Mechanisms linking affective reactions to competition-related and competition-extraneous concerns in male martial artists

The main aim of this study was to examine affective linkages between competition-related and competition-extraneous concern domains. A secondary purpose was to establish the contributions of pre-competition affects to post-competition performance appraisals, independent of pre-competition performance expectations. Thirty-nine highly skilled male martial artists were assessed at five random times a day for a week and 1 h before a major competition on affective states and sources of concern. They also reported their performance expectations and post-competition performance appraisals. Affective states triggered by competition-related and competition-extraneous concerns persisted in time. Carry-over effects were stronger after reports of competition-related concerns, emphasizing the subjective importance of the competitive event. Although positive (enjoyment and surprise) and negative (sadness and guilt) affective spill-over was observed from competition-extraneous to competition-related concerns, the reverse held true only for disgust. These findings may be due to the athletes' ability to regulate affective reactions within a sporting setting, in particular. Spill-over from competition-extraneous to competition-related concerns is indicative of a lesser degree of control over work/study and family life. Given that average weekly negative affects and anger/disgust were independent predictors of post-competition performance appraisals, the phenomenon of spill-over and other affective linkage mechanisms in sport warrant further investigation.

Predictors of pre- and post-competition affective states in male martial artists : a multilevel interactional approach

The aims of this study were to examine (a) the effects of competition-related and competition-extraneous concerns on affective states; (b) the relationships of primary and secondary appraisal with affective states and (c) the main and moderating effects of personality traits on pre- and post-competition affects. Thirty-nine male elite martial artists were assessed on 12 affective states, concerns and dimensions of primary and secondary appraisal at five random times a day across 1 week before and 3 days after a competition. On the competition day, they were assessed 1 h before and immediately after the contest. Competitive trait anxiety, neuroticism and extraversion were measured at the start of the study. The competition was the most significant and stressful event experienced in the examined period and had a pervasive influence on athletes' affective states. All examined appraisal and personality factors were somewhat associated with pre- and post-competition affective states. Competitive trait anxiety was a key moderator of the relationship between cognitive appraisal and affective states. This study supports the idea that cognitive appraisal and situational and personality factors exert main and interactive effects on athletes' pre- and post-competition affects. These factors need to be accounted for in planning of emotion regulation interventions.

Hiding in plain sight: street artists online

Identity and privacy concerns related to social media are the subject of widespread academic enquiry and mass media reporting. Although in most circumstances academic research tends to present identity play and online self-presentation as positive, media reporting in Australia makes much of the risks of identity theft, privacy breaches and online predators. This research explores the phenomenological experience of creating an online persona, focusing particularly on street artists. For street artists, the threat of unwanted exposure has to be balanced with the positive implications of sharing their creative work outside its geographical and temporal constraints. I argue that street artists use complex persona-creation strategies in order to both protect and promote themselves. The two street artists discussed in this article experience their engagement with social media and digital networks in ways that offer new insight into the opportunities and problems associated with the presentation of a persona online.

Finding the edge : online persona creation by fringe artists

Self-presentation through the creation of profiles and pages on digitally networked spaces is becoming ever more ubiquitous. In order to develop greater depth of understanding of the place of social media in our self-identification practice, my dissertation investigates the experiences of online persona creation by eight artists. Drawing on sociological and cultural studies approaches to understanding identity as performance, I tie current artists’ presentational and representational practices to historically grounded, socio-culturally constructed discourses of ‘artistness’. Through this connection, I argue that the creation of online persona has not radically changed notions of what it means to be an artist, or how artistness is represented and understood by audiences of fans or followers, but rather that digital technology has allowed for renegotiation of the boundaries of artistness that still draws from historical understandings of the role and persona of the artist. This shifting of boundaries, allowing for more inclusivity within the art world, is demonstrated by my focus on ‘fringe’ artists: those whose creative practice places them outside of the traditional art world and its existing structures of representation, distribution and consumption. The eight fringe artists who participated in this study are drawn from street art, performance poetry, craftivism and tattoo.

Interpretative Phenomenological Analysis drives the methodological focus on the experiences of the artists. Rather than a consideration of behaviour and habit, or what the artists do, this phenomenological approach allowed me to instead focus on what it is like for the artists to create persona, what drives particular types of representational practices. Using unstructured interviews, and online listening as an extension of participant observation, the artists’ narratives of experience are expressed through transcript extracts and screenshots: both are necessary to fully explore the nature of online persona creation.

My analysis of the artists experiences has demonstrated that there are three somewhat distinct registers of performance with which an artist’s persona can engage: the professional register, where one demonstrates ones proficiency, experience, popularity, and professionalism; the personal register, where one connects with
wider social and political interests and activities; and the intimate register, where one allows the audience in to one’s private world. These three registers occupy the same performance space, but are implicitly or explicitly for different segments of the digitally networked audience of fans, followers, friends and family. The complexity of the performance and reception of these registers is influenced by the shared nature of the performance space – where previously different roles would be performed for different audiences without reference to one another, the networked nature of online social media influences decisions of how much, and when, to share with whom.

Interpreted here using themes of strategy|happenstance, specialisation|diversification, visibility|self-protection,
self|others and work|play, the professional, personal and intimate registers of performance enable us to see the consideration and care with which each participant creates their artists persona. The experiences of performing the self in these three registers, as presented here, provides an insight into the complexities involved in creating online persona, while also demonstrating that this type of presentation of self is, in itself, no different from the types of role play and performance of self that has arguably always occurred in our physical world. Despite focusing on the role and performance of artistness, this dissertation speaks to the creation and performance of online persona more broadly. 

Two trees: Australian artists' books to Afghanistan and back

Two Trees documents an artists' books collaboration between 14 Australian women artists and women in Afghanistan who were learning literacy. The collaboration resulted in 36 concertina books of images, withDari and Pashto hand written texts.The books are held in the State Library of Queensland's artists' books collection. Two Trees includes includes an introduction by Barbara Kameniar, and texts by Malalai Joya, Gali Weiss, Matthias Thomczak and Latifa Ahmady.

Goddess : Artists for the Tarkine

The artwork, Goddess, was exhibited in Artists for the Tarkine, a fundraising exhibition by over 75 Australian artists in support of the campaign to save the Tarkine wilderness of North West Tasmania. Exhibition dates: 1-4 May 2014.

Understanding Australian ethnic minority artists' careers

This article examines the degree to which Australian ethnic minority artists possess or do not possess the career capitals necessary to develop their artistic journey. We listened to stories of career experiences that show how artists learn to negotiate their way by developing their career paths. The study found that ethnic minority artists possess more cultural capital than economic and social capitals, thus limiting their career to attain hierarchy and power in creative institutions. Ethnic minority artists can use strategies to manage career, boosting economic, social capitals and to a lesser extent cultural capital. This article adds to the current literature on the utility of Bourdieu’s forms of capital, contextualising voices of artists to account for their experiences in managing the process of advancement which both facilitates and limits their career-related opportunities.

Unfolding projects: Afghan and Australian artist’s books collaborations

In August 2009 an email was circulated to a number of Australian women artists with an offer to participate in a project of dialogue with women in Afghanistan. The project grew as a response to the dire situation of many women in Afghanistan, particularly in relation to education; many women are illiterate because they were and often still are, forbidden, restricted, or discouraged from attending school. By April 2010, 53 artists’ books by 14 women artists from various parts of Australia were delivered to Afghanistan, thereby beginning a process of creative collaboration between women situated in different places, cultures, and languages, attempting a productive connection through image and text. Each artist had created a small series of concertinas of imagery consistent with her current studio practice, which were then delivered to Afghanistan and distributed amongst women participating in literacy education. The women were asked to relate to the images by writing their own words directly within. The general intent was for the concertinas to be sent back to Australia, then bound and exhibited to raise public awareness, and possibly sold to raise funds. The artistic intent, however, was not the fundraising aspect as much as to take part in a process of support and dialogue with women in Afghanistan. It was a manoeuvre that said 'you are not alone'. The aim was to mobilise a conversation of sorts through the visuality and materiality of the artist’s book, despite the limitations of cultural, experiential, and physical distance. Just over six months from their delivery to Afghanistan, 36 of the 53 books returned to Australia, each marked with handwritten stories and poems in Dari and Pashto. This paper discusses the processes and considerations involved in the project, and the partnership formed with SAWA-Australia (Support Association for the Women of Afghanistan).

Haptically-enabled dance visualisation framework for deafblind-folded audience and artists

In this paper we propose a framework for communicating performance art to deaf, blind and deafblind audiences and artists haptically through the sense of touch. This research opens doors for novel artistic trends relying mainly on the sense of touch. The paper investigates the design considerations dictated by solo and group dances as well as stage setup. Implementation scenarios for deafblind audiences and performers are also discussed.