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Contemporary & Alternative Models for the Development of the Sports Industry
20th Conference on Sport Management & Recreation
Hellenic Scientific Association For Sports Management & Recreation (HSASMR)
School of Physical Education & Sports Science (Aristotle University of Thessaloniki - Greece)
Laboratory of Management of Sports, Recreation & Tourism
Thessaloniki, January 24-26, 2020
The paper presents the results of empirical research to determine the degree and extent to which sports editors, in their capacity as news gatekeepers, use the information provided by the public relations departments of basketball corporations (BSAs) based in Attica. The research explored how and to what extent this provision of information influences the agenda of the sports media (and therefore the public). The instrument employed to collect qualitative data was the individual in-depth interview. Four journalists and two media managers working in sports media and basketball corporations based in Attica participated in the research.
The results show that the two sides have a fragile symbiotic relationship of interdependence, which is rather superficial. This relationship is often shaken by mistrust and problems, resulting mainly from the functional needs and interests of the sports corporations. In conclusion, basketball corporations in Attica significantly determine the daily agenda of the respective sports media.
School of Journalism & Mass Communications (Aristotle University of Thessaloniki)
The Metropolitan Organization of Museums of Visual Arts of Thessaloniki (MOMus)
Publication year: 2020
Full report (executive summary in English): https://www.momus.gr/news/ereuna_web
The report presents results and findings of the first survey on visual artists in Greece, conducted in collaboration with the Metropolitan Organization of Museums of Visual Arts of Thessaloniki (MOMus). It includes five broad sections: demographics and social origin, education (both artistic and non-artistic), occupational and professional profiles, working conditions, and living conditions. It also includes several questions regarding artists' representations and attitudes (e.g., degree of satisfaction, optimism, etc.).
The survey involved 591 artists (38% men, 62% women), whose age ranges from 32 to 57 years. Setting the confidence interval at 95%, the margin of error is calculated at ±3,82%. This sample represents all stages on the trajectory of the social and working life of the visual artists. The questionnaire covers all dimensions of the working and living conditions, adopting and adapting appropriately the methods applied to similar surveys conducted in other developed countries and by international organizations and the EUROSTAT.
The findings are in line with research results in other developed countries as they show that visual artists belong to the less favored and more vulnerable social strata. They work under particularly unfavorable conditions and have remarkably low income, even though they are highly educated, specialized, and skilled. Most visual artists hold more than one higher education degree and they also are particularly polyglots. This research shows that the institutionalization and the protection of the labor and the work of visual artists need substantial revision and upgrading.
Empirical Studies of the Arts, 2019
First published (online): August 12
Considerable research on music psychology indicates correlations between musical preferences and individual differences in personality, between the various uses of music and personality traits, and between musical preferences and personal values. However, the association between personal values and the multiple ways in which music is used has not been considered yet.
To investigate this issue, 400 participants completed a self-report questionnaire comprising the uses of music, personality traits, and personal values, as well as provided their demographic details.
The hierarchical regression analyses revealed that both personality and personal values along with gender contribute differentially to predicting the different ways in which music is used. Overall, these findings suggest that the understanding of the ways in which listeners experience music can be improved by contemplating various individual difference variables.
International Journal of Nonprofit and Voluntary Sector Marketing, 2020, 25(1): e1640
Although there is a robust research framework describing several motivational factors explaining cultural consumption behavior, most of these research endeavors do not rely on specific theories. Therefore, based on three psychological approaches and previous research, this study aims to identify the main motives of people consuming various cultural goods (i.e., books, recorded music, historical monuments, and festivals). To further extend current studies, this research suggests a hierarchical structure of consumer needs and investigates the motivational differences between cultural consumption behavior and demographic variables (gender and age).
A structural equation modeling was employed to confirm the structure of the consumers’ drives indicating that six motives (entertainment, escapism, cultural exploration, learning/curiosity, family togetherness, and socialization) can sufficiently describe individuals’ needs. The above dimensions can be sorted into three higher‐order types of motivation, which are the emotional, cognitive, and social ones. The results also revealed that there are significant differences in motivation depending on cultural participation, as well as demographic variables.
The current findings are important not only for academics, but also for who need to develop effective marketing strategies, increase consumer satisfaction, and meet their economic objectives.
Journal Polyphonia (Polyphony), issue 33-34/2019, pp. 28-41
Athens: “Koultoura” Editions
The article is a reviewed and extended version of a paper presented at the Conference
Music – Aesthetics – Society
(in memory of O. Psychopedis)
School of Music Studies, University of Athens
Athens, November 23, 2018
This article presents a brief account of the new conditions where the production, circulation, and consumption of cultural goods take place. New opportunities for creators, intermediaries, and the public emerged, as significant changes in the ways of producing culture have been brought about by several factors. These include the development of digital technologies and the internet; the new international division of labor in the realm of cultural industries of a globalized economy; the proliferation of networking and “inter-networking” of both the authors and the public.
At the same time, these interdependent developments outline a context quite different from the one experienced and analyzed by Adorno in his critique of culture industry. This article focuses on these changes as it aims to raise several questions regarding Adorno’s critique in an attempt to explore and highlight what remains crucial and important from his point of view. In addition, it clarifies some of the widespread misrepresentations of his views that make his approach too superficial.