Home-based digital leisure

Sintas, Jordi López; Francisco, Laura Rojas de; García‐Álvarez, Ercilia

doi:10.1080/16078055.2017.1393883

Cited by 14 publications

(7 citation statements)

References 23 publications

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“…In the postmodern era, digital culture has dominated people's leisure time (Silk et al, 2016;Valtchanov & Parry, 2017) and developing technology has transformed leisure activities (Lopez-Sintas et al, 2017). This has led to some changes in the recreation phenomenon, as in many areas (Aylan & Aylan, 2020).…”

Section: Virtual Recreationmentioning

confidence: 99%

The magical realistic world of the virtual recreation

Güncan

2023

Journal of Multidisciplinary Academic Tourism

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The aim of the study is to seek an answer to the question of whether the concept of virtual recreation can be considered in the context of the magical realism. The study prepared for this purpose has been carried out from a conceptual point of the view. The data required for the research have been obtained by reviewing the relevant literature. The reviewing process has been carried out in the context of the concepts of “virtual recreation” and “magical realism” and the study has been limited to these concepts. The data obtained as a result of the reviewing the literature have been analyzed conceptually. The analyzes have been made by first evaluating the concepts of virtual recreation and magical realism, and then comparatively examining the findings obtained from these evaluations. After the evaluations, it has been concluded that the magical realism approach is compatible with the structure of the virtual recreation and it is possible to evaluate the virtual recreation experience in the context of magical realism approach.

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Section: Virtual Recreationmentioning

confidence: 99%

The magical realistic world of the virtual recreation

Güncan

2023

Journal of Multidisciplinary Academic Tourism

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“…Nitekim günümüz ağ merkezli boş zaman kavramı, "hızlı boş zaman"a (Viñals-Blanco, s.170) dönüşerek anlık zevklerin deneyimlendiği bir süreci niteler. Bu süreçte dijital teknolojiler bireye "ayrı birlikte yaşama" (Flichy, 1995) ya da "birlikte yalnız kalma" (Turkle, 2011) gibi farklı deneyimleri yaşattığı ifade edilebilir (López- Sintas, Rojas de Francisco & García-Álvarez, 2017).…”

Section: Televi̇zyonun Dönüşen Yapisi: Di̇ji̇tal Platformlar Ve Yeni̇ İzleme Prati̇kleri̇unclassified

Bir Kültürel Tüketim Pratiği Olarak Netflix Dizileri

Baloğlu

Birincioğlu

2021

Alanya Akademik Bakış

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In the 21st century, while individual media consumption shows radical changes, at the same time, watching practices are transforming from traditional to digital and over-watching motivations are also becoming evident. This change, especially observed in the consumption of TV series content, turns into a social status sign determined by social groups and becomes a notable place in the leisure practices of the middle class. The dramatic increase in Netflix's number of members in the last year also supports this social status phenomenon. In this context, the main purpose of this study is; not to make a middle-class definition, but to evaluate the change in television watching practice in terms of consumption and lifestyle as a middle-class leisure activity especially with the spread of digital technologies. The starting point of the research is the idea of making visible the change in the consumption habits of the social classes, similar to the efforts of the lowerclasses to present themselves differently by imitating the upper-classes within the framework of the concepts of Weber's social status and Bourdieu's class habitus. In this context, it is aimed to find out whether social groups are trying to differentiate from the programs produced in traditional media by experiencing their leisure activities through digital media platforms, and the processes of producing leisure activities through the digital media platform. In order to collect these data, in-depth interviews were conducted with 12 (twelve) people in the research. It was concluded that the participants negated traditional media consumption due to the intensity of their concerns about positioning themselves in the lower status group in the social status ranking and they evaluated themselves as belonging to the class they consider more qualified in terms of cultural capital.Bourdieu'nun yaşam tarzları ve kültürel beğeni düzeyi arasındaki ilişkiyi kültürel sermaye olarak teorize ettiği Ayrım'ın 1979 yılında Fransa'da yayımlanmasından sonra iletişim çalışmalarına da katkısı olmuştur. Toplumsal yaşam alanında farklı grupların kültürel tüketim pratiklerindeki ve beğeni düzeylerindeki farklılıkları alt, orta ve üst sınıfsal yapı çerçevesinde ayrımlayan çalışma, yaşam tarzlarındaki farklılıkları sınıf habitusu içinde değerlendirir. Bourdieu'ya göre habitus, farklı sınıfa ait bireylerin kültürel tüketim pratiklerini üreten ve aynı zamanda onları sınıflayan bir kavramdır. Öyle ki, sembolik çatışmanın alanı olarak betimlenen kültür, farklı beğeni düzeyleri için ürünlerin üretimi ile o ürünlerin tüketimi arasındaki ilişkide oluşur (Bourdieu, 2015, s.254). Özellikle siyasal ve ekonomik alanda tek kutuplu dünyaya

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“…Cited studies (Navarrete, 2019;Ant on et al, 2018;L opez-Sintas et al, 2017;Di Pietro et al, 2015;Paswan and Troy, 2004) offer a useful understanding of arts and museum developments but still fail to provide a broader understanding of the visitor experience of museums and arts in cultural tourism. Further, understanding adolescent visitors, their cultural tourism experiences and the reasons behind their lack of interest in museums is limited.…”

Section: Experiencing Arts and Exhibitions: An Important Component Of Cultural Tourismmentioning

confidence: 99%

“…For instance, it is often associated with sophistication, high culture and exclusivity (Hagtvedt and Patrick, 2008). Indeed, research on art museum memberships confirms that museums hold a strong status symbol in contemporary societies (Navarrete, 2019;Ant on et al, 2018;L opez-Sintas et al, 2017;Di Pietro et al, 2015). In a study on museum membership motivations, Paswan and Troy (2004) indicate that social recognition is a central element associated with museum membership along with strong connections to hedonism and art preservation.…”

Section: Introductionmentioning

confidence: 99%

How can art museums develop new business opportunities? Exploring young visitors’ experience

Batat

2020

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Purpose So far, most studies in cultural tourism have looked at visitors in relation to the experience itself. This study aims to bring a broader view on what constitutes the daily environment of younger visitors and how museums could use this knowledge to develop a service delivery that is more adapted to their needs without sacrificing the museums’ integrity and authenticity. As such, this research brings a unique and deeper analysis of young visitor behavior, in relation to arts and cultural practices that could be expanded to other areas of tourism experiences. Design/methodology/approach The present study examines the main art and cultural tourism activities among adolescents. Using 32 in-depth interviews with adolescents between 13 and 18 years of age, this research takes a closer look at their experience and perceptions of art museums and exhibitions. Findings The findings show that adolescents’ perception of arts and exhibitions do not correspond to museum art criteria held by cultural tourism professionals. Based on the key theoretical themes emerging from the empirical investigation, a conceptual framework of adolescents’ attitudes toward arts and exhibitions is now presented to provide insights into the dimensions of adolescents’ art consumption in today’s western consumer society. Figure 1 provides a graphic model that visualizes adolescents’ art consumption experiences and summarizes the main findings and marketing implications in the arts field. Originality/value Based on these findings, new ways of engaging with adolescents in the field of arts are suggested to create new business opportunities for the museum. The findings lean toward the necessity to develop a more youth-centric approach, which differentiates between how adults define art and what adolescents believe art is supposed to be. Thus, the findings demonstrate that adolescents’ art consumption experiences are deeply anchored within the context of their social environment and the value judgments of their peers. The adolescent-centric logic within the arts experiential context is taken into account to underline the gap existing in many current arts marketing strategies that are targeting young visitors – and especially adolescents.

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Home-based digital leisure

Cited by 14 publications

References 23 publications

The magical realistic world of the virtual recreation

The magical realistic world of the virtual recreation

Bir Kültürel Tüketim Pratiği Olarak Netflix Dizileri

How can art museums develop new business opportunities? Exploring young visitors’ experience

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