The purpose of the study has been to identify the motivational factors prompting the South African MMA (Mixed Martial Arts) fan to attend events and how these factors are influencing their spending patterns and media consumption. With the growing popularity of Africa’s biggest MMA promoter and the production values and size of events, EFC (Extreme Fighting Championship) is taking the African market to a global level. To understand the South African MMA fan, marketers should differentiate strategies to meet these various customers’ satisfaction needs and demands. Media plays a big role in the growing of the sport, and Twitter, Facebook, YouTube and television broadcasts all contribute to fans gaining access to the MMA sport. The following motivational factors were used to measure the MMA fan: Aesthetic quality, Sports interest, Drama/Eustress, Socialising, Vicarious achievement, Fighter interest, Adoration/Hero, Violence, Escape, National Pride and Economic Factors. Participants who attended the local amateur MMA fights in the south of Johannesburg were requested to complete the online web questionnaire to establish the motivational factors of South African MMA fans. Aesthetic quality, Sports interest and Drama/Eustress were ranked as the highest motivators. There were some gender differences where females indicated that they were more interested in the Drama factor and the males in the Sports interest factor. It was clear from the results that most male fans were drawn to MMA by word-ofmouth, clubs or events. The female fans used the internet and television as their media consumption of MMA. Although the study was limited to a local MMA event, insights into the motivation of the South African MMA fan were discovered as well as how media is consumed differently by different genders. / MBA, North-West University, Potchefstroom Campus, 2014

The purpose of the study has been to identify the motivational factors prompting the South African MMA (Mixed Martial Arts) fan to attend events and how these factors are influencing their spending patterns and media consumption. With the growing popularity of Africa’s biggest MMA promoter and the production values and size of events, EFC (Extreme Fighting Championship) is taking the African market to a global level. To understand the South African MMA fan, marketers should differentiate strategies to meet these various customers’ satisfaction needs and demands. Media plays a big role in the growing of the sport, and Twitter, Facebook, YouTube and television broadcasts all contribute to fans gaining access to the MMA sport. The following motivational factors were used to measure the MMA fan: Aesthetic quality, Sports interest, Drama/Eustress, Socialising, Vicarious achievement, Fighter interest, Adoration/Hero, Violence, Escape, National Pride and Economic Factors. Participants who attended the local amateur MMA fights in the south of Johannesburg were requested to complete the online web questionnaire to establish the motivational factors of South African MMA fans. Aesthetic quality, Sports interest and Drama/Eustress were ranked as the highest motivators. There were some gender differences where females indicated that they were more interested in the Drama factor and the males in the Sports interest factor. It was clear from the results that most male fans were drawn to MMA by word-ofmouth, clubs or events. The female fans used the internet and television as their media consumption of MMA. Although the study was limited to a local MMA event, insights into the motivation of the South African MMA fan were discovered as well as how media is consumed differently by different genders. / MBA, North-West University, Potchefstroom Campus, 2014

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Já está completamente consolidada nas cadeias de produção cinematográfica uma esperada \"transição para o digital\". Porém a exibição propriamente dita de filmes na forma digital nas salas de cinema só foi padronizada em 2005, e a mudança ganhou força somente na década de 2010. Essa digitalização da exibição cinematográfica foi incorporada de forma transparente para a maioria dos espectadores de cinema, apesar de suas intricadas especificações técnicas e arranjos econômicos de viabilização das trocas dos equipamentos. Ao mesmo tempo, as tecnologias digitais também proporcionam cada vez mais facilidade para que filmes possam ser assistidos fora das salas de cinema, colocando-as de fato em cheque quando olha-se para o futuro. Este trabalho discute o processo de digitalização da exibição e distribuição cinematográficas, traçando algumas perspectivas sobre por que, mesmo com a digitalização, permanecerão existindo as salas de cinema. É particularmente interessante que, em meio a essa desmaterialização do suporte da cópia, sobressaia exatamente a materialidade que sobrou, a do próprio espaço e disposição da exibição, o espectador na sala de cinema. Essa permanência é apoiada em dois eixos principais. Inicialmente, o fundamental papel econômico das salas nas receitas que movimentam todas as diferentes camadas da produção de filmes. O segundo eixo é do caráter bastante único da imersão presente na sala de cinema. Esta imersão especial, por sua vez, está fundamentada nas características físicas e técnicas dos equipamentos nas salas, que evoluíram para aproveitar diferentes aspectos da percepção humana em seu âmbito individual e coletivo. Combino características tecnológicas dos padrões adotados, elementos da economia do cinema, estudos da percepção e intenções do espectador e resultados recentes da psicologia experimental que corroboram o caráter bastante particular da experiência de assistir a um filme na sala de cinema e indicam sua continuidade. / The long foretold \"transition to digital cinema\" is already running full steam as far as the acquisition and post-production chains are concerned. However, for digital film exhibition, there has only recently, in 2005, been an agreed upon standard, decided by the major distributors, and the actual upgrades only gained momentum in the early 2010s The digitization and change of materiality of cinema exhibition and distribution, although of great interest to professionals, academics and critics, has been incorporated in a more or less transparent way for the majority of moviegoers, despite their intricate technical specifications and economic arrangements between the various economic parties that enabled equipment to be purchased. It is particularly interesting that, in the midst of this dematerialization of the film\'s physical form, what stands out is precisely the remaining tangibles, the very space and disposition for the exhibition, and the spectator in the theater. This work examines the digitalization of cinema exhibition and distribution technologies, tracing some future perspectives on what remains in a digital cinema. I combine technical specifications of the standards imposed by distributors, some elements of the economy of cinema, without which any speculation becomes exclusively theoretical; and some data from audience and spectator studies focusing on their perception, wishes and intentions, the puzzlingly often-forgotten part of the film studies, for there is no cinema without a spectator. In order to do so I present some recent results of experimental psychology that endorse the rather unique aspects of watching a movie in the movie theater, and its importance beyond the historical.

Esta dissertação é um estudo sobre o cinema de Eugène Green. A sua estrutura se dividirá de acordo com o que se supõe ser - do ponto de vista da recepção do espectador - o aspecto central de seus filmes: de um lado, Green conduzirá o seu espectador a se relacionar com o filme pela via da \"leitura\"; de outro, pela via do \"empirismo\". Essa importante distinção dará início a uma série de desdobramentos que serão tratados ao longo da análise de dez cenas selecionadas dos seus dois primeiros longas metragens: Toutes les nuits (2001) no primeiro capítulo e Le Monde vivant (2003) no segundo. Na conclusão da dissertação, trataremos ainda de uma questão suscitada a partir da colocação, lado a lado, dos dois filmes acima citados. / This dissertation is a study of Eugène Green\'s films. Its structure will be divided according to what we suppose to be - in terms of the spectator\'s reception - the central aspect of his films: on one hand, Green will lead the spectator to establish with the film a connection based on the \"reading\"; on the other hand, a connection based on the \"experience\". This important distinction will be developed throughout the analysis of ten selected scenes from Green\'s first two feature films: Toutes les nuits (2001) in the first chapter, and Le Monde vivant (2003) in the second. At the end of the dissertation, a final question will be brought to light by putting together both films.

No description available.

The crucial purposes of this thesis have two folds. Firstly, I will reconstruct Adam Smith¡¦s (5 June 1723-17 July 1790) thought through re-conceptualising the doctrine of the human nature in his theory. In doing this, I will give you reasons that the so-called ¡¥Das Adam Smith Problem¡¦ is founding on the wrong problematic concern in interpreting Smith¡¦s doctrine. The bulk of ¡¥the problem¡¦, having raised from the incessant controversy about whether Smith¡¦s theory is a coherent system built upon either sympathetic-based or interested-based foundation, but, as my kernel problematic concern in this thesis, I will argue that, neither side alone captures comprehensively about Smith¡¦s own understanding of human nature. Through presenting Smith¡¦s conception of the development of our moral judgement and his construction of operational principal of our market bahaviour, his doctrine of man should be orientated towards our intellectual capacity, especially on how do human cultivate their own moral judgement and the proper way of mutual understanding in everyday life. To accentuate the development of our capacity of judgement or reflection is the way I argue to understand Smith¡¦s conception of man correctly. Secondly, another controversy about Smith¡¦s doctrine lies on the contradiction among the concepts of ¡¥propriety¡¦ and ¡¥virtue¡¦ in his moral philosophy, while the former is the general standard attainable by the majority, and the latter with the stricter normative standard only a few men can achieve. My argument is, if man¡¦s intellectual capacity, such as judgement and reflection, having been regarded as essential concepts that Smith used to supersede the deficiency of one-sided understanding of human, then, his conception of impartial spectator and spectatorship¡¦s approach also gives the priority to cultivate our moral judgement and our capacity of reflection. Smith¡¦s primary concern, if I conceive it rightly, is to inspire our moral potential through disclosing the general principle lies behind our moral learning which terminated in the judgement made by impartial spectator, further, the concept of impartial spectator is also a linkage of different normative standards prescribed by propriety or virtue. Finally, In the conclusion part, I will connect my argument about moral potential with Smith¡¦s conception of human nature which tries to prove that, as the practical moralist, who considered man as intellectual animals that who deserves this privileged claim when who urges himself in enlarging and improving his own mentality.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The purpose of this study was to validate a new protocol for examining spectator behavior at high school sporting events. The methodology was based on the construct of Smelser's (1962) six determinants of collective behavior - conduciveness, strain, growth of beliefs, precipitating factors, mobilization , and social controls - and operationalised incorporating both qualitative (interviews and observations) and quantitative methods that included a behavioral assessment, an identification scale, and pre- and post-game emotional scales. Fourteen games (3 hockey, 6 soccer, 5 football) were observed over three stages of methodological development. Data were collected by teams of researchers at the games, and then were organized by themes relating to the six determinants. The themes were then examined against social and psychological theories attributed to spectator research, and examined for new construct relationships of the determinants. The research yielded a valid methodology for further spectator research, and suggestions for understanding spectator behavior are offered. / 2031-01-01

This practice-based thesis undertakes research into the contemporary aesthetic of interactive media art, in order to propose a useful practical model of interactivity founded on a critical approach to both existing theory and practice. It proceeds from the identification of a primary lack in contemporary aesthetics that arises from the predominantly materialistic comprehension of technologically-mediated artworks. The thesis establishes a new model for interactive art that offers an immaterial engagement with technology at a locus where cognition and the aesthetic intertwine. This model is constructed following a revision of both the theory and practice of interactive media art, which identifies a materialistic bias of technology-mediated art production caused by a confused concept of technology as both tool and medium. This investigation confines itself to the last forty years of interactive art and the new model of spectatorship that has accompanied it. The main objective of what follows from this investigation is an account of agency in the artist and spectator interrelationship. In the context of technologically based artworks various approaches to spectatorship have frequently remained within the constraints of the traditional model of art that inherently drew on a separation between body and mind. It is argued in this thesis that neither the technology nor the participation itself, but the cognitive interconnection between 'artist-artwork-spectator' produces the primary aesthetic dimension of interactive media art. In this respect, not the physical object creation but the aestheticisation of this triangle produces the here identified immaterial/cognitive experience of the spectators. This can be achieved when the technology is applied as a transparent medium one of the core concepts introduced in this thesis which can facilitate an aesthetic quality or meaning creation through technology. The 'transparent medium' enables the cognitive-based experience production, which is identified as the immersive flow of the spectator's aesthetic experience. As such, the re-evaluation of the artist- spectator interrelationship proposes a new immaterial model of art which is called the Transparent Act. The introduction of the Transparent Act leads to the main intervention of this thesis which lies in an effort to recover a lost dimension in interactive media art. A recovery of this dimension enables access to a knowledge practice which is not necessarily located in ordinary cognitive experiences but in unfamiliar conscious states that can be compared to accounts of so-called spiritual experiences. The model of the Transparent Act is concurrently applied as a practise-based intervention and proof-of-concept in a major installation, the Mind Cupola. This artistic and technological contextualisation of the original intervention of this thesis is exemplified as an affective environment which aims for an immediate cognitive affection of the spectator by generating mechanical and audio-visual effects in the spectator's 'mind'. The artistic system uses special face analysis techniques to close the feedback loop and affect the spectator through the analysis of her/his reactions. The installation is built upon a 'passive' modality of interaction in which the spectator contributes to the artwork with subtle, cognitive-based interactions which are fed back through a complex open response system. The implementation of cognitive feedback loops, also described as the fractal structure in the spectator's cognition, constitutes the essential transparent medium through which the previously lost immaterial dimension of a spiritual-like aesthetic experience in interactive media art is achieved. The thesis concludes with suggestions of further applications including the evaluation of technologically mediated artworks.