, instead of a sequence of events, which unfold according to the cause-effect equation, the director opts for a complex web of actions that suggest and not affirm. We, also, note that in this new dramaturgy in which the smallest action is treated as a dramaturgical element, special importance is given to the spectator seen as an individual who, first of all, exists by himself/herself and then as part of a whole/audience. Under the influence of Artaud who visualized the performance as poetry in space, the new dramaturgy opposes textocentrism, proposing a symbolic language meant not only to whip the spectator’s senses putting him/her in a state of play, but also to provoke in him/her a change of state. Thus, the performance no longer addresses the spectator’s understanding, but his/her perception, creating the necessary conditions for the spectator to forge his/her own dramaturgy based on his/her emotional and intellectual reactions. Writing dramaturgy on stage is specific to those theatre companies that, alike the Troupe de Monsieur and the Globe Theatre, create the performance in the stage laboratory. [ABSTRACT FROM AUTHOR]

Starting from a brief analysis of the validity and applicability as a cognitive tool of the concept of emergency in the examination of the theatrical phenomenon, we evaluate the aspects related to the radical novelty that emergence implies as a phenomenon of systemic self-organization. Thus, taking into account both the ostensible nature of theatrical process and emergency and their ambiguous nature, any theatre performance can be considered as characterized by emergency. At the same time, the unpredictability of emergence makes it difficult to establish which of the current trends of theatrical manifestation will be validated by the appearance of theatrical novelty. Obviously, the impact that information technology has in the field of performing arts seems to imply that novelty might come from this dimension of theatrical activity. However, even if we can note performances played by actroids or performances whose texts are created by robots, we should treat carefully the idea that emergence might occur from this direction. In fact, there is a similarity in reception between, for example, animation theatre and performances based on actroids. We can also notice a similarity between a text created with the means of artificial intelligence and the collage technique. That is why we ask ourselves if what Martin Scorsese observed, namely that some films that benefit from a substantial contribution of the film trick made with the help of computer technology can no longer be included in the concept of cinematography, does not have the same kind of impact in the performing arts. Thus, the emergence, in the performing arts, does not necessarily lead to the renewal of the system, but can also lead to the appearance of a parallel system, different from the existing one. It remains to be seen to what extent a performance can still be defined as a theatre performance when the spectator becomes a robot. [ABSTRACT FROM AUTHOR]

We are getting more and more familiar with virtual worlds and realities. From social media to being forced to use a QR code for accessing the menu of a restaurant. This change that is happening now pushes the artists to rethink the way they are doing projects and to create new conventions. Because social media and QR codes requests a participatory involvement, the art pieces should start to have this kind of quality as well. The new generation of spectators is less familiarised with the classical conventions where they would have to stay passive and silent. There are many applications and platforms that can be used for creating more engaging and immersive projects. The choice of which kind of technology should be used it depends on the project and the type of interaction that is wanted. We can choose from motion capture systems, mobile apps or different devices that can provide different features. Even the headphones can be a tool that can be used for creating an immersive experience. The next step is to choose on what platforms we are going to create the interaction. There are many options here as well and depends also on the direction that the project has but also on the knowledge that we have, because many platforms can be used to provide almost the same tools. The one that I am focusing on is Unreal Engine, which is an open source game. This platform also recently released a new feature which is called Metahuman. With this feature we can create avatars that can be animated in real time through an application on the phone. The application makes the camera of our smart phone a motion capture device that animates the face and the head of the avatar. This can be made by either the performers or the spectators. [ABSTRACT FROM AUTHOR]