What Do Remote Music Performances Lack?

Tarumi, Hiroyuki; Nakai, Tomoki; Miyazaki, Kei; Yamashita, Daiki; Takasaki, Yuya

doi:10.1007/978-3-319-63088-5_2

Cited by 13 publications

(10 citation statements)

References 2 publications

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“…Seeing the member affectionately talking to other fans raised my affinity for her, and it was funny to watch some fans performing a quick gag in front of the member. Here, while I have referred to the sense of presence in Section 2.3 based on the analogous correspondence between performer-audience and idol-fan relationships, the importance of a sense of co-presence between audience members has also been pointed out with regards to performing arts in distanced situations [47]. In this context, these comments can be understood from the same analogy though this aspect has been completely ignored in the current form of alternative events described in Section 4.…”

Section: Lack Of Opportunities For Fans To Communicate With Each Othermentioning

confidence: 99%

No More Handshaking: How have COVID-19 pushed the expansion of computer-mediated communication in Japanese idol culture?

Yakura

2021

Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems

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In Japanese idol culture, meet-and-greet events where fans were allowed to handshake with an idol member for several seconds were regarded as its essential component until the spread of COVID-19. Now, idol groups are struggling in the transition of such events to computer-mediated communication because these events had emphasized meeting face-to-face over communicating, as we can infer from their length of time. I anticipated that investigating this emerging transition would provide implications because their communication has a unique characteristic that is distinct from wellstudied situations, such as workplace communication and intimate relationships. Therefore, I frst conducted a quantitative survey to develop a precise understanding of the transition, and based on its results, had semi-structured interviews with idol fans about their perceptions of the transition. The survey revealed distinctive approaches, including one where fans gathered at a venue but were isolated from the idol member by an acrylic plate and talked via a video call. Then the interviews not only provided answers to why such an approach would be reasonable but also suggested the existence of a large gap between conventional ofine events and emerging online events in their perceptions. Based on the results, I discussed how we can develop interaction techniques to support this transition and how we can apply it to other situations outside idol culture, such as computer-mediated performing arts. CCS CONCEPTS• Human-centered computing → Empirical studies in HCI; • Social and professional topics → Cultural characteristics.

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Section: Lack Of Opportunities For Fans To Communicate With Each Othermentioning

confidence: 99%

No More Handshaking: How have COVID-19 pushed the expansion of computer-mediated communication in Japanese idol culture?

Yakura

2021

Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems

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“…The flip side of this work focuses on the audience's experience in the performer-audience dyad. A detailed study of 'what remote performances lack' [45] would seem to provide all the answers we would wish for. However, the fact that online streaming was not yet a common practice among their study participants led them to assume that 'watching music performances on one-way Internet streaming services can be regarded as the same kind of experience as watching recorded music videos' [45] (p. 17).…”

Section: Liveness Within Hcimentioning

confidence: 99%

“…A detailed study of 'what remote performances lack' [45] would seem to provide all the answers we would wish for. However, the fact that online streaming was not yet a common practice among their study participants led them to assume that 'watching music performances on one-way Internet streaming services can be regarded as the same kind of experience as watching recorded music videos' [45] (p. 17). While this is not an unreasonable assumption to make, and they did not foresee a Watch Party's combination of live chat with prerecorded video, our data suggest that it might not stand up to close empirical scrutiny.…”

Section: Liveness Within Hcimentioning

confidence: 99%

“…While this is not an unreasonable assumption to make, and they did not foresee a Watch Party's combination of live chat with prerecorded video, our data suggest that it might not stand up to close empirical scrutiny. However, the authors do provide a very useful concept to bear in mind when considering how to make remote performances feel more live: a 'sense of unity', both with musicians and with other audience members, which 'arouse so-called fellow feelings with others' [45] (p. 17). Unity and fellow feelings are not unlike the shared history mentioned by some club members as benefits of meeting online, as noted above.…”

Section: Liveness Within Hcimentioning

confidence: 99%

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Producing Liveness

Benford

Mansfield

Spence

2021

Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems

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The global pandemic has driven musicians online. We report an ethnographic account of how two traditional folk clubs with little previous interest in digital platforms transitioned to online experiences. They followed very different approaches: one adapted their existing singaround format to video conferencing while the other evolved a weekly community-produced, pre-recorded show that could be watched together. However, despite their successes, participants ultimately remained unable to 'sing in chorus' due to network constraints. We draw on theories of liveness from performance studies to explain our findings, arguing that HCI might orientate itself to online liveness as being co-produced through rich participatory structures that dissolve traditional distinctions between live and recorded and performer and audience. We discuss how participants appropriated existing platforms to achieve this, but these in turn shaped their practices in unforeseen ways. We draw out implications for the design and deployment of future live performance platforms. CCS CONCEPTS • Human-centered computing • Human computer interaction (HCI) • Empirical studies in HCI

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“…Focusing on live concerts, Brown and Knox ( 2017 ) revealed that ‘experienced feelings of togetherness’ were generally marked as decisive grounds for attendance. Others showed that ‘being able to share the experience with like-minded others’, as well as ‘interacting with performers’, were commonly considered to be key motives for attending live music events as well (see e.g., Holt 2010 ; Pitts 2014 ; Radbourne et al 2014 ; Brown and Knox 2017 ; Tarumi et al 2017 ; Krause et al 2020 ). Interestingly, social grounds also proved to be crucial for livestreamed event engagement.…”

Section: Introductionmentioning

confidence: 99%

Concert experiences in virtual reality environments

et al. 2023

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Spurred by recent advances in digital technologies, virtual concerts have become established modes for event attendance and represent a rapidly growing segment of the music industry. Yet, up to now, general experience of virtual concert attendees remains largely underexplored. Here, we focus on a subcategory in this domain: music concerts in virtual reality (VR). Our approach is situated within the theoretical framework of embodied music cognition and entailed investigation through a survey study. Responses of seventy-four VR concert attendees were collected, consisting of demographics, motivations, experiences, and future perspectives. In contrast to previous research, which generally identified social connectedness as a main motivator for concert attendance, our sample regarded it as one of the least important incentives. On the other hand, in line with previous studies, ‘seeing specific artists perform’ and ‘uniqueness of the experience’, were pivotal. The latter was mostly fueled by the possibility to experience/interact with visuals and environments considered as unconceivable in the real world. Furthermore, 70% of our sample regarded VR concerts as ‘the future of the music industry’, mainly relating to the accessibility of such events. Positive evaluations of VR concert experiences, as well as future perspectives regarding the medium, were significantly influenced by the level of experienced immersivity. To our knowledge, this is the first study to provide such an account.

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What Do Remote Music Performances Lack?

Cited by 13 publications

References 2 publications

No More Handshaking: How have COVID-19 pushed the expansion of computer-mediated communication in Japanese idol culture?

No More Handshaking: How have COVID-19 pushed the expansion of computer-mediated communication in Japanese idol culture?

Producing Liveness

Concert experiences in virtual reality environments

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