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An event management curriculum typically includes a live event component that requires students to conceptualize, plan, implement, and evaluate a public event. Many of these programs are based on the premise of experiential learning theory (ELT), which posits that learners go through spirallike stages and cycles in their learning, guided by reflections facilitated by the educator. Although the benefits and problems of these courses are explored in the literature, the specific challenges encountered by both instructors and students during the COVID-19 pandemic seem to be largely unresearched. This study explores how the organization of a course's live event component differed during the pandemic by adopting a case study and a constructivist approach to understanding this phenomenon. The study reveals that the challenges are categorized in terms of issues related to event operations, managing stakeholders, and learning new skills and knowledge. [ABSTRACT FROM AUTHOR]

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Comedy is a multidimensional, diverse, and versatile spectacle, an identifiable art form and source of entertainment and it has a rich historical identity and purpose. It contributes to cultural identities and has more recently been proven to provide positive impacts in mental healthcare. It offers social and cultural benefit and influences social change. The growth of live comedy has a strong background in working-class venues, which has possibly predisposed it to being perceived as less significant than other performance arts such as dance and theater. Given the untapped potential for further research this empirical article sought to evaluate the potential opportunities for comedy to make a greater positive impact on local communities. To facilitate this, data were collected through surveys administered online and in comedy clubs in the West Midlands (UK). A total of 179 questionnaires were received, supported with in-depth interviews with comedy club managers. Key issues for live comedy engagement were found to include a lack of awareness, perceived price barriers, and a lack of publicity. Seventy percent of respondents agreed that live comedy could have a wider, positive social impact and also offers a platform to address difficult social issues. A number of participants expressed the importance of communitas and the opportunity to discuss difficult and sensitive issues in a structureless state of liminality. [ABSTRACT FROM AUTHOR]

COVID-19 has had a significant economic impact on a global scale. The national lockdown, enacted through the Disaster Management Act 57 of 2002, disrupted multiple economic activities, including that of the Creative and Cultural industries. In the performance and celebrations domain, under which live events (.i.e., theatre and performance) and technical production services (i.e., technical support and services for theatre and performance) resort, the postponement or cancellation of events in the face of the pandemic had a devastating effect on lives and livelihoods. An initiative called #LightSAred, initiated by the South African Communications Industries Association (SACIA) and the Technical Production and Services Association, was one of the private initiatives aimed at extending financial relief to those who earn a living in the technical production and live events industry. However, the lack of reliable data about the industry's market and the impact of COVID-19 was a significant challenge in resource development and allocation. In response, the Sun Circle Group, a media company that services the live entertainment and professional audio-visual industries in South Africa, conducted an extensive online survey of businesses in this industry. For this study, permission has been obtained from the Sun Circle Group to analyse the secondary data set. Situated within the literature on the creative economy, analysing the secondary industry data in this article offers an understanding of the market position and perceived financial implications of the COVID-19 pandemic on the Live Events, Technical and Production Services industry. The results of this research support advocacy for a long-term national strategy to secure livelihoods and the sustainability of not only the Live Events, Technical and Production Services industry, but the CCIs as a whole. [ABSTRACT FROM AUTHOR]

Respeaking is commonly used to subtitle live TV programmes for the benefit of deaf and hard-of-hearing viewers (SDH subtitles): it is based on the interaction between the respeaker's competences and a speech recognition software trained to recognise his/her voice. In some countries this technique is also used to subtitle live events, such as conferences, debates, and so on. In recent years there have been attempts to use the interlingual variant of the technique, thus making it possible to translate a speech from one language to another (as you do in simultaneous interpreting) and obtain real-time subtitles. The respeaker listens to the incoming message and interprets it simultaneously to the software, adding punctuation verbally by means of voice commands; then, the respeaker's audio input is processed by the software, which produces the transcript; the respeakerchecks the output and corrects any errors, and the subtitles are finally made available to the audience. After a short overview of the experimental research carried out in this field and the available theoretical models, the present paper assesses the accuracy of the interlingual subtitles (English into Italian) produced via IRSP in a live event (a symposium). The analysis outlines the specific difficulties of this technique when applied to a live event, with the aim of producing useful data and suggestions for the development of practice guidelines. [ABSTRACT FROM AUTHOR]

The advent of social media platforms has caused many changes in humans’ daily lifestyle. One of the most significant changes is the way in which people participate in social and cultural events. Users' participation in social media platforms is continuously increasing. This has provided brands with new opportunities such as enhancing brand influence and understanding online users' reactions through user-generated content (UGC) analysis.We provide and describe a large-scale hashtag-based dataset of social media posts published on Instagram about the Big Four international fashion weeks in New York, Paris, Milan, and London. The dataset provides the data of the 2018 events and has a periodic and well-established structure.Moreover, we designed a two-stage platform for collecting such large-scale datasets related to long-running events based on relevant hashtags: In the first stage, the platform extracts all the posts, and in the second stage, it extracts the information about the authors of the posts.

This paper1 offers an interpretative review of artists on the Croatian scene who use in their actions and performances the strategy of 'witchcraft performance' as matrix of subversion of the existing model of 'desirable appearance', as performative deviation from the desirable image of womanhood, but also as a kind of decision to express protest and subversion. Some women artists, like Neda Šimić-Božinović and Xena L. Županić, alongside the performance of witchcraft subversion, are also united by the voco-performance with which they approximate animal vocalisation as the source of logos. [ABSTRACT FROM AUTHOR]

The significance of stakeholders in the festival and events sector is demonstrated in the literature and is a growing area of interest. The application of conventional stakeholder theory to this sector has proved to be problematic and new models developed as alternatives. Since the 1980s a number of matrices and models have been established to identify and categorize stakeholders, but limitations have been exposed in the context of festival and events research. This study set out to explore the use of established stakeholder models for their usefulness and effectiveness in the sector, consider alternative models and to examine empirically a proposed alternative. To do so, a multiphased qualitative methodology was used. Results indicated that none of the conventional or proposed sector-specific models were in common usage by sector professionals but did confirm that Ed Freeman's founding stakeholder definition of 1984 continues to be valid and hold true. The framework for a new conceptual test model was developed and then refined to produce the Stakeholder Sandwich Model for testing on a live event. This model proved to be effective in identifying and mapping a wide range of stakeholders with flexibility and fluidity, overcoming the limitations of both established conventional models and more recent sector-specific typographies. This model has significant potential for application in the festival and events sector, with implications for both researchers and event practitioners. [ABSTRACT FROM AUTHOR]

While live sport event attendance remains a pervasive and progressing issue for university athletic programs, athletic directors should consider strategies to boost perceptions of stadium innovativeness. Professional sport leagues have pursued the adoption of Wi-Fi capabilities much more aggressively than their collegiate sport counterparts. This case introduces the Wi-Fi adoption issue for collegiate sport including a conversation surrounding the foundational technical aspects of Wi-Fi and cellular data for sport venues, the current status of Wi-Fi for collegiate athletics in comparison with professional leagues, and the benefits and drawbacks of Wi-Fi adoption. Case participants are asked to evaluate the merits of Wi-Fi adoption for a "Power Five" institution from the position of the athletic director. Participants will address adopting functional technology for the rise in college esports, Wi-Fi inclusion for indoor and outdoor venues, and comparative analyses among connected and disconnected stadiums. [ABSTRACT FROM AUTHOR]

Drawing on the wider literature in the psychology and sociology of emotions and memory this study provides new insights into the formation and role of shared emotion in the memory of event experiences. The methodology draws together several data collection methods in order to capture the complexity of emotional response. Thick data are gathered from a single case study friendship pair using a combination of short surveys, physiological measures, photo elicitation and paired interviews to provide a detailed understanding of the experience from anticipation to recollection and reflection to response. The longitudinal data show that what was felt at the time changes considerably in recollection often becoming more intense as time passes and it is the act of sharing these memories that appears to intensify and alter them. This suggests that the often flawed and certainly mediated memory of the experience has a more influential role to play in attitude formation than previously thought. Furthermore, it is the desire for a feeling of emotional congruity that creates and strengthens this emotional response in remembering. Therefore, the mediated memory of the attendee experience has more influence on behavior than the reality of the experience. It is recommended that event marketers use this understanding to design opportunities, beyond the experience, in which memories can be created and shared. [ABSTRACT FROM AUTHOR]

User-generated audio-visual content is becoming the most popular medium for information sharing and social storytelling around live events. In this article, the authors introduce an online multimedia storytelling ecosystem comprised of purpose-built user applications, a collaborative story-authoring engine, social context integration, and socially aware media services. As their event-based user experiments illustrate, the system enables online collaborative story coauthoring and provides an ideal platform to study the synergy between social networks and networked media in enhancing the user experience of storytelling. This article is part of a special issue on social multimedia and storytelling. [ABSTRACT FROM PUBLISHER]

In the past 5 years, live, in-person events have become significant revenue sources for industries ranging from high-tech to music. This article explores the rise of live events within one such industry – journalism – linking the rise of ‘live publishing’ to post-industrial career norms and digital economy business models. Drawing on interviews with 10 media companies and participant observation at two conferences produced by The Wall Street Journal, this article shows how media companies position themselves as the legitimate conveners of conferences and forums by redeploying traditional discourses of cultural authority; this enables them to bring together their existing networks of sources, audience members, and sponsors. By convening these groups in a physical space, live publishing takes isolated nodes within media organizations’ networks and renders them visible and accessible to each other, allowing media firms to extract value from these previously immaterial relationships. More broadly, live publishing demonstrates how the interaction of virtual and physical networks allows organizations to transform and redeploy cultural authority into new systems of networked power. [ABSTRACT FROM AUTHOR]

Drawing on Latour’s (1987) concepts of the sociogram and the technogram, this paper develops the concept of what we term the chronogram, a third axis along which each network actor is mapped so as to analyse its specific temporal network position and stability. The paper uses an empirical example of the television ‘live’ broadcast within the genre of 24-hour rolling news which relies so heavily upon the ‘live’ event, to argue that such an occasion enables actors to construct various simultaneous and sometimes conflicting chronograms which are performed or enacted within network space alongside ‘Newtonian time frames’. The theoretical intervention being explored here is that such an event as the extended ‘live’ news coverage of a particular story – here the release of the BBC journalist Alan Johnston from having been held hostage in the Middle East – is best explored through the lens of the chronogram, to reveal how the mechanics of the production of the television ‘live’ constructs or enacts various fluid temporal zones that exist alongside one another within networked space and that many of these zones remain deliberately and crucially concealed from the television audience. [ABSTRACT FROM PUBLISHER]

The rise of digital media has generally been accompanied by audience fragmentation, but the trend of reality-TV has helped television enterprises around the world retain their audience's attention. One obvious reason for this is reality-TV's increased social interaction with the audience. Also important, however, are the rapidly evolving interactions between media sectors, companies and departments on the production side of reality-TV. This article studies these interactions, demonstrating that the reality TV phenomenon in fact does not promote the status quo in commercial television but gradually reinvents its value chains in digital environments. Spectacular events and live content are more essential than ever for extending audience reach and developing new revenues. The article relates their production to developments in television tabloidization and commodification through a case analysis of the production of Idols in Norway. [ABSTRACT FROM AUTHOR]

In order to transfer additional information together with television pictures and make them accessible to the user, what technical facilities are actually necessary? This interesting question follows Matthias POSTEL in his study "Internet and Television." He introduces the reader to the topic and then structures his model of "semantic content allocation" in an understandable way for the layperson. The model is not, as yet, practical due to missing technical facilities and this conclusion, leads POSTEL to the development of a transition model. The resultant model is not so practical either, but it would create an important intermediate step in connecting television and the Internet. URN: urn:nbn:de:0114-fqs0204509

• Mass gatherings where shared identity is high risk spreading virus to wider networks. • Travelling to venue may be a source of greater problems than gathering at the event. • Mitigations include ventilation, low density, face-coverings, handsanitizing. • Crowd psychology provides tools for supporting safer practices at live events. This article reviews the behavioural risks and possible mitigations for re-opening large venues for sports and music events when Covid-19 infection rates and hospitalizations begin to decline. We describe the key variables that we suggest will affect public behaviour relevant to the spread of the virus, drawing upon four sources: (1) relevant evidence and recommendations from the Scientific Pandemic Influenza Group on Behaviours produced for the Scientific Advisory Group for Emergencies (SAGE); (2) research evidence from non-pandemic conditions; (3) research on behaviour during the pandemic; and (4) relevant theory. We first outline some basic risks and a framework for understanding collective behaviour at live events. We then survey some trends in UK public behaviour observed over 2020 and how these might interact with the opening of live events and venues. We present a range of mitigation strategies, based on the framework for collective behaviour and on what is known about non-pharmaceutical (i.e. behavioural) interventions in relation to Covid-19. [ABSTRACT FROM AUTHOR]

The advent of social media platforms has caused many changes in humans' daily lifestyle. One of the most significant changes is the way in which people participate in social and cultural events. Users' participation in social media platforms is continuously increasing. This has provided brands with new opportunities such as enhancing brand influence and understanding online users' reactions through user-generated content (UGC) analysis. We provide and describe a large-scale hashtag-based dataset of social media posts published on Instagram about the Big Four international fashion weeks in New York, Paris, Milan, and London. The dataset provides the data of the 2018 events and has a periodic and well-established structure. Moreover, we designed a two-stage platform for collecting such large-scale datasets related to long-running events based on relevant hashtags: In the first stage, the platform extracts all the posts, and in the second stage, it extracts the information about the authors of the posts., Competing Interests: The authors declare no conflict of interest in this article., (© 2021 The Authors. Published by Elsevier Inc.)