Comparative art history from the perspective of the theory of the audience-various theatrical aspects of the viewing practice

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During the three year-period of this research project, we held 12 international workshops and one symposium all of which were connected by the central theme of "audience theory." We invited scholars from various countries specializing in different historical periods and genres and engaged in extensive comparative investigations in order to re-vision art history from the audience-oriented perspective. In the process, a variety of key issues emerged around the issue of the audience : the difference between individual and group audience ; how the relationship between the image and the audience is conditioned and defined by the nature of the "site" of encounter(ritualistic, ceremonial, or contemplative)?; what kind of role does the mediator/agent(artist her/himself, "e-toki" performer, art historian, curator) play?; how does the secondary means of presentation/distribution(such as the issue of "remake" or photographic reproduction) influence the reception of a particular work/image? and so on. This set of issues which are often historically specific have become visible during the three-year investigation and analyzed from the methodological perspective ; the outcome of these analyses has already been reflected in the articles and presentations of each member of this project and will be further reflected in the already-scheduled scholarly output. In addition, it is important that the international network of scholars has been nurtured through this three-year project, which can function, is already partially functioning, as a foundation for a productive exchange across national boundaries.