Consumers Of Art Research Articles

Enjoying art: an evolutionary perspective on the esthetic experience from emotion elicitors.

The ubiquity of human art prompted evolutionary psychologists to explore its origins as a potential adaptation to the environment. Here we focus on emotionally charged art and posit that affective affordances embedded into some artworks play a pivotal role in explaining why these artworks are enjoyed from an evolutionary perspective. Such features, recurring in various art forms, are interpreted as cues to the emotional state of others, enabling art consumers to engage in empathetic experiences and vicarious emotions. We explore the adaptive value of deriving pleasure from vicarious emotions, while also addressing the seemingly counterintuitive enjoyment of artworks that evoke negative emotions. We discuss the appreciation of vicarious emotions irrespective of their valence and maintain this appreciation to hold adaptive significance for three key reasons. Firstly, it aids art consumers in refining their interpretational schemes of internal states, potentially enhancing emotional regulation skills. Secondly, it contributes to a deeper understanding of the emotions of others, thereby fostering emotional intelligence and empathy. Lastly, the enjoyment of affectively charged artworks reinforces social cohesion by harmonizing the emotions of group members. This perspective provides a comprehensive framework for understanding the evolutionary underpinnings of the human capacity for art appreciation and emotional engagement.

Influence of Modern Digital Technologies on Fine Arts

The purpose of the article is to identify the influence of modern digital technologies on the creation of works of fine art. The research methodology is the application of general scientific and special research methods determined by the artistic paradigm. The scientific novelty of the study lies in understanding the specifics of creating works of fine art with the help of modern digital technologies, taking into account their interactivity, network communication, and virtuality. The conducted analysis shows the rapid spread of digital technologies and the expansion of the artistic orientation in the creative activity of artists, which has led to the formation of a new generation of digital art consumers and is one of the important areas of research into the current transformations taking place in the field of culture and art. Conclusions. Digital technologies and fine arts are undoubtedly in constant dynamic development and interaction today, and are actively used by artists in their work. Digital technologies are a means of modelling and demonstrating laws and the basis of artistic, scientific, and technical creativity, which significantly affect the formation of form, ensuring the composition and perception of the work and are one of the means of creating the latest works of fine art. With the help of digital technologies, artists manage to convey more accurately the idea of the work, make it understandable to the maximum number of viewers. Moreover, it is important to note that it is not entirely correct to determine the value of works of fine art created by traditional or digital means. A contemporary artist determines the means of creating the work itself (using the traditional means of pencil and brush, or using a sequence of sticks and zeros), and there is also the possibility of combining traditional art with technological innovations. The author emphasises that artificial intelligence in terms of independent creation of works of fine art today looks too bold and very controversial.
 Key words: fine art, digital technologies, modern art, artificial intelligence.

Contemporary Art Market and Positioning of Artist’s Brand on It

The purpose of the article is to study the definitions of the art market and the artist's brand in the first third of the 21st century, as well as to analyse the ways of promoting contemporary branded artists on the art market. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows to analyze the tools of popularization of modern Ukrainian and foreign artists. The scientific novelty lies in a new approach to the definition of "art market", in the comparative disclosure of the definition of "artist’s brand" through the study of non-commercial socio-cultural projects against the background of commercial art projects aimed to generate monetary income. Conclusions. The socio-cultural design of the work of managers of the contemporary Ukrainian commercial and non-commercial segments of the art market corresponds to the planning algorithms of the classical market, and includes such market participants as the producer of an artistic product, the seller, the consumer, pricing algorithms, and advertising. The art market has implemented marketing algorithms for popularising artists' work and promoting art brands. In the modern global art market, each artist’s personal brand is a unique socio-cultural project and one of the main criteria for pricing artworks. The contemporary Ukrainian art space meets the requirements of the global art market, is competitive, and includes state and municipal institutions and facilities, as well as the commercial space of auctions, fairs, and galleries. Key words: art market, marketing research, relationship marketing, motivation of art consumers, art projects, consumption of art works, behaviour of art market consumers.

SNS특성이 공연예술소비자의 티켓구매의도에 미치는 영향

This study proposes a research model that investigates that influential relationship of the major variables set when searching for performing arts, including the characteristics of SNS, perceived usefulness, perceived ease of use, and ticket purchase intention. The subjects were performing arts consumers with experiences of purchasing a performing arts ticket via SNS. A total of 261 questionnaires were collected with the online survey platform Google Docs. The empirical analysis results were tested at the significance level of α=.05, and statistical treatments were analyzed with the SPSS 28.0 and AMOS 28.0 programs. The empirical analysis results led to the following findings: First, the study empirically analyzed the impact of SNS characteristics on searching for performance arts included interaction, playfulness, relationship, and reality on perceived usefulness, and found that interaction, playfulness, and relationship had significant positive (+) effects on perceived usefulness, and reality did not have any effect on it. Second, the study also empirically analyzed the effects of SNS characteristics on searching performing arts including interaction, playfulness, relationship, and reality on perceived ease of use, and found that interaction and playfulness had positive (+) effects on it with relationship and reality having no effects on it. Third, the study empirically analyzed the effects of perceived ease of use on perceived usefulness in performing arts consumers and found that the former had positive (+) effects on the latter. Fourth, the study empirically analyzed the effects of perceived usefulness on the ticket purchase intention of performing arts consumers and found that it had positive (+) effects on their ticket purchase intention. Finally, the study empirically analyzed the effects of perceived ease of use on the ticket purchase intention of performing arts consumers and found that it had positive (+) effects on their ticket purchase intention. Based on these findings, the study had the following discussions: First, one of the subfactors of SNS characteristics to search performing arts is interaction, which turned out to have the biggest effects on perceived usefulness. This raises a need to actively review performing arts marketing and emphasize interaction, which allows performing arts consumers to share and communicate various content among themselves via SNS to obtain performance information. Second, another subfactors of SNS characteristics to search performing arts is playfulness, which turned out to have the greatest influences on perceived ease of use. This raises a need to plan and develop performing arts promotions and content tjat gives performing arts consumers the feeling of fun, interest, and pleasure by using SNS in order to increase their perceived ease of use. Third, perceived ease of use had positive effects on perceived usefulness in performing arts consumers. It is thus necessary to do research on promotion and marketing strategies recognizable at a glance so that performing arts consumers can obtain information about performing arts and overcome their difficulties with SNS to increase their perceived usefulness. Fourth, perceived usefulness turned out to have positive impacts on the ticket purchase intention of performing arts consumers. These findings suggest that the field of performing arts should be active in developing marketing strategies to plan diverse events and promotions that provide performance information via SNS to consumers so that performing arts consumers will purchase more tickets. Finally, it was demonstrated that perceived ease of use had effects on the ticket purchase intention of performing arts consumers. It is thus needed to analyze the age groups of consumers and implement promotions targeting specific age groups to increase the ticket purchase of performing arts consumers.

Impact of Digitalization on Visual Arts Consumers’ Behavior during the COVID-19 Pandemic: Generational Perspective of Art Management

AbstractObjectiveThe virtualization of the aesthetic experience influences the scope of artistry and creativity of visual artwork and the quality of participation in visual arts. Due to variances in perception qualities between individuals belonging to particular generations, this article aims to assess the impact of the participation form (physical/traditional or digital) on the aesthetic situation of recipients from certain generations. The quality of participation in visual arts was assessed using ten criteria.MethodologyQuantitative data exploration from a survey undertaken using a digital instrument provided by SURVIO based on a worldwide sample from 22 countries (n = 87). Due to the relatively ephemeric character of the research problem, an additional qualitative analysis of the statistical results was performed.FindingsThe participation form (online or in-real) in visual arts determines participation quality level of the aesthetic situation of particular generations. Significant differences exist among generations in online and in-real participation in visual arts and between particular forms of participation. This article did not look for the reasons for these differences; only additional comparative qualitative research can try to reveal them.Value AddedIt is the first analysis of the impact of digitalization of visual arts from the perspective of visual arts consumers’ behavior based on the components of aesthetic situation theory.ImplicationsThe research results should be of interest to: 1) Visual arts creators looking for the optimal way of distributing artworks among recipients from different generations; 2) Visual arts managers and marketers for a multi-layered understanding of generation-diversified visual arts recipients’ perspectives and their preferences about participation in visual arts in-real or digitally; 3) Visual arts customers (recipients) who wish to compare their own views about participating in visual arts with those of other recipients belonging to certain generations.

Decompositional Forms: Asiatic Disfigurement, Sensorial Excess, and Queer Inhumanisms in Candice Lin’s Natural History

Abstract This article analyzes Candice Lin’s 2020 solo exhibition, Natural History: A Half-Eaten Portrait, an Unrecognizable Landscape, a Still Still Life, a show that reflects the artist’s ongoing enquiry into non-Western botanical knowledge and attempts to develop nontoxic death rituals by building more-than-human intimacies. Merging the biological processes associated with decomposition and the discursive formations of race and gender, the work also interrogates the knowledge systems constructed by museums. I examine Lin’s works through the lens of queer inhumanisms to illustrate how this exhibition challenges modern curatorial practices and historical representations of the Asiatic in natural histories. I refer to this aesthetics of disfigurement as “decompositional forms.” Ultimately, I forward that this method of representation renders Asian American racial form into multisensorial registers (which literally penetrate art consumers) to recognize racial histories beyond identity and alongside the omni-presence of the more-than-human.

ART DESIGN AS A NEW DIRECTION OF MODERN DESIGN DEVELOPMENT

At the beginning of the XXI century, a process of rapid development of world art and reassessment of artistic values took place in network culture. A new language of art is formed and developed in parallel with the development of the latest technologies. Changing the assessment and reality perception process requires adaptation of design subjects to the new world, in which information flows, opportunities, and scientific and technical innovations are rapidly and steadily growing and transforming. The changing perspective on art objects – from the past to the future – encourages art consumers to acquire a new sense of art going beyond the boundaries of everyday life and makes us relate to the world in a new way, accordingly transforming our everyday life, our desires and feelings. The rapid development and spread of the latest technologies, the entry to a qualitatively new level of visualization leads to the emergence and integration of new, little-researched processes in the field of design, for instance, art design. The purpose of the academic paper is to study the regularities of art design formation as a new trend in developing the modern design sphere, as well as to clarify some practical features of this process. Analytical-bibliographical, systemic-structural, comparative, logical-linguistic methods, abstraction, idealization, analysis, synthesis, induction, deduction were used in the course of the research to study the scientific literature on the art design development, as well as a questionnaire to reveal certain aspects of practical issues in this sphere. Based on the research results, the theoretical and practical aspects of developing art design as a new direction in the field of modern design were studied.

미술가브랜드가 미술소비자의 구전의도에 미치는 영향

The domestic art market has grown recently due to the new influx of the MZ generation. These new art consumers are active in changing the art market landscape by sharing art information, discovering and purchasing artworks themselves. This study asserts that in order to secure competitiveness in the current art market, establishing an artist brand that meets the needs of the new art consumers is necessary. Accordingly, this study investigated the effect of artist brands on art consumers' attachment and word of mouth intention through empirical research, and confirmed the mediating effect of art consumers' attachment in the relationship between artist brands and word of mouth intention. This study provides basic data for developing tools that can improve the recognition and image of artists by presenting the direction of artist marketing strategies suitable for the characteristics of new art consumers.

The Community Art Center of the Works Progress Administration as a Third Space

This article examines how community art centers of the Federal Art Project (FAP) of the Works Progress Administration served as a third space, one that was explicitly designed to be different from art museums at that time. Created to employ artists during the Great Depression under President Franklin D. Roosevelt, goals of FAP programs included creating a national identity in the arts through cultural production, and developing individual consumers of art who would continue the support after government programs had ended. Another motivation for these programs was created in the spirit of progressivism. Thus, by incorporating art into the community, artists and organizers reenvisioned how citizens could interact with art through active engagement by developing studio experiences, art exhibitions, and community programming. The programs were conceived in direct contrast to established museums as new organizations developed with the communities they were designed to reach.

ОСТЕНСИВНОЕ И ЭМФАТИЧЕСКОЕ: ТЫНЯНОВ В КАНВЕ ДЕРРИДА

The critical method developed by Jacques Derrida requires a new attitude to ostensiveness: it is understood not as a quality of argument, but as a way of arranging heterogeneous utterances by placing human beings before their own history. This allows us to overcome the inconsistencies in our conception of how humans construct their own and others’ histories, and how the means of speech always lag this constituting. The article argues that Russian formalism, which demonstrates numerous parallels with Husserl’s phenomenology, preceded Derrida’s project of building a non-contradictory theory of ostensibility. Tynyanov, with his interest in biographies, theater and the visual properties of the written text, through a series of complex arguments and an overcoming the unspoken in the usual concepts of expressiveness was able to create an idea of man, who is both a producer and a consumer of art, a character of emphatic statements, which reveals the extensive potential of culture. The contradictions and shortcomings in metaphors and schemes, through which Tynyanov describes the art of past eras, are surmounted in his own literary work, which transfers the antinomy of subject and story from the realm of supposition into the realm of ostensive acceptance. Taking into account these particular ideas helps us to clarify the concept of time as part of Tynyanov’s study of visual techniques in the poetic text and the fluctuating characteristics of linguistic meaning.

NFTs and Value

NFTs and Value

THE AMERICAN COLLECTORS AND THEIR INTEREST IN ROMANIAN ART IN THE INTERWAR PERIOD

The 20th century has often been defined as the era of great changes, of interconnections, of the circulation of ideas, which constantly undergo changes under the pressure of the context, all of which inevitably marked and influenced the artistic concepts of the time. Any artistic creation is due to the impact of the antagonistic exposure that the artist makes between the creative impulse and the reality that is often foreign to art. Almost every time when we talk about art, this cannot be sustained, valued without those who consume the art. When the artist’s work resonates with the image of feelings, the connection between the artwork and the art collector is inevitable, but each work is experienced by the individual in his own way. Throughout history, art collectors have been either important names of the aristocracy or people financially very powerful, they marked the history of art in one way or another, even reaching in time to acquire the skills of a specialized connoisseur. Considered the cultural center of the arts in the interwar period, Paris represented an ideal meeting point between Romanian artists and art consumers from the USA. Names such as Edward Steichen, the lawyer John Quinn, Alfred Stieglitz, Walter Pach or Peggy Guggenheim were previously attracted by the art of Brâncuși, Victor Brauner or Hedda Sterne.

Artistic Production and (Re)production: Youth Arts Programmes as Enablers of Common Cultural Dispositions

Whilst the position of young people as arts consumers has been highly critiqued, the opportunities for young people to be celebrated as entrepreneurial and subcultural arts producers are often overlooked. This article explores the role of young people as agents of creation through arts programmes and the development of ‘common cultural dispositions.’ The framework – Artistic Production and (re)production – draws on and combines analytical insights and theoretical concepts from Paul Willis and Pierre Bourdieu in order to argue that young people both consume and produce artistic practices, which then leads to a reproduced social hierarchy. This combination gives additional insight into culturally reproductive cycles, which remain problematically entrenched with social class disadvantage. An ethnographic methodology is reported, which enabled an in-depth exploration of everyday creativity, self-efficacy, self-identity, and forms of resistance for the young people in this study. However, I argue that whilst Artistic Production offers hopes of transformation, in particular for working-class and marginalised groups, ‘positional suffering’ and unconscious mechanisms of reproduction were also apparent.

Under the Sign of the Avant-Garde: Jewelry in the Context of Left-Wing Trends in the Art of Russia in the First Third of the 20th Century

In the context of left-wing trends and “industrial art” in Russia in the first third of the twentieth century, jewelry occupied a more than modest place. In this regard, special attention should be paid to the few jewelry artifacts known today that are directly or indirectly related to the aesthetic principles of the avant-garde artistic and stylistic trends of this time. During the study of the earliest stage of the genesis of Russian art jewelry in the Soviet period, several such monuments were identified, created by reformist artists: A. M. Rodchenko, N. M. Suetin, and others. Of particular interest is the synthesis of classic jewelry solutions and avant-garde graphic design-preserved examples of pre-revolutionary Faberge jewelry factories and three-dimensional graphic design. As a result, a capacious image of the transition era was formed, in all the contradiction of the denial of the artistic experience of the past and the approval of the stylistics of the future: agitation art, constructivism, Suprematism, and working art. Identified new archival data allowed us to make new attributions of some artifacts from Museum collections, representing different areas of existence of jewelry in the post-revolutionary era: faleristics, cinema, “production art”, Amateur. The study made it possible to conclude that the avant-garde stylistic trends “as the highest stage of all aestheticism” were not so “far from the tasks of introducing the language of new art into production”. Another thing is that the process of artistic integration does not always find an adequate response among consumers of art, including jewelry. At the same time, the synthesis of left-wing trends in art with jewelry played an important role in creating prerequisites for the formation of the genre of unique author’s jewelry works in Russia.

Consumers’ Perception: Discovering the “Law of Attraction” in Art Using Eye-Tracking

"Today, due to new technologies and seeing the tenacity with which the branch of scientific research, especially neuromarketing, advances, it is easy to understand how they have managed to bring together topics such as fine arts and eye-tracking technology. Not only did they end up with amazing results, but those results were in line with the expectations created from the very beginning by researchers from these industries and beyond. Therefore, using eye-tracking as a market research tool, it is possible to directly track and measure the observable behavior of a visual arts consumer, analyzing both his visual attention and his eye movements. The data collected for this study resulted from the exploratory research, which involves the review of several articles and specialized studies regarding the eye-tracking subject and also from the qualitative research, represented by an in-depth interview with both Romanian art consumers and artists. It has implemented an eye-tracking test, also to gather the primary data for this present study, a tool that was available on an online platform named GazeRecorder. The results illustrate the extent to which attention and the decision-making process (to purchase a painting) affect and influence how the information present in the work of fine art is related to the composition and elements that support the artwork itself. Thus, these results, not only can help analyze a painting in a much more efficient way but can also be incorporated in the future into consultancy services for artists or may represent the basis of a more appropriate and attractive form of education in art. Keywords: eye tracking, observation, art, artwork analysis, paintings JEL classification: L31, C91 "

Sculpture in Socialist Realism—Soviet Patterns and the Polish Reality

Socialist realism was more than just a trend in art. It was also, and perhaps predominantly, a method of educating the new post-revolutionary society in the Union of Soviet Socialist Republics. In socialism, the state became the commissioner, consumer, and critic of art, treating it as a major propaganda tool. It is thus not surprising that the socialist realism patterns were imposed on artists working in those countries which found themselves in the Soviet sphere of influence after the end of the Second World War. In Poland, which was the Soviet Union’s closest neighbour and one of the larger countries in the post-war “Eastern Bloc”, socialist realism was the only permitted creative method in the years 1949–1956. The ideologists of the new art assigned a special role to sculpture, which, next to posters and murals, was considered the most socially accessible form of artistic expression due to the possibility of placing it in public space. Monuments as material carriers of ideology were used as an expression of power, but they also marked the places of strengthening collective identity. During the period of socialist realism in Poland, sculptural activity followed the main three directions: heroic, portrait, and architectural–decorative. Therefore, this paper aims to present theoretical and ideological assumptions relating to socialist sculpture and their confrontation with realisations in Poland during the period of the Soviet artistic doctrine. The paper also presents the aesthetic paradigms of socialist sculptures and their relationships with the canons of European art, and, for Poland, also with the native art, mainly sacral.

Collectors as consumers of works of fine art on the art market and their motivations

The purpose of the article. Research and analysis of marketing technology algorithms by studying the motivations of collectors as consumers of fine arts products. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of collectors as consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivation of collectors as consumers in the market of fine arts and in the study of further marketing processes in the activities of collectors of works of art. The article analyzes the algorithms of marketing technologies in the analysis of motivations of collectors as consumers of the art market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of collectors as consumers of works of art through the analysis of types of collectors, through the analysis of the processes of collecting works of art, through the analysis of situations of consumption of works of art. It should be noted that in the marketing of fine arts, the technologies of studying and analyzing the motivations of consumers of art markets in the promotion of works of art are purposefully and productively used. The analysis of motivations of consumers of art markets gives the chance to classify highly effective groups of consumers and admirers of works of fine arts according to their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by Collectors, and, accordingly, describes the situations in which certain groups of individuals (consumer segments) acquire or collect works of art. It is proved that the collector's behavior in art marketing is based on three obligatory components: Individual (Collector) - Product (Work of art) - Situation (Consumption of a work of art in the art market). It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied collectors as Individuals who consume works of art, which in turn are Products presented in kind in private (or other) collections, and we have studied the situations of consumption of works of art acquired in the collection.
 Keywords: art market, marketing research, motivation of consumers of works of art, collectors of works of art, behavior of consumers of art market.

"Local" consumption of art projects and motivation of the "local" consumers

"Local" consumption of art projects and motivation of the "local" consumers The purpose of the article. Research and analysis of consumer motivations of fine arts products, based on algorithms of marketing technologies. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of consumers of works of art who prefer to be fascinated by fine arts through the Internet, social networks, television programs, followed by the use of research results in marketing processes to promote works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivation of consumers of the market of fine arts on the Internet, television programs, and in the study of further marketing processes in the art market. The article analyzes the algorithms of marketing technologies in the analysis of motivations for "home" consumption of products of the fine arts market. The article finds that in art marketing it is relevant and necessary to study the behavior of Internet consumers of works of art, analyzing the situation of "home" consumption of works of art. In art marketing, technologies for studying and analyzing the motivations of Internet consumers of works of art in promoting an art product on the art market are gradually being developed. Analysis of the motivations of Internet consumers of art markets makes it possible to more objectively segment the participants of market relations. Conclusions. The article identifies and analyzes the model of "home" online consumption of fine arts, as well as art projects, and, accordingly, describes the segment of online consumers of works of art at home using television, the Internet, and other means of communication. It is also proved that the behavior of the "home" consumer in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied Individuals who consume works of art and art projects, which in turn are Products presented in the form of printed or electronic images, and we have studied Situations of "home" consumption of works of art and art projects. Keywords: art market, marketing research, relationships of marketing, motivation of consumers of works of art, art projects, "home" consumption of works of art, behavior of consumers of art market.

Symbolic consumers of fine art in the art market and their motivations

The purpose of the article. Research and analysis of algorithms of marketing technologies in the art market by studying the motivations of symbolic consumers of fine arts, namely, individuals who consume products of fine arts through symbolic appropriation. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of symbolic consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivations of symbolic consumers of the fine arts market and in the study of further marketing processes in it. The article analyzes the algorithms of marketing technologies in the analysis of motivations of symbolic consumers of the fine arts market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of symbolic consumers of works of art as Individuals through the analysis of types of symbolic Consumers, as well as through the analysis of situations of symbolic consumption of works of art as a symbolically appropriated Product at the art market while viewing works of art in exhibition halls. Based on research in the field of art market marketing, we can say that artistic creativity is an area of activity of non-profit public and private museums, gallery and exhibition institutions, as well as large and small businesses, which should professionally analyze consumer motivations, which in turn makes it possible to highly segment consumers of works of fine art in accordance with their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by symbolic appropriation, and, accordingly, describes the group (segment) of consumers. We are talking about symbolic consumption, which is associated with the possibility of obtaining aesthetic pleasure through the symbolic appropriation of the work without material possession. It is also proved that consumer behavior in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied individuals who consume works of art, which in turn are products presented in exhibition halls, and we have studied the situations of consumption of works of art that are consumed by symbolic appropriation in exhibitions. Key words: art market, marketing research, motivation of consumers of works of art, symbolic consumption of works of art, behavior of consumers of art market.

계획행동이론을 적용한 공연예술 소비자의 예약부도 가능성 영향요인 연구 : 예약부도의 부정적 효과 인식의 조절효과를 중심으로

The negative impact of no-show (hereinafter referred to as no-show) in performing arts is emerging as social problems such as reduced profitability on the side of businesses and reduced opportunities to use services on the side of consumers. In performing arts, the impact of reservation bankruptcy is significant. Therefore, so far, there have been fewer studies on reservation default. However, most of them are aimed at hospital or tourist consumers, and it is difficult to find a reservation department in the performing arts field. As a result, the researcher paid attention to consumers of performing arts, unlike previous research on reservations. This study examined the impact factors on the possibility of reservation department of performing arts consumers who applied the theory of planned behavior to 300 consumers who have experienced reservation department among consumers who have watched performing arts more than once. The purpose of the study is to predict consumers