{"id":160,"date":"2026-07-27T16:29:59","date_gmt":"2026-07-27T06:29:59","guid":{"rendered":"https:\/\/www.gokhanmeric.com\/blog\/ux-beyond-the-screen-part-2-who-designs-who-decides\/"},"modified":"2026-07-27T16:29:59","modified_gmt":"2026-07-27T06:29:59","slug":"ux-beyond-the-screen-part-2-who-designs-who-decides","status":"publish","type":"post","link":"https:\/\/www.gokhanmeric.com\/blog\/ux-beyond-the-screen-part-2-who-designs-who-decides\/","title":{"rendered":"UX Beyond the Screen, Part 2: Who Designs the Audience Experience &mdash; and Who Actually Decides?"},"content":{"rendered":"<p><em>Series: UX Beyond the Screen &mdash; Audience Experience in Live Events (Part 2 of 4)<\/em><\/p>\n<p>In Part 1, I mapped the academic vocabulary &mdash; servicescape, festivalscape, sportscape, eventscape, experiencescape. Now to the organizational question that fascinates me most as a product person: in real life, who owns the audience experience of a festival, a theatre production, or a sports tournament?<\/p>\n<p>The short answer: everyone owns a slice, and nobody owns the journey.<\/p>\n<h2>The de facto experience designers<\/h2>\n<p>Walk through a typical large event and trace each touchpoint back to its author:<\/p>\n<p><strong>The artistic\/creative team.<\/strong> Directors, choreographers, stage designers, lighting designers. In performing arts, the concept of <em>mise-en-sc&egrave;ne<\/em> has expanded in contemporary design theory to include the overall context of audience interaction &mdash; effectively merging performance with experiential design. HCI research on interactive theatre confirms that when technology enters a performance, artists themselves do genuine design work: framing, exploring and conceptualizing how a digital artifact will be used, drawing on skills the HCI field is only beginning to acknowledge. Artists are experience designers &mdash; but their scope usually ends at the edge of the stage.<\/p>\n<p><strong>The event producer \/ event manager.<\/strong> Owns logistics, budget, program, vendors. This is the closest thing to a journey owner, but the role is judged on delivery and safety, not on experiential quality. An event manager who gets 40,000 people in and out without incident has succeeded, even if half of them queued 50 minutes for water.<\/p>\n<p><strong>Venue operations.<\/strong> Owns wayfinding signage, concessions, restrooms, security screening &mdash; the sportscape factors that research consistently links to spectator satisfaction. Yet venue ops rarely runs anything resembling user research; decisions are driven by throughput, compliance and cost.<\/p>\n<p><strong>Ticketing and technology vendors.<\/strong> Here is the uncomfortable one for us in digital. The first and last digital touchpoints of almost every event &mdash; discovery, purchase, e-ticket, entry scan, post-event email &mdash; are designed by third-party platforms optimizing for <em>their<\/em> conversion metrics across thousands of clients, not for the narrative of <em>your<\/em> event. The pre-show experience of a boutique arts festival and a monster-truck rally are frequently identical, because they run on the same checkout flow.<\/p>\n<p><strong>Marketing and sponsorship.<\/strong> Owns the promise. Often the only team that talks about &quot;audience journey&quot; at all &mdash; but their journey ends at the purchase, exactly where the attendee&#8217;s journey begins.<\/p>\n<p><strong>Security, safety and city authorities.<\/strong> Crowd-management plans, licensing conditions, transport arrangements. These constraints shape the experience more than any moodboard, and they are decided in rooms where no designer sits.<\/p>\n<h2>Who decides? Follow the risk and the money<\/h2>\n<p>Decision rights in events cluster around two forces: financial risk (the promoter, the rights holder, the sponsor) and safety risk (venue, authorities). Experience quality is a second-order consideration for both &mdash; it matters only insofar as it affects ticket sales next year or incident reports this year.<\/p>\n<p>Compare this with software: we spent twenty years arguing that UX should have a seat at the table, and eventually the market proved that experience quality <em>is<\/em> financial performance. The events industry knows this intuitively &mdash; the entire experience economy argument is theirs &mdash; but structurally it has not built the role, the process, or the feedback loops to act on it.<\/p>\n<h2>The gaps between owners are where the experience dies<\/h2>\n<p>Every UX practitioner knows that the worst moments in any journey happen at handoffs. Live events are almost <em>all<\/em> handoffs:<\/p>\n<ul>\n<li>Marketing promises intimacy; ticketing delivers a Captcha.<\/li>\n<li>The stage delivers transcendence; the exit delivers a 90-minute car park lockdown.<\/li>\n<li>The program is curated to the minute; the queue is curated by nobody.<\/li>\n<\/ul>\n<p>Academic work backs the intuition: festivalscape studies show that &quot;collateral services&quot; &mdash; the unglamorous stuff around the show &mdash; significantly shape emotion and loyalty, and the Fuji Rock experiencescape research demonstrates the experience spans travel phases well before and after the performance itself. The parts of the journey with the weakest ownership are precisely the parts research says matter.<\/p>\n<h2>Emerging counter-examples<\/h2>\n<p>To be fair, the picture is shifting. Immersive theatre companies design audience onboarding as a craft in itself &mdash; recent creativity-and-cognition research catalogs &quot;experiential onboarding tactics&quot; from theatre and explicitly asks what UX and UI designers can borrow from them. Major stadiums now employ &quot;fan experience&quot; managers. HCI&#8217;s performance-led research tradition &mdash; building real public performances and generalizing design knowledge from them &mdash; is effectively a research-through-design pipeline for live experience.<\/p>\n<p>But these remain islands. The connective role &mdash; someone accountable for the <em>whole<\/em> arc from first ad to last train home &mdash; is still largely unfilled.<\/p>\n<p>In Part 3, I look at why that may be about to change: for the first time, AI gives live events real telemetry &mdash; computer vision crowd analytics, emotion detection, real-time sentiment &mdash; and once you can measure an experience continuously, someone has to be responsible for the numbers.<\/p>\n<hr \/>\n<p><em>References: &quot;Staging live events: converging experience design and live art&quot; (HCI\/interactive performance research); &quot;Engaging Theatrical Audiences in Digital Sites: Embracing Experiential Onboarding Tactics&quot; (Creativity &amp; Cognition, 2026); Lee et al. (2008) festivalscape; sportscape literature (Wakefield; Lambrecht et al., 2009); Fuji Rock experiencescape study; Pine &amp; Gilmore (1999).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In live events the audience experience is designed by a coalition of partial owners &mdash; artists, producers, venues, ticketing vendors, marketers, authorities &mdash; and nobody owns the whole journey. Part 2 follows the risk and the money.<\/p>\n","protected":false},"author":1,"featured_media":169,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,7,4],"tags":[136,122,135,137,47,25],"class_list":["post-160","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ai-engineer","category-product-strategy","category-ui-ux-architecture","tag-audience-experience","tag-customer-experience","tag-event-ux","tag-experience-design","tag-service-design","tag-ui-ux-architect"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Who Designs the Audience Experience at Live Events?<\/title>\n<meta name=\"description\" content=\"Who designs the audience experience at live events? 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