In the iconography of the nineteen-sixties, music festivals became one of the primary expressions of counter-cultural ideals (Gebhardt, 2015). Drawing on a popular Hippie slogan of that time, and its conflation with events such as the Woodstock Music and Art Fair in 1969, allows the attention to be drawn towards the production rather than the consumption of music festivals. While the notion of ‘if you can remember it, you weren’t there’ perhaps captures the mood of the audience, the motivations of the organisers of such large-scale events have been less often foregrounded.
The growth in music festivals has seen a rise in the number of new mediators, as the owners, organisers and designers of music festivals play a key role in imagining temporal spaces for others to inhabit in an experience economy (Pine and Gilmour, 2011). Although Obrist (2014) states that ‘it is not the job of a curator to impose their own signature but to be a mediator between artist and public’, it is evident that each temporal event is unique and unrepeatable. In fact, as Getz (2012) argues, there may be an ever-increasing need to ‘custom-design’ events into highly-targeted festival experiences.
Although research in Event Studies has largely been dominated by generic management concepts (Getz, 2010), recent developments in Event Design have focused on a more theoretical conception of planning and management, where the consumer is often seen as a co-creator of value of the product or service (Rihova, 2014). Through a series of semi-structured interviews, this paper examines the actions and motivations of event managers and designers involved in this creation process, investigating how music festivals are envisioned, developed and managed within a globally competitive marketplace. For while audiences are required to inhabit festival spaces, the question still needs to be asked ‘who produces events and why’ (Getz, 2012).
The Culicoides fauna of Belize is poorly known, and until 1974 only 3 species were recorded. Nineteen species of Culicoides from Belize were identified from six collection sites: C. barbosai Wirth & Blanton, C. crepuscularis Malloch, C. debilipalpis Lutz, C. diabolicus Hoffman, C. foxi Ortiz, C. furens (Poey), C.gabaldoni Ortiz, C. heliconiae Fox & Hoffman, C. hoffmani Fox, C. imitator Ortiz, C. insignis Lutz, C. jamaicensis Edwards, C. leopoldoi Ortiz, C. limai Barretto, C. paraensis (Goeldi), C. pifanoi Ortiz, C. pusilloides Wirth & Blanton, C. pusillus Lutz, and a new species, C. mckeeveri Brickle & Hagan is described and illustrated.
Saccharomyces cerevisiae is used by Acme Baking & Brewing to produce ethanol. Since glucose is the basic unit of fermentation, our group wanted to test if different complexities of sugars affect the rate of ethanol production in S. cerevisiae. Our hypothesis was that glucose will have the highest rate of ethanol production because it is a monosaccharide, as compared to sucrose, a disaccharide, and starch, a polysaccharide. We mixed 2.0 g of each sugar into 78 mL of deionized water and 2 mL of S. cerevisiae. We ran three 12 minute trials for each sugar and tracked the ethanol production using an ethanol probe and Logger Pro. The data found revealed no significant difference in the average rate of ethanol production in glucose and sucrose, rejecting our hypothesis. However, starch produced a negative rate of ethanol production, signifying that starch cannot be used to produce ethanol.
Journal Article Seasonal Abundance of Culicoides spp. (Diptera: Ceratopogonidae) in Coastal Georgia Get access George J. Magnon, George J. Magnon Department of Biology, Institute of Arthropodology and Parasitology, Georgia Southern College, Statesboro, Georgia 30460-8042 Search for other works by this author on: Oxford Academic PubMed Google Scholar Daniel V. Hagan Daniel V. Hagan Department of Biology, Institute of Arthropodology and Parasitology, Georgia Southern College, Statesboro, Georgia 30460-8042 Search for other works by this author on: Oxford Academic PubMed Google Scholar Environmental Entomology, Volume 17, Issue 1, 1 February 1988, Pages 67–74, https://doi.org/10.1093/ee/17.1.67 Published: 01 February 1988 Article history Received: 24 February 1987 Accepted: 25 September 1987 Published: 01 February 1988
The promoters of music festivals form part of an under-researched and somewhat neglected topic in the academic literature. Focus on events has largely centred on the needs and motivations of audiences, and on the consumption of festivals within a participatory culture. The emphasis in music studies has also been concentrated on the recorded music industry, with the live sector often viewed as a secondary or less important area of study, despite the continued growth of the music festival industry. This thesis, therefore, redresses the balance in both these related areas, by exploring the practices and motivations of the behind-the-scenes promoters who organise and implement these social and cultural events. The thesis looks first at the structures of the contemporary music industry and the place of independent UK music festivals in the live music ecology. It then considers, through the phenomenological perspective of the promoters, how music festivals are organised through a web of social, economic and political relations and initiatives, and argues for the key role of the promoters in the production and distribution of these experiential goods. Finally, it considers the individual practices and motivations of the festival promoters as the mediators of physical and social spaces, and questions the effects of implementing events on their mental health and wellbeing.
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