Guide Event Design: Social perspectives and practices

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Show More. Average Review. Write a Review. Related Searches. Diverse in economic development, political and mass media systems, the countries in South East Asia Diverse in economic development, political and mass media systems, the countries in South East Asia cast a unique light on the parallels between development-cum-participative communication and corporate social responsibility. In our globalized environments, knowledge of power, culture and the colonial View Product.

eBook: EVENT DESIGN | Livraria Cultura

Enterprise 2. Events and Sustainability. Increasing concerns over climate and environmental change, the global economic and financial crisis and impacts Increasing concerns over climate and environmental change, the global economic and financial crisis and impacts on host communities, audiences, participants and destinations has reinforced the need for more sustainable approaches to events.

Sustainability now features as part of the bid How can dystopian futures help provide the motivation to change the ways we operate day How can dystopian futures help provide the motivation to change the ways we operate day to day?

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Futures Beyond Dystopia takes the view that the dominant trends in the world suggest a long-term decline into unliveable Dystopian futures. The human prospect Institutions, Incentives and Electoral Participation in Japan:. It explores the entire event experience from conception and production to consumption and co-creation. By doing so it offers insight into effective strategies for coping with the shift in value creation away from transactional economic value towards social and relational value which benefit a range of stakeholders from the community to policy makers.

He has worked on projects for numerous national governments, national tourism organisations and municipalities, and he has extensive experience in tourism research and education. The Murray Library. St Peter's Library. Skip to Content. Help My Account My Lists. Catalogue Event design: social perspectives and practices. Published London: Routledge, Available at Internet and St Peter's Library. In particular, it is clear that the advent of new technology is already having a significant effect Adema and Roehl This applies not just to the core experience of the event itself, but also to the pre- and post-event experience, and to the extension of event experiences into extra-event space and into the virtual world.

It is clear that event designers will therefore have to become conversant with a wider range of technologies and techniques in future. One of the areas that will almost certainly require more attention is change management. The current economic challenges in many countries is stimulating events to rethink their basic economic design, or business model. Following a period of unprecedented growth in the number of events, the onset of the crisis in produced a situation in which there was suddenly far more competition to attract audience and funding.

In particular cuts in public sector funding had serious consequences for many events, particularly in the cultural sector. Many events have therefore had to redesign their business models to attract new audiences, new sources of funding or to reduce their need for resources. For example, crowdfunding has now become an interesting option for many events. The festival itself provided a platform for funding pitches by entrepreneurs in a variety of different fields.

Some would argue that festivals and events are particularly suited to crowdfunding, because their time-limited nature creates a natural sense of urgency among potential funders, who can also be offered a range of festival-related experiences in return for their backing as the essential incentive.

The need to engage with potential backers is therefore something that may need to be taken into account in event design in the future. The growth of crowdfunding and its extension of the direct stakeholders of events into broader social and economic networks is a good example of what Richards et al. Networks require coordination mechanisms to ensure a common focus of attention in an environment in which attention is becoming an increasingly scarce commodity, particularly for the consumer Richards In the network society we need new means of bringing people together and creating new social bonds van Ingen and Dekker Challenges of event design research Events are an important catalyst for different economic, social and cultural processes.

Designing events is also about configuring the relationships between different and sometimes conflicting event dimensions that increasingly need to be interconnected. Events can act as platforms which mediate exchanges between local and global, old and new, tradition and innovation. The dialogue and exchange created can be embedded in the design of the event and the event becomes a means of announcing and simultaneously of overcoming disjuncture.

An event can therefore represent a particular node in space and time, which as Sewell argues from a historical perspective, can mark the gap between reality and aspiration. Successful event design therefore involves first revealing this gap, and therefore the potential for change, and subsequently closing the gap by turning aspirations into reality. However, the downside is that designing events as a strategy may also harbour potential dangers.

The importance of design is also underlined by Berridge when describing the structure and chain of steps that are linked to event design: Design should be regarded as the basis of the framework for successful event experience production. Event design is the concept of a structure for an event, the manifest expression of that concept expressed verbally and visually which leads, finally, to the execution of the concept.

The concept of event as framework also implies that effects of event design stretch far beyond the tangible event itself. The stance taken towards events and event design taken in this volume also attempts to go beyond the tangible realm, and to tell a distinct story about events and their role in social contexts. In this vein Hall and Page note: the seeming inability of event studies to achieve a substantial shift in the thinking associated with the area to move it from an empiricist-rational tradition to one that also adopts a more critical and social constructionist stance in the analysis of event-related phenomenon.

Most of the contributions in this volume therefore attempt to go beyond the narrow management perspective and also further than traditional physical approaches to event design. Effective design is not just a means of enhancing the visitor experience or generating more income, but it can become a means of achieving much broader social, cultural and creative objectives.

Given the scope and power of effective design, this also implies that it can ultimately have intended or unintended negative consequences as well. It can indeed be a means for quashing some voices or excluding specific groups of participants. These issues also need to be taken on board by event designers and event researchers in their practices. From the point of view of research, the event studies field still has to fully examine the implications of the cultural turn, the creative turn and the relational turn in the social sciences.


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These perspectives have important implications for design, because they mark the increasing symbolic and relational content of events as social phenomena, which in turn are reflected in the design of events as catalysts for cultural change, image change and social cohesion. Besides these different perspectives, other temporal and spatial levels should also be taken into account when designing events. As Hall and Page point out, there is a temporal level to be considered which makes evident the long term and short term outputs of the event programme.

This also questions the level where analysis and design should be undertaken, whether it should be more focused on the scale on the event itself or the event programme. Standard event management practice tends to deal with the level of individual events, whereas many of the outputs of events are generated at a programme level e. Richards and Palmer Events themselves then become structures which in turn shape social, economic and cultural practices. These experiencescapes also influence the way eventscapes are configured, as Steijn makes clear in chapter Services are abstract and processual in their nature.

Experiences, as do services, rely heavily upon the employees of a company in order for an actual experience of the customer to take place. So, the fulfillment of a brand experience promise is dependent on both the customer and the staff. In the backstage then staff is an essential element in the eventscape and consequently in the event design. Hede and Kellett chapter 9 touch upon this matter and make evident that, for example, human resource management of digital marketing is fundamental in event design.

Most event research concentrates on the experience of the visitor, but the eventscape contains different elements front and back stage as well as qualities speed, tempo, rhythm, identity production. It is also in this sense that Nelson reflects on the creation of the experience as connected to the emotional status of event attendees. Event design is therefore a holistic process of creation which involves emotional and social contexts where the event itself is a co-creative platform where innovation takes places.

Event Design

The design process has then to allow, promote and provoke the conditions for co-creative innovation to happen, for example by considering it as an interactive theatrical setting with its composite dramatic elements Nelson The development of dramaturgical settings for events also creates a fresh need to develop storytelling in order to link different dramatic elements into a compelling whole. Steijn chapter 11 gives some practical illustrations of how this can be achieved in the case of classical music events. Events can apply larger scale game design principles to engage participants more actively in the drama being unfolded by an event, making the personal event experience even more meaningful and symbolic.

Recent research on the outcomes of event experiences de Geus et al. Given the increasing rapid circulation of experience elements and the pressure to keep up with or ideally stay ahead of consumer trends, events have increasing problems keeping their experience design up to date. These new event concepts also point to the need for new means of evaluating event outcomes and effects. Much research has emerged in recent years on visitor satisfaction and economic impact, but these are relatively limited aspects of the problem. As the forthcoming special issue of the Journal of Policy Research in Tourism, Leisure and Events Richards and Thomas, forthcoming indicates, there are many new possibilities for devising evaluation and monitoring strategies that can guide different aspects of event design.

These include action research, visual methodologies, the use of new technologies including video streaming and podcasts, consumer panels and the creation of events designed to evaluate event programmes. Such new evaluation strategies will also have to take on board the growing complexity of measuring event outcomes in relation to an increasingly fragmented stakeholder landscape and rapidly increasing forms of event delivery.

This is likely to increase the power of event design, and the potential of events as communication vehicles considerably in future. Berridge, G. Bawens, M.


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