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This study examines the nature of communal consumption in the context of audience experience of the performing arts. Building on existing literature on consumption communities and ritualistic perspectives on shared event‐based consumption, it uses focus groups and participant observation to...
Based on interviews with arts administrators responsible for addressing targeted groups labelled “socially excluded,” this paper highlights new understandings of the term “cultural intermediary” (Featherstone 1991; Bourdieu 2000) within art galleries and art centres. It considers the unique role...
Previous research into the ethics of accessing information goods using alternative means (the informal economy or social exchanges) has failed to study the moral arguments used by music consumers to justify their behavior or explain actions they considered to be (un)ethical. To fill this gap, we...
The artist is frequently uncertain, when he or she begins to create a work, how the completed work will look or sound. However, the corporate business model, which is premised on a rational and instrumental worldview, suggests that in a market environment, art should be evaluated objectively,...
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