This paper examines the (collective) performance of identities in an event context. During events, the participants not only engage in face-to-face performances, but also in the collective performances of crowds and audiences. This study analyses collective performance using Collins’ framework of Interaction Ritual Chains, which combines Goffman’s performance metaphor with Durkheim’s work on rituals and collective effervescence. This provides a more complete analysis of the ways identities are performed and (re)constructed during an event. This qualitative study presents the case of the Redhead Days, the world’s largest gathering of redheads. Visitor interviews and participant observation over four editions of the event show how a temporary majority of redheads is created, which greatly impacts both face-to-face and collective performance. Social practices that facilitate performance include photographing and storytelling. The data reveal that collective performance is inherently different from face-to-face performance, and that the combination of the two contributes to a change in narrative identities of the event attendees
USE conference paper.Ever since the mid-1970s a multitude of studies linking corporate sustainability performance (CSP) measures and financial performance measures have been conducted. Until today a plethora of corporate sustainability performance measures heve been developed. A universally accepted CSP definition of construct does not (yet) exist. Since we don't exactley know what CSP entails, CSP measures should (at least) be considered conceptually flawed for that matter. These measures may measure CSP, but it cannot e excluded that other (overarching) phenomena are measured. There are leads suggesting that CSP measures are reflections or representations of corporate culture, suggesting that corporate culture drives FP. If so, managers should not focus on increasing CSP to boost FP, but create a high culture for sustainability If corporate culture drives financial performance, the investment community can also benefit through improving its decision making processes by including CSP measures that reflect corporate culture.
Created for the 2019 Prague Quadrennial’s 36Q°, Blue Hour VR was a site-responsive mixed reality performative installation that placed the spectator, as experiencer, within a hybrid landscape of real- time three-dimensional computer graphics and 360-degree video. This article describes the design process, staging and experience of Blue Hour VR from the vantage point of its creators. Using a phenomenological perspective, the article discusses how Blue Hour VR staged presence and embodiment within an intermedial haptic experience. Blue Hour VR demonstrates how virtual reality technology can be harnessed by a mixed reality performance design, which includes both the material and virtual environment, creating a complex stratigraphy of intermedial textures and visual dramaturgies that co-exist inside, outside and in between perceptual realities. In doing so, the article aims to contribute to the limited body of work on mixed and virtual reality in the context of theatre and performance design.
