Electronic sport or esport is a trend that involves playing competitive video games professionally. Traditional sports and esport have been compared to each other because of their similarities. Esport has grown in terms of viewership. Every year more spectators get interested and the number rises. One popular genre played in esports is MOBA. It stands for Multiplayer Online Battle Arena. Two teams face each other, and the goal is to destroy the enemy’s base with the help of their selected character, in-game mechanics and objectives. There are several focus points to highlight for the spectator. Hence, a dedicated spectator interface in the esports scene helps understand the progression of the game while watching. Developers might want to market their MOBA game into the esports scene, but it is hard to know what spectators want within the interface. This study investigates the major factors to consider when designing a spectator interface for a gaming genre; multiplayer online battle arena games (MOBA) in a competitive setting. The methods used to achieve the results were literature studies that include spectatorship, cognitive theories, and game interface theories. Analysing a popular MOBA game spectator interface and redesigned the interface of a game named League of Legends. Redesigns will go through an iterative process with the help of feedback, using questionnaires and interviews on the target group. Results discovered factors that could provide the spectator with a better viewing experience and contributed to producing a guideline for designers. The study concluded the guideline could help future work or contribute to previously established guidelines for general competitive games. However, further investigations are required to explore and validate the proposed guidelines in practice. / Elektronisk sport eller esport är en trend som handlar om att spela tävlingsinriktade videospel professionellt. Traditionella sporter och esport har ofta jämförts med varandra på grund av likheterna. Esport har vuxit enormt när det gäller tittarskap. Varje år blir fler åskådare intresserade och antalet stiger. En populär genre som spelas i esports heter MOBA. Det står för Multiplayer Online Battle Arena. Två lag möter varandra och målet är att förstöra fiendens bas med hjälp av spelmekanik och spelmål. Det finns flera fokuspunkter som ska visas för åskådaren. Därför används ett dedikerat åskådargränssnitt i esport-scenen för att hjälpa förstå spelets utveckling medan åskådaren tittar på. Utvecklare vill möjligtvis marknadsföra sitt MOBA-spel i esport-scenen, men det kan vara svårt att veta vad åskådarna vill ha inom gränssnittet. Denna studie undersöker de viktigaste faktorerna som ska beaktas när man utformar ett åskådargränssnitt för en spelgenre; flerspelarspel online (MOBA) i en tävlingsinriktad miljö. Metoderna för att uppnå resultaten var litteraturstudier som inkluderar åskådarskap, kognitiva teorier och spelgränssnittsteorier. Analys av ett populärt MOBA-spel åskådargränssnitt och redesignade gränssnittet för spelet som heter League of Legends. Det omformade gränssnittet kommer att gå igenom en iterativ process med hjälp av feedback med hjälp av frågeformulär och intervjuer på målgruppen. Resultaten upptäckte faktorer som kunde ge åskådaren en bättre

Criminal aspects of spectator violence in the football stadiums Abstract This diploma thesis deals with the issue of spectator violence with a focus on the football violance, mainly from the perspective of criminal law. However, as this issue is extensive, due to its complexity, the work is amended by chapters concerning administrative law and private law. Spectator violence is a social phenomenon that is described as a set of excesses against public order, which occurs on the occasion of sports matches, but also outside of them and is committed by a confined group of people marked by solidarity to a particular sports club. In the opening chapters, the phenomenon is described in more detail, its possible causes are explained and a brief history is given, focusing on our country and England, where football hooliganism comes from. The next chapters are devoted to the typology of visitors to football matches, which are divided into four groups - football spectators, football fans, ultras and hooligans. For each group, their relationship to the football club is described and, if applicable, also a list of the activities they deal with. The third chapter then deals with selected crimes related to spectator violence, which analyzes the theoretical analysis of these crimes, gives examples of individual crimes in...

Global Alliance of Marketing and Management Associations (GAMMA). The purpose of this study was to propose and empirically test a sport spectator behavioral model. The model presented here is a micro-level perspective of value creation in the context of live sporting events. This study used directional hypotheses to compare the influence of different value dimensions on specific customer behaviors in the setting of North American professional sport. Structural equation modeling was performed to examine path coefficients for the hypothesized relationships in the model. Organization-related value propositions were found to be stronger predictors of perceived economic, hedonic, and social value. One exception to this was customer density, which negatively impacted certain value perceptions. The hedonic value was found to have the strongest influence on customer in-role and extra-role behavior. The behavioral model tested here can be used in future studies to examine how sport organizations and their customers can create value in the live event setting and how the roles performed by each stakeholder influence future behavior. Findings suggest there are several actions marketers and managers can take to increase customer perceived value and prompt spectators to attend future events or act as advocates for the organization.

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This experimental study was designed to test whether viewing a West Coast Athletic Conference Basketball Game in person had a significantly greater effect on spectators than watching the same event on television or listening to it on the radio. The literature revealed mixed opinions concerning this type of testing.

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During the traditional electronic musical performances there is a lack of communication between the performer and spectator. Communication is necessary to a performance as it is a social act, created both by the performer, as well as the spectator. Through exploring the augmentation of visibility and physicality in regards to the electronic performance I attempt to enhance that communication through a concept called Sonicality, created out of the findings of this paper, that addresses the use of tactile vibrations, controlled by a performer in a visible manner, received on the spectator’s body, in relation to the music heard. Through the validation of this concept I manage to get an insight into the spectators’ needs and desires, grounding the validity of the concept as something that augments experience, interaction and understanding, enhancing the performer-spectator communication.

Introduction: Sports consumption is a unique human experience in which consumers invest both money and emotions where the game becomes the main focus of the event and constitutes what is known to be a sporting event. Sports organizations are required to track how their service quality is perceived during these events in order to understand the values of their spectators and to evaluate levels of satisfaction. As prior seasons in the SHL has shown an average decreasing number of attendances at the arenas, a possible issue may exist, suggesting that further understanding about how the service is perceived becomes useful.  Purpose: The purpose of this master thesis is to examine how sporadic spectators experience the service quality offered by HV71 at Kinnarps Arena. Moreover, five dimensions within service quality are implemented to distinguish the perceived service quality among sporadic spectators in various areas, and how it relates to the intention to attend more games. Based on that, two research questions and six hypotheses were formulated for this thesis. Method: To fulfill the purpose of the study, a quantitative method was conducted. The data was collected through a survey distributed by HV71 to spectators attending at Kinnarps Arena during the 2019/2020 SHL season. Due to the quantitative method, a deductive approach became useful as hypotheses with a modified framework were developed based on an existing theory. The theoretical anchoring includes prior research in the field of service quality and how it is associated with sporting events, which has been incorporated when analyzing the empirical findings.  Conclusion: The empirical findings in this study presents how the sporadic spectator perceives the service offered at Kinnarps Arena, whereas some differences between the dimensions exist. Moreover, the findings showed that each dimension are positively related with the perceived service quality, while identifying that there is not a strong relationship between the perceived service quality and intention to attend more games. Some findings suggested that other factors contribute to the intention to attend more, and not solely the perceived service quality.

Notre recherche se fonde sur une forme de relation particulière entre lʼœuvre et le spectateur, lorsque la participation de ce dernier est interactive, cʼest-à-dire physique, active et effective. Or, à partir de 1950, de nouvelles formes artistiques apparaissent et de nombreuses œuvres partent, en quelque sorte, à la recherche du spectateur. Cʼest en les parcourant que le premier chapitre pose les bases dʼune participation interactive. Nous avons aussi choisi de réordonner ces œuvres ou mouvements selon des catégories qui échappent aux classifications standards en les groupant selon leur modalité de participation : regarder, entrer, ressentir, assister. Le second chapitre est ensuite consacré aux œuvres les plus participatives qu'il puisse exister, cʼest-à-dire, des œuvres qui ont réellement besoin du spectateur pour exister, dont la forme est tout autant définie par le spectateur que par lʼartiste, voir même davantage par le spectateur. Quatre nouvelles catégories sont alors dégagées : figurer, agiter, expérimenter, partager. Lʼobjectif de cette classification typologique est dʼoffrir une vue dʼensemble qui soit claire et qui permette de mieux comprendre le vaste panorama des œuvres dʼart participatives. Notre réflexion se construit aussi à lʼaide de ces deux questions successives : de quelle façon le spectateur a-t-il la possibilité de participer ? Quel est le but recherché par lʼartiste ? Nous prenons aussi la mesure de la contribution du ou des spectateurs dʼune part, évaluons les valeurs éthiques que tendent à véhiculer certains projets artistiques de lʼautre, et nous décelons un certain nombre de pièges et de dérives qui semblent guetter ces œuvres, tantôt faisant lʼobjet de banales animations culturelles, réduites au divertissement, tantôt se perdant au sein de luttes sociales et politiques. Analysant les critiques formées à leur encontre, en formulant dʼautres, puisant dans les domaines de la philosophie, de la sociologie ou de lʼanthropologie, nous cherchons donc à cerner les enjeux spécifiques de chaque forme de participation. Lʼœuvre dʼart participative révèle alors sa pleine ambivalence, une nature ambiguë qui constitue sa force comme sa faiblesse. De même, lʼacte participatif, entre action et passivité, proximité et distance, dessine la figure nouvelle dʼun spectacteur. / Our research bases on a particular form of relationship between the work of art and the spectator, when the participation of the latter is interactive, that is to say, physical, active and effective. However, since 1950, new art forms appear and many works go, somehow, in search of the spectator. It is by reviewing them that the first chapter thus lays the foundation of an interactive participation. We also chose to reorder these works or movements in categories beyond the standard classifications by grouping them according to their modality of participation : look, enter, feel, attend. The second chapter is then dedicated to the most participatory works that can exist, that is to say, works that really need the spectator to exist, whose shape is as much defined by the spectator by the artist, and even more by the spectator. Four new categories are then identified : figure, shake, experiment, share. The objective of this typological classification is to offer an overview which is clear and which allows to understand better the vast panorama of the participatory art works. Our thought also builds using these two successive questions : how has the spectator the possibility to participate ? What is the purpose looked for by the artist ? We also take the measure of the contribution of one or several spectators on one hand, estimate the ethical values which tend to convey some artistic projects on the other, and we detect a number of pitfalls and deviations that seem to watch for these works, sometimes being the object of commonplace cultural activities, reduced to the entertainment, sometimes getting lost in social and political struggles. Analyzing the criticisms formed against them, by formulating others, drawing from the fields of philosophy, sociology or anthropology, we identify the specific issues of each form of participation. The participatory artwork reveals then its full ambivalence, an ambiguous nature that is its strength as its weakness. Similarly, the participative act, between action and passivity, proximity and distance, draws the new figure of a spectactor.