Geldloses Geschenk und archaisches Zeremoniell. Der Konzert-Beifall als Honorar- und Aktivitätsform

Heister, Hanns-Werner

doi:10.2307/836859

Cited by 6 publications

(4 citation statements)

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“…Such immediate bodily resonance is sometimes difficult to suppress, but it can also be premeditated, designed to push the value attributed to the performers upward or downward. The spontaneous commentary on a live performance is part of value attribution, but it is also part of the performance (Heister 1984). Applause can be registered and gauged as to intensity, loudness, length and attribution to specific performers.…”

Section: Praise-and-criticismmentioning

confidence: 99%

Three Modes of Valuation Practices in Art Games

Hutter

2021

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Several suggestions on distinguishing between “modes” of valuation practices are found in the literature. In this contribution, valuation practices are moves in a kind of social play that generates its own kind of value. Valuation in the Arts is chosen as an empirical example. Following the model, the Arts are interpreted as a set of games with the same kind of value code, in which artists and producers create performances for engaged and curious spectators. The four kinds of players engage in valuations of objects and other players in their respective games. The broad range of observations in art games demonstrates that valuation is practiced in three modes: attribution, assessment and payment. While practices of attribution and assessment generate and stabilize art-specific value accumulation, paying practices link the attributed and assessed values to the monetary valuation in games of commercial play. The distinctions of valuation practices employed by three recent authors are set into relation to the suggested modes.

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Section: Praise-and-criticismmentioning

confidence: 99%

Three Modes of Valuation Practices in Art Games

Hutter

2021

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“…Research has shown that applause is a highly complex phenomenon (Heister 1984;Cochrane 2009); here, physical needs (to move to the rhythm, to let off steam, to participate), the enaction of cultural and social norms (such as the adherence to strict non-applause-laws in classical music), group phenonema (social contagion, synchronicity) and the audience members' willingness to be appreciative (or not) are intertwined and challenge each other. This is especially palpable in the restricted behaviours of classical music audiences which will serve as an example in my presentation.…”

Section: Introductionmentioning

confidence: 99%

Proceedings of CIM22: 'Participation' (Single document PDF)

Moran

Kim²

2022

CIM22

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“…Research has shown that applause is a highly complex phenomenon (Heister 1984;Mann et. al 2013;Cochrane 2009); here, physical needs (to move to the rhythm, to let off steam, to participate), the enaction of cultural and social norms (such as the adherence to strict non-applause-laws in classical music), group phenonema (social contagion, synchronicity) and the audience members' willingness to be appreciative (or not) are intertwined and challenge each other.…”

mentioning

confidence: 99%