与技术的角力:新冠肺炎期间的观众、政治和出席生态系统

IF 0.8 0 THEATER
Andrew Westerside
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引用次数: 1

摘要

摘要本研究采用案例分析、定性分析和半纵向数据分析相结合的方法,探讨职业摔跤的“技术不固定”(Huesemann,Michael,and Joyce Huesemann。2011)。TechNo修复:为什么技术不能拯救我们或环境。Gabriola Island,密件抄送:新学会出版社。)自2020年3月全球出现严重急性呼吸系统综合征冠状病毒2型以来,对新冠肺炎的应对试图弥补文化和体育参与方面的实际或感知空白。它考虑了新兴的、技术驱动的活动出席模式在多大程度上确实是“修复”,并确定了这种“修复”因此预设的“破坏”,主要是表演者和观众之间的社会和/或审美契约。这项研究考察了直播活动中观众-表演者和观众-观众的关系,在直播活动中,场内观众是活动本身的一种副文本形式。总之,这篇文章考虑到,在新冠疫情后的形势下,这些“技术虚构”本身在多大程度上造成了新出现的政治、经济和生态问题,需要对艺术、文化和娱乐进行仔细的批判性关注。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Wrestling with technology: audiences, politics and the ecosystems of attendance during COVID-19
ABSTRACT Using a mixed methodology of case study analysis, qualitative methods and semi-longitudinal data analysis, this research asks how professional wrestling’s ‘techNo-fix’ (Huesemann, Michael, and Joyce Huesemann. 2011. TechNo-Fix: Why Technology Won’t Save Us or the Environment. Gabriola Island, Bc: New Society Publishers.) response to COVID-19 sought to remedy real or perceived voids in cultural and sporting participation since the global emergence of SARS-CoV-2 in March 2020. It considers the extent to which emerging, technologically driven models of event attendance are indeed ‘fixes’ at all, and identifies what such ‘fixes’ have therefore presupposed was ‘broken’, primarily in the social and/or aesthetic contract between performer and audience. The research examines spectator-performer and spectator-spectator relationships in live-broadcast events where in-arena audiences function as a form of paratext to the event-proper. In conclusion, the article considers to what extent these ‘techno-fixes’ are, in-and-of-themselves, responsible for creating emergent political, economic and ecological issues that require careful critical attendance for arts, culture and entertainment in a post-Covid landscape.
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来源期刊
International Journal of Performance Arts and Digital Media
International Journal of Performance Arts and Digital Media Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.70
自引率
0.00%
发文量
29
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