Test 2

Question 1

a focused mental engagement on a particular item of information - a scarce commodity which has become monetized

Answer 1

attention

Question 2

the ability to experience empathy merely by observing the movements of another human being - a way to understand markets

Answer 2

kinesthetic empathy

Question 3

law describing how the rapid growth and availability of information leads to a scarcity of attention - people can only attend to so much

Answer 3

law of information

Question 4

statement which describes the individual creating the A(a)rt, what inspires them and what they view as important to their A(a)rt - not a biography

Answer 4

artist statement

Question 5

statement which describes to consumers exactly what value the A(a)rt brings to their lives - uses sensory language

Answer 5

value statement

Question 6

an A(a)rts market being either in possession of A(a)rt, engaged in an A(a)rts experience, or engaged in the creation of A(a)rt

Answer 6

A(a)rts consumption

Question 7

the pattern a market typically follows in order to possess A(a)rt, engage in an A(a)rts experience, or engage in the creation of A(a)rt

Answer 7

A(a)rts consumption model

Question 8

consumption model involving engagement with an A(a)rts learning experience

Answer 8

educational consumption model

Question 9

consumption model involving professional artists creating art for professional purposes (use of supplies, materials, services for that purpose)

Answer 9

professional consumption model

Question 10

consumption model involving the consumption of A(a)rt for general/casual enjoyment - to relax, socialize, indulge (eat/drink) around one’s favorite art

Answer 10

entertainment consumption model

Question 11

consumption model involving the consumption of A(a)rt to enhance one’s environment or the consumption of objects enhanced with A(a)rt (ex. a chair that’s also an art piece)

Answer 11

utilitarian consumption model

Question 12

consumption model involving the consumption of art due to “experts” designating it as “good A(a)rt” - a cultural intermediary sanctions the validity of art

Answer 12

aesthetic consumption model

Question 13

consumption model involving the consumption of art through technology / relies on the use of technology (downloaded, live-streamed, broadcasted, etc.)

Answer 13

technological consumption model

Question 14

consumption model involving the consumption of A(a)rt via all (or most) of the five senses - most stimulating and memorable model, active rather than passive

Answer 14

experiential consumption model

Question 15

consumption model involving the consumption of indulgent A(a)rt that engages in “socially unacceptable behavior” and often breeds closely-bonded tribal markets (punk, “sex, drugs, and rock ‘n’ roll”)

Answer 15

hedonic consumption model

Question 16

an area or region which is “known for” a particular style of art and its art infrastructure - the art style is also closely linked to the region

Answer 16

cluster

Question 17

the ability for a market to distinguish “good” A(a)rt from “bad” A(a)rt - relates to the aesthetic consumption model

Answer 17

ordering

Question 18

an individual or group who, through various means, sanctions the validity of A(a)rt or an A(a)rtist in a market, is a trusted source on how “good” the A(a)rt is (critics, media, other artists, etc.)

Answer 18

cultural intermediary

Question 19

term for the 3 ways A(a)rts are typically marketed and positioned - “business” perspective, “aesthetic experience” perspective, and “art in everyday life” perspective

Answer 19

Black Box

Question 20

statement which tells consumers exactly where a product “fits” in their aesthetic lives, histories

Answer 20

positioning statement

Question 21

6 reasons A(a)rts marketing isn’t as simple as it seems:

Answer 21

1: Competition
2: Real vs. aesthetic value
3: Commodification of art
4: Noise
5: Too many modes of consumption
6: Zero interrogation

Question 22

the organization of symbols and what they mean (the “sign vehicle” is the form the symbol takes, while the “referent” is what the symbol stands for)

Answer 22

semiotics

Question 23

idea that persons who are in a mutual focus of attention become rhythmically entwined, feel intersubjectivity (collective empathy) and solidarity

Answer 23

interaction ritual theory

Question 24

Pierre Bourdieu’s concept that humans are created/influenced by a summation of capital collected in many fields (habitus)

Answer 24

field theory

Question 25

environments where humans find themselves, defined by Bourdieu

Answer 25

fields

Question 26

experiences humans encounter within fields, defined by Bourdieu

Answer 26

capital

Question 27

list the 8 A(a)rts markets:

Answer 27

utilitarian, professional, elitist, non-elitist, entertainment, aspirational, tribal, educational

Question 28

list the 8 A(a)rts consumption models:

Answer 28

educational, professional, entertainment, utilitarian, aesthetic, technological, experiential, hedonic

Question 29

idea that pleasure is the "highest good" and aim of human existence, devotion to pleasure as a way of life

Answer 29

hedonism

Question 30

4 major tenets of experiential A(a)rts consumption model:

Answer 30

1: Experience must be memorable 2: Consumers must be "drawn in" and experience a "sensation" 3: Experience must be personalized 4: Consumer must actively participate

Question 31

A(a)rts location economies are based on ___ around an ___, which yields ___, which yields opportunity in certain locations based on ___

Answer 31

A(a)rts location economies are based on (clustering) around an (anchor), which yields (infrastructure), which yields opportunity in certain locations based on (buzz)

Question 32

refers to too many people (intermediaries) telling us whether art is "good" or "bad"

Answer 32

noise