A Study on Experiential Digital Art User Experience

Park, Hee Jung; Lim, Kyung Ho

doi:10.14257/ijmue.2015.10.4.36

Cited by 6 publications

(5 citation statements)

References 6 publications

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“…Wu et al, 2017) (Craig et al, 2020;Lee, 2011), 5) contact with the artwork itself (Habelsberger & Bhansing, 2021), 6) contact with the performer itself (Y. Wu et al, 2017), 7) participation comfort (Guidry, 2014), 8) shaping-the-aestheticalexperience possibilities (Jackson, 2017;Park & Lim, 2015), 9) own motivation to participate (Hobbs & Tuzel, 2017;Pianzola et al, 2021), 10) participation easiness (Dunne-Howrie, 2020;Fancourt et al, 2020).…”

Section: Methodsmentioning

confidence: 99%

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2022

JESI

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The aesthetic experience digitalisation influences the capacity of artistry and creativity of the artwork and the quality of participation in arts. Due to cultural differences between post-communist and non-communist countries' citizens in perception qualities, this research aims to evaluate the influence of the participation form (in-real or digital) in the aesthetic situation by the receivers from postcommunist and non-communist societies on artistry and creativity potential in the context of cultural and social sustainability. The quality of participation in five arts types (musical, performing, literary, audio-visual, visual) was evaluated using the same ten criteria. Qualitative data analysis based on an international sample from 38 countries (n = 221) concludes that the participation form in arts determines participation quality level in the aesthetic situation by post-communist and non-communist countries' receivers differently. There are significant cultural determinants among post-communist and non-communist countries' citizens between participation in particular arts and between particular forms of participation in particular types of arts. The reasons for these differences cannot be drawn from this research; however, future comparative qualitative research directions are set. The research results, in the context of the political system transformation theory as one of the sustainable development features, should gain the interest of: 1) Art creators looking for the optimal and sustainable way of distributing artworks among receivers from post-communist and non-communist countries; 2) Art managers and marketers for deeper understanding of post-communist and non-communist art receivers' perspectives and their preferences about participation in arts in-real or digitally towards sustainable development; 3) Art receivers to compare their opinion about the ways of sustainable participation in arts with the preferences of art receivers from post-communist and non-communist countries

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Section: Methodsmentioning

confidence: 99%

Untitled

2022

JESI

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“…Therefore, the receivers participation quality in each type of art must be analysed by using criteria understandable for the receivers but at the same time applicable to each type of art. Therefore, after the literature review, ten factors were set for this purpose: 1) satisfaction (Guo et al, 2020;Jarrier & Bourgeon-Renault, 2019;Quattrini et al, 2020;Zollo et al, 2022); 2) pleasure (Dunne-Howrie, 2020); 3) engagement (Dube & İnce, 2019;Quattrini et al, 2020;Sosnowska, 2015;Wu et al, 2017); 4) the possibility of experiencing catharsis (Craig et al, 2020;Lee, 2011;Phillips, 2000); 5) contact with the artwork itself (Habelsberger & Bhansing, 2021); 6) contact with the performer itself (Wu et al, 2017); 7) comfort of participation (Guidry, 2014); 8) possibilities of shaping the aesthetical experience (Jackson, 2017;Jung Park & Lim, 2015); 9) own motivation to participate (Hobbs & Tuzel, 2017;Pianzola et al, 2022); 10) easiness of participation (Dunne-Howrie, 2020; Fancourt et al, 2020).…”

Section: Methodsmentioning

confidence: 99%

Creativity Management Within the Aesthetical Situation Regarding the in-Real or Digital Form of Participation in Arts: Art Receivers’ Perspective

Szostak,

Sułkowski

2024

Creativity Studies

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Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of art: satisfaction, pleasure, engagement, the possibility of experiencing catharsis, contact with the artwork itself, contact with the performer itself, comfort of participation, possibilities of shaping the aesthetical experience, own motivation to participate, easiness of participation. The literature review was run using NVivo Pro software. Data analysis (n = 221) was executed using IBM SPSS and Microsoft Excel. Answering the research hypotheses: H1) the digital form of participation in arts determines the level of quality of participation in the aesthetical situation by receivers; H2) the form of participation in art shapes the level of quality of participation in the aesthetical situation by receivers of each type of art differently: in musical arts, performing arts, literary arts and visual arts, in-real participation gives higher quality than digital participation; in audio-visual arts, in-real participation gives lower quality than digital participation. The research results may be helpful for: art creators wanting to choose the optimal way of distributing their artworks; art managers to better understand art receivers’ perspectives and their opinion about participation in arts in real or digitally; art receivers to compare their private opinion about the ways of participation in arts with the general opinion of art receivers.

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“…For the objective of this study, only visual arts (architecture, ceramics, comics, design, drawing, fashion, painting, photography, and sculpture) were investigated. After the literature review, ten critical aspects were set out for assessment of the quality of participation in visual arts: 1) satisfaction of the recipient when participating (Guo et al, 2020;Quattrini et al, 2020;Zollo et al, 2021), 2) participation pleasure by the recipient (Dunne-Howrie, 2020), 3) participation engagement by the recipient (Dube & İnce, 2019;Quattrini et al, 2020;Wu et al, 2017), 4) possibility of experiencing a state of catharsis by the recipient (Craig et al, 2020;Lee, 2011), 5) contact of the recipient with the artwork itself (Habelsberger & Bhansing, 2021), 6) contact of the recipient with the performer (Wu et al, 2017), 7) participation comfort of the recipient (Guidry, 2014), 8) shaping-the-aesthetical-experience possibilities of the recipient (Jackson, 2017;Park & Lim, 2015), 9) own motivation to participate of the recipient (Hobbs & Tuzel, 2017;Pianzola et al, 2021), 10) participation ease for the recipient (Dunne-Howrie, 2020; Fancourt et al, 2020).…”

Section: Methodsmentioning

confidence: 99%

Impact of Digitalization on Visual Arts Consumers’ Behavior during the COVID-19 Pandemic: Generational Perspective of Art Management

Szostak,

Baghzou,

Kamran

et al. 2023

Journal of Intercultural Management

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Objective The virtualization of the aesthetic experience influences the scope of artistry and creativity of visual artwork and the quality of participation in visual arts. Due to variances in perception qualities between individuals belonging to particular generations, this article aims to assess the impact of the participation form (physical/traditional or digital) on the aesthetic situation of recipients from certain generations. The quality of participation in visual arts was assessed using ten criteria. Methodology Quantitative data exploration from a survey undertaken using a digital instrument provided by SURVIO based on a worldwide sample from 22 countries (n = 87). Due to the relatively ephemeric character of the research problem, an additional qualitative analysis of the statistical results was performed. Findings The participation form (online or in-real) in visual arts determines participation quality level of the aesthetic situation of particular generations. Significant differences exist among generations in online and in-real participation in visual arts and between particular forms of participation. This article did not look for the reasons for these differences; only additional comparative qualitative research can try to reveal them. Value Added It is the first analysis of the impact of digitalization of visual arts from the perspective of visual arts consumers’ behavior based on the components of aesthetic situation theory. Implications The research results should be of interest to: 1) Visual arts creators looking for the optimal way of distributing artworks among recipients from different generations; 2) Visual arts managers and marketers for a multi-layered understanding of generation-diversified visual arts recipients’ perspectives and their preferences about participation in visual arts in-real or digitally; 3) Visual arts customers (recipients) who wish to compare their own views about participating in visual arts with those of other recipients belonging to certain generations.

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A Study on Experiential Digital Art User Experience

Abstract: Abstract

Cited by 6 publications

References 6 publications

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Untitled

Creativity Management Within the Aesthetical Situation Regarding the in-Real or Digital Form of Participation in Arts: Art Receivers’ Perspective

Impact of Digitalization on Visual Arts Consumers’ Behavior during the COVID-19 Pandemic: Generational Perspective of Art Management

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