Creativity management within the aesthetical situation regarding the in-real or digital form of participation in arts: art receivers’ perspective
Abstract
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.
Keyword : aesthetic situation, aesthetics, arts digitalisation, creativity change, management, participation in arts, receiving process
How to Cite
Szostak, M., & Sułkowski, Łukasz. (2024). Creativity management within the aesthetical situation regarding the in-real or digital form of participation in arts: art receivers’ perspective. Creativity Studies, 17(1), 41–58. https://doi.org/10.3846/cs.2024.16418
This work is licensed under a Creative Commons Attribution 4.0 International License.
References
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Handa, J. (2020). Impact of social media and digitalization on the growth of fashion designers. International Journal of Textile and Fashion Technology, 10(1), 1–12.
Hermes, J., Koch, K., Bakhuisen, N., & Borghuis, P. (2017). This is my life: The stories of independent workers in the creative industries in the Netherlands. Javnost – The Public, 24(1), 87–101. https://doi.org/10.1080/13183222.2017.1280892
Hobbs, R., & Tuzel, S. (2017). Teacher motivations for digital and media literacy: An examination of Turkish educators. British Journal of Educational Technology, 48(1), 7–22. https://doi.org/10.1111/bjet.12326
Hracs, B. J. (2015). Cultural intermediaries in the digital age: The case of independent musicians and managers in Toronto. Regional Studies, 49(3), 461–475. https://doi.org/10.1080/00343404.2012.750425
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Jarrier, E., & Bourgeon-Renault, D. (2019). The role of digital mediation devices in the satisfaction of art museum audiences. Journal of Marketing Trends, 5(3), 67–84.
Johansson Sköldberg, U., Woodilla, J., & Berthoin Antal, A. (2016). Routledge research in creative and cultural industries management. Artistic interventions in organizations: Research, theory and practice. Routledge. https://doi.org/10.4324/9781315743486
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Karayilanoğlu, G., & Arabacioğlu, B. C. (2020). Digital interactive experiences in contemporary art museums. The Turkish Online Journal of Design, Art and Communication, 10(4), 423–440. https://doi.org/10.7456/11004100/007
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Kudyba, S. (2020). COVID-19 and the acceleration of digital transformation and the future of work. Information Systems Management, 37(4), 284–287. https://doi.org/10.1080/10580530.2020.1818903
Lance Nawa, L., & Sirayi, M. (2014). Digital technology and cultural heritage sites in the city of Tshwane. The Journal of Arts Management, Law, and Society, 44(4), 246–257. https://doi.org/10.1080/10632921.2014.964384
Lee, H. J. (2011). Joystick soldiers: The politics of play in military video games. Journal of Communication Inquiry, 35(3), 295–299. https://doi.org/10.1177/0196859911415408
Lei, P., & Tan, E. B. (2021). Applying digital arts experience to strengthen the organizational culture in higher education during the pandemic. International Journal for Innovation, Education and Research, 9(5), 169–173. https://doi.org/10.31686/ijier.vol9.iss5.3080
Literat, I. (2012). The work of art in the age of mediated participation: Crowdsourced art and collective creativity. International Journal of Communication, 6, 2962–2984.
Mao, T., & Jiang, X. (2021). The use of digital media art using UI and visual sensing image technology. Hindawi: Journal of Sensors, (Special Issue). https://doi.org/10.1155/2021/9280945
Miles, S. (2018). “Do we have LIFT-Off?” Social media marketing and digital performance at a British Arts Festival. Journal of Arts Management, Law, and Society, 48(5), 305–320. https://doi.org/10.1080/10632921.2017.1366379
Phillips, M. (2000). The Sadeian interface: Computers and catharsis. Digital Creativity, 11(2), 75–87. https://doi.org/10.1076/1462-6268(200005)11:2;1-R;FT075
Pianzola, F., Toccu, M., & Viviani, M. (2022). Readers’ engagement through digital social reading on Twitter: The Twletteratura case study. Library Hi Tech, 40(5), 1305–1321. https://doi.org/10.1108/LHT-12-2020-0317
Pöppel, J., Finsterwalder, J., & Laycock, R. A. (2018). Developing a film-based service experience blueprinting technique. Journal of Business Research, 85, 459–466. https://doi.org/10.1016/j.jbusres.2017.10.024
Quattrini, R., Pierdicca, R., Paolanti, M., Clini, P., Nespeca, R., & Frontoni, E. (2020). Digital interaction with 3D archaeological artefacts: Evaluating user’s behaviours at different representation scales. Digital Applications in Archaeology and Cultural Heritage, 18. https://doi.org/10.1016/j.daach.2020.e00148
Rivas-Carmona, M. del M. (2020). The power of (re)creation and social transformation of binomial “Art-Technology” in times of crisis: Musical poetic narrative in Rozalén’s “Lyric Video” Aves Enjauladas. Cultura: International Journal of Philosophy of Culture and Axiology, 17(2), 217–231. https://doi.org/10.3726/CUL022020.0017
Roberge, J., & Chantepie, Ph. (2017). The promised land of comparative digital cultural policy studies. The Journal of Arts Management, Law, and Society, 47(5), 295–299. https://doi.org/10.1080/10632921.2017.1398584
Ryan, M.-L. (2015). Narrative as virtual reality: Vol. 2: Revisiting immersion and interactivity in literature and electronic media. Johns Hopkins University Press. https://doi.org/10.1353/book.72246
Schnugg, C. (2019). Palgrave studies in business, arts and humanities. Creating artscience collaboration: Bringing value to organisations. Palgrave Macmillan. https://doi.org/10.1007/978-3-030-04549-4
Sosnowska, E. (2015). Touch, look and listen: The multisensory experience in digital art of Japan. CITAR: Journal of Science and Technology of the Arts, 7(1), 63–73. https://doi.org/10.7559/citarj.v7i1.147
Stauffer, A. (2012). The nineteenth-century archive in the digital age. European Romantic Review, 23(3), 335–341. https://doi.org/10.1080/10509585.2012.674264
Szostak, M. (2021a). Artistry, management, and creativity: Links and common denominators. Discourses on Culture, 16(1), 23–54.
Szostak, (2021b). Digital transformation and new art experience. ResearchGate. https://www.researchgate.net/post/Digital_Transformation_and_New_Art_Experience
Szostak, M. (2020). Creativity and artistry in organ music. The Organ, 391, 24–31.
Szostak, M. (2023). Perception of creative identities by artistic and non-artistic individuals: Consequences for management. Creativity Studies, 16(1), 1–25. https://doi.org/10.3846/cs.2023.15081
Szostak, M., & Sułkowski, Ł. (2021a). Identity crisis of artists during the Covid-19 pandemic and shift towards entrepreneurship. Entrepreneurial Business and Economics Review, 9(3), 87–102. https://doi.org/10.15678/EBER.2021.090306
Szostak, M., & Sułkowski, Ł. (2021b). The challenges in identification of artists-managers: Consequences for creativity. Creativity Studies, 14(1), 112–124. https://doi.org/10.3846/cs.2021.13822
Szostak, M., & Sułkowski, Ł. (2021c). The identity and self-perception of artists-managers. Problems and Perspectives in Management, 19(1), 372–386. https://doi.org/10.21511/ppm.19(1).2021.32
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