aceUVi

Recommendations

Info

‘Concurrent impacts’ refers to the many ways in which individuals may respond to cultural programmes without being consciously aware of it. For instance, individuals may hold their breath, their heart rate may increase, they may lose track of time, or experience chills. Some of the physiological responses can be measured at the very moment at which they occur. Psychological engagement is more difficult to measure in the moment, as any conscious reflection on the individual’s state may interfere with the experience (ie, interrupt their sense of flow or absorption). ‘Experienced impacts’ are consciously perceived. They may start accruing before the event (as reflected in heightened levels of anticipation), and also manifest during the event, and afterwards. These are the impacts that are captured in postevent surveys, interviews and focus groups. Far from distracting from the experience, the measurement process can actually generate additional impacts by inviting attendees to reflect on what they have just experienced. Indeed, cultural organisations have developed an extensive body of practice to magnify experienced impacts through educational and enrichment activities before and after the cultural programmes. ‘Extended impacts’ encompasses all impacts that result from a specific cultural experience over the remainder of the participant’s lifetime. Some experiences may be quickly forgotten, in which there is little or no extended impact, except, perhaps, subconsciously. Others, however, stay in our memories for the rest of our lives, and those memories may be activated by subsequent experiences (Everett and Barrett 2011). That is, later events may lead us to revisit past experiences and perhaps appreciate some aspect of them anew. Past experiences also provide contextual knowledge that may help us gain additional pleasure from future events. Individual impacts are not fixed or permanent in our conceptualisation. In general, we assume that a strong initial impact will be followed by a gradual decline, with the possibility of occasional spikes of extended impact if the work continues to resonate or enhances subsequent cultural experiences. The rate at which the experienced impact deteriorates is likely to be unique to each cultural event and each individual who experiences it, giving rise to a variety of ‘impact patterns’ of the sort shown in Figure 6. Executive Summary 16 UNDERSTANDING the value and impacts of cultural experiences
Figure 6 Impact pattern of a cultural event Attend performance Post-performance audience talk-back CONCURRENT IMPACTS EXPERIENCED IMPACTS Read a review (next day) Attend a performance of another work by the same composer EXTENDED IMPACTS Over time, the long tails of extended impact of multiple experiences add up, giving rise to the notion of ‘cumulative impacts’. This is the sum of all of the residual impacts that an individual has experienced, as illustrated in Figure 7 (below). It is the cumulative impact of a lifetime of cultural experiences that may yield long-term outcomes such as a stronger sense of social belonging, an expanded worldview or a greater sense of well-being. Figure 7 Cumulative impact or multiple experiences over time CUMULATIVE IMPACT The three stages of impact and the notion of cumulative impact do not amount to a coherent model of lifelong cultural engagement. Nevertheless, we have found them helpful in making sense of the literature and in framing additional questions. Questions for Future Research on Individual Impacts There is much to be learned about the relationships between the different forms of impact that we have distinguished. While the work of many researchers from different disciplinary backgrounds is slowly filling in the steps between the initial physiological response to a cultural event, the experienced impact, and the cumulative impacts, there are many unanswered questions about the relationships between these steps. Executive Summary 17 UNDERSTANDING the value and impacts of cultural experiences
Page 1 and 2: UNDERSTANDING the VALUE and IMPACTS
Page 3 and 4: However, we cannot ignore this ‘i
Page 5 and 6: TABLE OF CONTENTS 2 FOREWORD 4 ACKN
Page 7 and 8: EXECUTIVE SUMMARY Over the past dec
Page 9 and 10: dividing the overall value into con
Page 11 and 12: the necessity of limiting the scope
Page 13 and 14: espondents are conscious; 2) there
Page 15: Table 2 Stages of Individual Impact
Page 19 and 20: Valuing arts and culture from the m
Page 21 and 22: cultural researchers are hamstrung
Page 23 and 24: organisation’s creative capacity
Page 25 and 26: The literature clearly identifies t
Page 27 and 28: 1 INTRODUCTION This literature revi
Page 29 and 30: Outline of the report This literatu
Page 31 and 32: Economic value There are several di
Page 33 and 34: happy, healthy, educated people pro
Page 35 and 36: 2 FRAMING THE CONVERSATION LANGUAGE
Page 37 and 38: six in particular. Indeed, the fact
Page 39 and 40: Arjo Klamer Within the field of Cul
Page 41 and 42: culture. By increasing people’s k
Page 43 and 44: that Holden mentions under the head
Page 45 and 46: public value’ (4). The authors de
Page 47 and 48: Figure 3 Tentative visual synthesis
Page 49 and 50: establish an interpretive frame and
Page 51 and 52: terpretive, curatorial, observation
Page 53 and 54: Knell and Taylor Due to the widespr
Page 55 and 56: of impacts with instrumental values
Page 57 and 58: the capacities to realise cultural
Page 59 and 60: 3 MEASURING INDIVIDUAL IMPACT As wa
Page 61 and 62: While one might argue that the requ
Page 63 and 64: Table 1 Comparison of components of
Page 65 and 66: In Brown and Novak-Leonard (2007),
Page 67 and 68:
Novak-Leonard’s terms) stands out
Page 69 and 70:
Like Brown and Novak-Leonard and NE
Page 71 and 72:
Table A-2: A grouping of indicators
Page 73 and 74:
The same two studies also provide a
Page 75 and 76:
Summary The fact that different res
Page 77 and 78:
with audience members, and they all
Page 79 and 80:
are applied in the evaluation of te
Page 81 and 82:
White and Hede Tabitha White and An
Page 83 and 84:
(2008) and Foreman-Wernet and Dervi
Page 85 and 86:
Everett and Barrett Michelle Everet
Page 87 and 88:
‘sensation’, while Walmsley use
Page 89 and 90:
Discussion of research methodologie
Page 91 and 92:
analyse existing interviews from so
Page 93 and 94:
Individual impacts are not fixed or
Page 95 and 96:
4 VALUING ARTS AND CULTURE FROM THE
Page 97 and 98:
In reviewing types of goals, motiva
Page 99 and 100:
Intrinsic • Self-oriented, active
Page 101 and 102:
of audience members’ overall eval
Page 103 and 104:
this factor leads the researchers t
Page 105 and 106:
5 CREATIVE CAPACITY OF AN ORGANISAT
Page 107 and 108:
Sabine Boerner Sabine Boerner (2004
Page 109 and 110:
Daniel Urrutiaguer Daniel Urrutiagu
Page 111 and 112:
Hannah, Langsted and Larsen 1 Boern
Page 113 and 114:
In entrusting the evaluation to exp
Page 115 and 116:
of the major performing arts organi
Page 117 and 118:
Clarity of intent and commitment to
Page 119 and 120:
tional structure in determining art
Page 121 and 122:
Supportive Networks (conditional el
Page 123 and 124:
CODA: COMBINING MEASURES OF EXPERIE
Page 125 and 126:
dimensions in the shaded boxes have
Page 127 and 128:
The 2012 DCA report assures readers
Page 129 and 130:
Bailey, Jackie 2009a. Defining arti
Page 131 and 132:
Margaret Bolton and Clare Cooper. 2
Page 133 and 134:
Chappell, Michael, and John Knell.
Page 135 and 136:
Falk, John H and Lynn D Dierking. 2
Page 137 and 138:
Johanson, Kaya. 2013. ‘Listening
Page 139 and 140:
Marsh, Kevin, and Evelina Bertranou
Page 141 and 142:
New Economics Foundation. 2008. Cap
Page 143 and 144:
Reason, Matthew. 2004. ‘Theatre a
Page 145 and 146:
Throsby, David. 2010. The Economics
Page 147 and 148:
Williams, Tandi. 2011. Community Re
Page 149 and 150:
Hegarty, C Boyd. 2009. ‘The value
Page 151 and 152:
APPENDIX TABLES Table A-1 A groupin
Page 153 and 154:
Table A-3 A grouping of indicators
Page 155 and 156:
Table A-5 A grouping of indicators
show all

aceUVi

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?