The forward facing flaneur: a fresh look at information seeking for the beer festival attendee
Notice bibliographique
Résumé
Dӧrk, Carpendale and Williamson (2011) review the Flaneur (Baudelaire, 1863) in contemporary settings, positing the information flanuer as representing a new way of thinking about information seeking. We adapt and extend this and consider the future scope of the flaneur – embedded but not entombed as the leisurely and vigilant urban stroller (Wrigley, 2014), suggesting how the flaneur has evolved in correspondence with new environments becoming a more critical device than its origin as a cultural spectator. Technology is a particular, but not a sole, factor contributing to contemporary environments where the enshrining of turbulence and potential for transformation is simultaneously creating wariness and uncertainty. This produces forward facing reflections, i.e. visions, as the spirit of Baudelaire’s loafer becomes something that is more symbiotic and cognisant of the dangers around him/her in our socio-economic turbulent time (Devine & Devine, 2012; Getz, Andersson, & Larson, 2006; Larson, Getz, & Pastras, 2015; Van Niekerk & Pizam, 2015). Chalcraft and Magaudda (2013) explain how festivals offer occasion for values, cultures, aesthetics and politics to come together. They opine that these festival-related interactions can impact positively outside of the festival as transformation. The beer festival in its many guises as a leisure phenomenon is, as other festivals, both significant and signifier in the unsettled state society currently sits (Robertson, Hutton & Brown, 2018). In this paper we give projections of the transformative capacity of beer festivals. First, we review global and national drivers of change, and discuss signposts and signals that may determine what the Beer Festival looks like in the future. Second, based on the identification of drivers, signposts and signals we critically evaluate the transformative capacities that beer festivals may have.This exploratory work is the basis of a large study in which two communities, in England and in Scotland, envision their own futures through the prism of existing beer festivals. The research adds to a body of knowledge that has grown with the Flaneur, the social significance of festival activity, and the attributes of visioning futures to aid resilience in volatile social-economic times. The application of a future scoping process, identifying drivers, signposts and signals are forwarded are valuable tools in this process. ReferencesBaudelaire, C. (1863) The painter of modern life. Trans. Jonathon Mayne (1964) London: Phaidon.Chalcraft, J., & Magaudda, P. (2013). ‘Space is the Place’: The Global Localities of the Sònar and WOMAD Music Festivals. In G. Delanty, L. Giorgi, & M. Sassatelli (Eds.), Festivals and the Cultural Public Sphere (pp. 173-189). New York: Routledge.Dörk, M., Carpendale, S., & Williamson, C. (2011). The information flaneur: A fresh look at information seeking. CHI Conference ‘Human factors in computing systems’ (May 7-12, 2011), Vancouver, Canada. (ACM 978-1-4503-0267-8/11/05)Devine, A., & Devine, F. (2012). The challenge and opportunities for an event organiser during an economic recession. International Journal of Event and Festival Management, 3(2), 122-136.Getz, D., Andersson, T., & Larson, M. (2006). Festival stakeholder roles: Concepts and case studies. Event Management, 10(2-3), 103-122.Larson, M., Getz, D., & Pastras, P. (2015). The legitimacy of festivals and their stakeholders: concepts and propositions. Event Management, 19(2), 159-174.Robertson, M., Hutton, A., & Brown, S. (2018). Event Design in Outdoor Music Festival Audience Behavior (A Critical Transformative Research Note). Event Management, 22(6), 1073-1081.Van Niekerk, M., & Pizam, A. (2015). How do terrorism and tourism co-exist in turbulent times? Introduction to a conflicing relationship. In K. Glaser (Ed.), Terrorism and the Economy : Impacts on the Capital Market and the Global Tourism Industry (pp. 109-125). The Hague: Eleven International Publishing.Wrigley, R (2014). Introduction in The Flaneur abroad: historical and international perspectives, (R Wrigley, Ed), Newcastle, Cambridge Scholars Publishing
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,004 | 0,004 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,004 | 0,003 |
| Études des sciences et des technologies | 0,020 | 0,012 |
| Communication savante | 0,020 | 0,017 |
| Science ouverte | 0,002 | 0,007 |
| Intégrité de la recherche | 0,005 | 0,008 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,008 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».