Gender differences regarding participation form in the arts receiving process. Consequences for aesthetic situation management

Musical arts receivers assess their satisfaction concerning the form of participation in the receiving process in the following gender distribution: in-person – 4.27 by men and 4.39 by women, digitally – 3.26 by men and 3.23 by women. Performing arts receivers assess their satisfaction as follows: in-person – 4.14 by men and 4.14 by women, digitally – 3.30 by men and 2.86 by women. Literary arts receivers assess their satisfaction as follows: in-person – 4.18 by men and 4.14 by women, digitally – 3.30 by men and 2.86 by women. Audio-visual arts receivers assess their satisfaction: in-person – 3.87 by men and 3.86 by women, digitally – 3.90 by men and 4.05 by women. Finally, visual arts receivers assess their satisfaction: in-person – 4.17 by men and 4.02 by women, digitally – 3.58 by men and 3.16 by women (Figure 7).

Figure 7

Regarding the differences between men and women in assessing their satisfaction regarding the form of participation in the receiving process of a particular type of art, the results are the following: First, women assessed their satisfaction from in-person participation in musical arts 2.9% higher than men; however, digital participation in musical arts is seen as 1.0% less satisfactory by women than by men. Second, women assessed in-person participation in performing arts as equally satisfactory as this participation was assessed by men; however, digital participation in the performing arts is seen as 1.0% less satisfactory by women than men. Third, women assess in-person participation in literary arts as 0.7% less satisfactory than men; digital participation in literary arts is seen as 13.5% less satisfactory by women than men. Fourth, women assessed in-person participation in audio-visual arts as 0.2% less satisfactory than men; however, digital participation in audio-visual arts is seen as 4.0% more satisfactory by women than men. Finally, women assessed in-person participation in visual arts 3.5% less satisfactory than men; digital participation in visual arts is seen as 11.6% less satisfactory by women than by men (Figure 8). We can see the following about the differences between the forms of participation in the receiving process by men and women regarding their satisfaction flowing from a particular type of art. First, men assess digital participation in musical arts as 23.5% less satisfactory than in-person; for women, this difference is even higher, i.e., 26.4%. Second, men assess digital participation in performing arts as 20.2% less satisfactory than in-person; this difference is 31.0% for women. Third, men assess digital participation in literary arts as 1.3% less satisfactory than in-person; this difference is 21.7% for women. Fourth, men assess digital participation in audio-visual arts as 0.8% more satisfactory than in person; this difference is 5.1% for women. Finally, men assess digital participation in visual arts as 14.2% less satisfactory than in-person; this difference is 21.4% for women (Figure 9).

Figure 8

Figure 9

Musical arts receivers assess their pleasure concerning the form of participation in the receiving process in the following gender distribution: in person – 4.51 by men and 4.15 by women, digitally – 3.35 by men and 3.30 by women. Performing arts receivers assess their pleasure as follows: in person – 4.29 by men and 4.31 by women, digitally – 3.35 by men and 3.07 by women. Literary arts receivers assess their pleasure as follows: in person – 4.38 by men and 4.21 by women, digitally – 4.00 by men and 3.20 by women. Audio-visual arts receivers assess their pleasure as follows: in person – 4.00 by men and 3.71 by women, digitally – 3.68 by men and 3.95 by women. Finally, visual arts receivers assess their pleasure as follows: in person – 4.09 by men and 4.17 by women, digitally – 3.55 by men and 3.24 by women (Figure 10).

Figure 10

Looking at the differences between men and women in assessing their pleasure regarding the form of participation in the receiving process of a particular type of art, the results are the following. First, women assessed their pleasure from in-person participation in musical arts 8.0% lower than did men; digital participation in musical arts is seen as 1.6% less pleasing by women than by men. Second, women assessed in-person participation in performing arts as 0.6% less pleasing than did men; however, digital participation in performing arts is seen as 8.4% less pleasing by women than by men. Third, women assessed in-person participation in literary arts as 3.8% less pleasing than did men; digital participation in literary arts is seen as 20.0% less pleasing by women than by men. Fourth, women assessed in-person participation in audio-visual arts 7.1% less pleasing than did men; however, digital participation in audio-visual arts is seen as 7.4% more pleasing by women than by men. Finally, women assessed in-person participation in visual arts 1.8% more pleasing than men; however, digital participation in visual arts is seen as 8.8% less pleasing by women than by men (Figure 11).

Figure 11

We can see the following about the differences between the forms of participation in the receiving process by men and women regarding their pleasure flowing from a particular type of art. First, men assess digital participation in musical arts as 25.7% less pleasing than in person; for women, this difference is lower, i.e., 20.5%. Second, men assess digital participation in performing arts as 21.7% less pleasing than in person; this difference is 28.7% for women. Third, men assess digital participation in literary arts as 8.7% less pleasing than in person; this difference is 24.1% for women. Fourth, men assess digital participation in audio-visual arts as 8.1% less pleasing than in person; however, this difference is 6.3% higher for women. Finally, men assess digital participation in visual arts as 13.3% less pleasing than in person; this difference is 22.3% for women (Figure 12).

Figure 12

Receivers of the arts assess their engagement concerning the form of participation in the receiving process in the following gender distribution: musical arts receivers, in person – 4.24 by men and 4.27 by women, digitally – 3.00 by men and 3.23 by women; performing arts receivers, in person – 4.08 by men and 4.21 by women, digitally – 3.03 by men and 3.00 by women; literary arts receivers, in person – 4.14 by men and 3.96 by women, digitally – 3.96 by men and 3.24 by women; audio-visual arts receivers, in person – 3.84 by men and 3.82 by women, digitally – 3.71 by men and 4.00 by women; visual arts receivers, in person – 4.14 by men and 3.98 by women, digitally – 3.49 by men and 3.03 by women (Figure 13).

Figure 13

The differences between men and women in assessing their engagement regarding the form of participation in the receiving process of a particular type of art are the following: First, women assessed in-person participation in musical arts as 0.7% more engaging than men; digital participation in musical arts is seen as 7.5% more engaging by women than men. Second, women assessed in-person participation in performing arts as 3.0% more engaging than men; however, digital participation in performing arts is seen as 1.0% less engaging by women than men. Third, women assess in-person participation in literary arts as 4.3% less engaging than men; digital participation in literary arts is seen as 18.2% less engaging by women than men. Fourth, women assessed in-person participation in audio-visual arts as 0.7% less engaging than men; however, digital participation in audio-visual arts is seen as 7.8% more engaging by women than men. Finally, women assessed in-person participation in visual arts as 3.9% less engaging than men; digital participation in visual arts is seen as 13.3% less engaging by women to men (Figure 14).

Figure 14

We can observe the following about the differences between the forms of participation in the receiving process by men and women regarding their engagement flowing from a particular type of art. First, men assess digital participation in musical arts as 29.3% less engaging than in-person; this difference is smaller for women, i.e., 24.5%. Second, men assess digital participation in performing arts as 25.8% less engaging than in-person; this difference is 28.7% for women. Third, men assess digital participation in literary arts as 4.4% less engaging than in-person; this difference is 18.2% for women. Fourth, men assess digital participation in audio-visual arts as 3.5% less engaging than in-person; women assess digital participation in audio-visual arts as 4.8% more engaging. Finally, men assess digital participation in visual arts as 15.8% less engaging than in-person; this difference is 23.9% for women (Figure 15).

Figure 15

Musical arts receivers assess their possibility of experiencing catharsis concerning the form of participation in the receiving process in the following gender distribution: in-person – 3.97 by men and 4.03 by women, digitally – 3.09 by men and 3.43 by women. Performing arts receivers assess their possibility of experiencing catharsis as follows: in-person – 4.03 by men and 3.97 by women, digitally – 3.21 by men and 3.11 by women. Literary arts receivers assess their possibility of experiencing catharsis as follows: in-person – 4.10 by men and 3.79 by women, digitally – 3.81 by men and 3.26 by women. Audio-visual arts receivers assess their possibility of experiencing catharsis: in-person – 3.70 by men and 3.50 by women, digitally – 3.45 by men and 3.95 by women. Finally, visual arts receivers assess their possibility of experiencing catharsis: in-person – 3.91 by men and 3.78 by women, digitally – 3.33 by men and 2.90 by women (Figure 16).

Figure 16

The differences between men and women in assessing the possibility of experiencing catharsis regarding the form of participation in the receiving process are the following. First, women assessed in-person participation in musical arts as 1.4% more catharsis-generating than did men; digital participation in musical arts was seen as 11.2% more catharsis-generating for women than for men. Second, women assessed in-person participation in performing arts as 1.5% less catharsis-generating; digital participation in performing arts is seen as 3.1% less catharsis-generating for women than for men. Third, women assessed in-person participation in literary arts as 7.7% less catharsis-generating than did men; digital participation in literary arts is seen as 14.4% less catharsis-generating by women than by men. Fourth, women assessed in-person participation in audio-visual arts as 5.3% less catharsis-generating than did men; however, digital participation in audio-visual arts is 14.5% more catharsis-generating by women than by men. Finally, women assessed in-person participation in visual arts as 3.2% less catharsis-generating than did men; digital participation in visual arts is seen as 12.8% less catharsis-generating by women than by men (Figure 17).

Figure 17

We can see the following differences between the forms of participation in the receiving process by men and women regarding the possibility of experiencing catharsis from a particular type of art. First, men assess digital participation in musical arts as 22.3% less enabling of experiencing catharsis than participation in person; this difference is 14.8% for women. Second, men assess digital participation in performing arts as 20.3% less enabling of experiencing catharsis than in person; this difference is 21.5% for women. Third, men assess digital participation in literary arts as 7.2% less enabling of experiencing catharsis than in person; this difference is 13.9% for women. Fourth, men assess digital participation in audio-visual arts as 6.6% less enabling of experiencing catharsis than in person; women, expressed the opposite and assessed digital participation in audio-visual arts as 12.9% more enabling of experiencing catharsis—this is the only situation in which digital participation was perceived as more enabling of experiencing catharsis. Finally, men assess digital participation in visual arts as 14.9% less enabling of experiencing catharsis than in person; this difference is 23.3% for women (Figure 18).

Figure 18

Musical arts receivers assess their contact with the artwork itself concerning the form of participation in the receiving process in the following gender distribution: in person – 4.35 by men and 4.19 by women, digitally – 3.44 by men and 3.30 by women. Performing arts receivers assess their contact with the artwork itself as follows: in person – 4.11 by men and 4.17 by women, digitally – 3.44 by men and 3.30 by women. Literary arts receivers assess their contact with the artwork itself as follows: in person – 4.14 by men and 4.21 by women, digitally – 3.88 by men and 3.33 by women. Audio-visual arts receivers assess their contact with the artwork itself: in person – 3.82 by men and 3.50 by women, digitally – 3.65 by men and 4.06 by women. Finally, visual arts receivers assess their contact with the artwork itself: in person – 3.98 by men and 4.10 by women, digitally – 3.33 by men and 3.15 by women (Figure 19).

Figure 19

The differences between men and women in assessing their contact with the artwork itself in regard to the form of participation in the receiving process of a particular type of art are the following. First, women assessed real-time participation in musical arts 3.8% lower than men in regard to the contact with the artwork itself; digital participation in musical arts gives 4.1% less contact with the artwork itself for women than for men. Second, women assessed in-person participation in performing arts as allowing 1.5% more contact with the artwork itself than men; however, digital participation in performing arts allows 7.3% less contact with the artwork itself for women than for men. Third, women assess in-person participation in literary arts as allowing 1.8% more contact with the artwork itself than did men; digital participation in literary arts allowed 14.2% less contact with the artwork itself for women than for men. Fourth, women see in-person participation in audio-visual arts as allowing 8.3% less contact with the artwork itself than did men; however, digital participation in audio-visual arts allowed 11.1% more contact with the artwork itself for women than for men. Finally, women assessed in-person participation in visual arts as allowing 3.0% more contact with the artwork itself than did men; digital participation in visual arts allowed 5.4% less contact with the artwork itself for women than for men (Figure 20).

Figure 20

We can see the following about the differences between the forms of participation in the receiving process by men and women regarding contact with the artwork itself in a particular type of art. First, men assessed digital participation in musical arts as allowing 20.9% less contact with the artwork itself than in person; this difference was 21.2% for women. Second, men assessed digital participation in performing arts as allowing 23.2% less contact with the artwork itself than in person; this difference was 29.9% for women. Third, men assessed digital participation in literary arts as allowing 6.1% less contact with the artwork itself than in person; this difference was 20.9% for women. Fourth, men assessed digital participation in audio-visual arts as allowing 4.5% less contact with the artwork itself than in person; women assessed digital participation in audio-visual arts as allowing 15.7% more contact with the artwork itself than in person. Finally, men assessed digital participation in visual arts as allowing 16.2% less contact with the artwork itself than in person; this difference was 23.0% for women (Figure 21).

Figure 21

Musical arts receivers assess their contact with the performer concerning the forms of participation in the receiving process in the following gender distribution: in person – 4.22 by men and 4.03 by women, digitally – 3.17 by men and 3.19 by women. Performing arts receivers assess their contact with the performer as follows: in person – 4.08 by men and 4.00 by women, digitally – 3.00 by men and 2.85 by women. Literary arts receivers assess their contact with the performer as follows: in person – 4.17 by men and 4.11 by women, digitally – 4.00 by men and 3.37 by women. Audio-visual arts receivers assess their contact with the performer: in person – 3.76 by men and 3.50 by women, digitally – 3.45 by men and 3.71 by women. Finally, visual arts receivers assess their contact with the performer: in person – 4.05 by men and 3.88 by women, digitally – 3.35 by men and 2.97 by women (Figure 22).

Figure 22

The differences between men and women in assessing their contact with the performer regarding the form of participation in the receiving process of a particular type of art are the following. First, women assessed in-person participation in musical arts as allowing 4.4% less contact with the performer than did men; however, digital participation in musical arts allowed 0.7% more contact with the performer for women than for men. Second, women assessed in-person participation in performing arts as allowing 2.0% less contact with the performer than did men; digital participation in performing arts allowed 4.9% less contact with the performer for women than for men. Third, women assessed in-person participation in literary arts as allowing 1.6% less contact with the performer than did men; digital participation in literary arts allowed 15.7% less contact with the performer for women than for men. Fourth, women assessed in-person participation in audio-visual arts as allowing 6.9% less contact with the performer than did men; however, digital participation in audio-visual arts allowed 7.6% more contact with the performer for women than for men. Finally, women assessed in-person participation in visual arts as allowing 4.1% less contact with the performer than did men; digital participation in visual arts allowed 11.2% less contact with the performer for women than for men (Figure 23).

Figure 23

We can see the following differences between the forms of participation in the receiving process by men and women regarding their contact with the performer itself flowing from a particular type of art. First, men assessed digital participation in musical arts as allowing 24.8% less contact with the performer itself than in person; for women, this difference was lower, i.e., 20.8%. Second, men assessed digital participation in performing arts as allowing 26.5% less contact with the performer itself than in person; this difference was 28.7% for women. Third, men assessed digital participation in literary arts as allowing 4.1% less contact with the performer itself than in person; this difference was 17.9% for women. Fourth, men assessed digital participation in audio-visual arts as allowing 8.1% less contact with the performer itself than in person; women assessed digital participation in audio-visual arts as allowing 6.1% more contact with the performer itself than in person. Finally, men assessed digital participation in visual arts as allowing 17.2% less contact with the performer itself than in person; this difference was 23.4% for women (Figure 24).

Figure 24

Musical arts receivers assessed their comfort of participation concerning the form of participation in the receiving process in the following gender distribution: in person – 4.22 by men and 3.97 by women, digitally – 3.65 by men and 3.68 by women. Performing arts receivers assessed their participation comfort as follows: in person – 4.00 by men and 3.79 by women, digitally – 3.56 by men and 3.15 by women. Literary arts receivers assessed participation comfort as follows: in person – 4.21 by men and 3.89 by women, digitally – 4.00 by men and 3.33 by women. Audio-visual arts receivers assessed their participation comfort as: in person – 3.91 by men and 3.55 by women, digitally – 3.87 by men and 4.05 by women. Finally, visual arts receivers assessed their participation comfort as: in person – 3.91 by men and 4.05 by women, digitally – 3.67 by men and 3.40 by women (Figure 25).

Figure 25

The differences between men and women in assessing their comfort of participation regarding the form of participation in the receiving process of a particular type of art are the following: First, women assessed comfort of in-person participation in musical arts 5.8% lower than did men; however, digital participation in musical arts regarding the comfort of participation was 0.8% higher for women than for men. Second, women assessed comfort of in-person participation in performing arts as 5.2% lower than did men; the comfort of digital participation in performing arts was 11.6% lower for women than for men. Third, women assessed the comfort of in-person participation in literary arts as 7.5% lower than did men; digital participation in literary arts was 16.7% less comfortable for women than for men. Fourth, women assessed comfort of in-person participation in audio-visual arts 9.3% lower than did men; however, the comfort of digital participation in audio-visual arts was seen as 4.6% higher for women than for men. Finally, women assessed comfort of in-person participation in visual arts as 3.6% higher than did men; the comfort of digital participation in visual arts is 7.3% lower for women than for men (Figure 26).

Figure 26

We can see the following differences between the forms of participation in the receiving process of a particular type of art by men and women regarding their comfort level. First, men assess the comfort of digital participation in musical arts as 13.5% lower than in person; this difference is 7.4% for women. Second, men assess the comfort of digital participation in performing arts as 10.9% lower than in person; this difference is 17.0% for women. Third, men assess the comfort of digital participation in literary arts as 4.9% lower than in person; this difference is 14.4% for women. Fourth, men assess the comfort of digital participation in audio-visual arts as 1.0% lower than in person; women assess the comfort of digital participation in audio-visual arts as 14.2% higher than in person. Finally, men assess the comfort of digital participation in visual arts as 6.2% lower than in person; this difference is 16.0% for women (Figure 27).

Figure 27

Musical arts receivers assess their possibilities for shaping the aesthetic experience in regard to the form of participation in the receiving process in the following gender distribution: in-person – 3.84 by men and 3.88 by women, digitally – 3.69 by men and 3.52 by women. Performing arts receivers assess their possibilities for shaping the aesthetic experience as follows: in person – 3.94 by men and 4.03 by women, digitally – 3.42 by men and 3.30 by women. Literary arts receivers assess their possibilities for shaping the aesthetic experience as follows: in person – 3.96 by men and 3.64 by women, digitally – 3.84 by men and 3.37 by women. Audio-visual arts receivers assess their possibilities for shaping the aesthetic experience: in person – 3.55 equally by both men and women, digitally – 3.77 by men and 3.86 by women. Finally, visual arts receivers assess their possibilities for shaping the aesthetic experience: in person – 3.70 by men and 3.98 by women, digitally – 3.44 by men and 3.53 by women (Figure 28).

Figure 28

The differences between men and women in assessing their possibilities for shaping the aesthetic experience regarding the form of participation in the receiving process of a particular type of art are the following: First, women assessed their possibilities for shaping the aesthetic experience in-person participation in musical arts 1.1% higher than did men; however, digital participation in musical arts allows 4.6% fewer possibilities for shaping the aesthetic experience by women as compared to men. Second, in-person participation in performing arts allows 2.3% more possibilities for shaping the aesthetic experience for women than for men; digital participation in performing arts allows 3.7% fewer possibilities for shaping the aesthetic experience for women than for men. Third, women assessed in-person participation in the literary arts as allowing 8.1% fewer possibilities for shaping the aesthetic experience than did men; digital participation in literary arts allowed 12.2% fewer possibilities for shaping the aesthetical experience for women than for men. Fourth, women assessed in-person participation in audio-visual arts regarding the possibilities of shaping the aesthetic experience equally with the assessments of men; however, digital participation in audio-visual arts gave 2.4% more possibilities for shaping the aesthetic experience for women than for men. Finally, women saw 7.5% more possibilities for shaping the aesthetic experience in in-person participation in visual arts han men; digital participation in visual arts gave 2.6% more possibilities for shaping the aesthetic experience for women than for men (Figure 29).

Figure 29

We observed the following differences between the forms of participation in the receiving process by men and women regarding the possibility for shaping the aesthetic experience in particular types of art. First, men assessed the possibility for shaping the aesthetic experience through digital participation in musical arts as 4.0% lower than in person; for women, this difference was even higher, i.e., 9.3%. Second, men assessed the possibility of shaping the aesthetic experience through digital participation in the performing arts as 13.2% lower than in person; this difference was 18.3% for women. Third, men assessed the possibility of shaping the aesthetic experience through digital participation in literary arts as 3.1% lower than in person; this difference was 7.5% for women. Fourth, men assessed the possibility of shaping the aesthetic experience through digital participation in audio-visual arts as 6.5% better than in person; this difference was 9.0% for women. Finally, men assessed the possibility for shaping the aesthetic experience through digital participation in visual arts as 7.1% lower than in person; this difference is 11.3% for women (Figure 30).

Figure 30

Musical arts receivers assessed their motivation to participate through one or the other form in the receiving process in the following gender distribution: in person – 4.35 by men and 4.21 by women, digitally – 3.43 by men and 3.53 by women. Male performing arts receivers assessed their motivation to participate in person as 4.06 and female receivers assessed their motivation as 3.86, digitally – 3.12 by men and 2.78 by women. Literary arts receivers assessed their motivation to participate as follows: in person – 4.07 by men and 3.82 by women, digitally – 3.81 by men and 3.22 by women. Audio-visual arts receivers assessed their motivation to participate as follows: in person – 3.94 by men and 3.86 by women, digitally – 3.81 by men and 3.86 by women. Finally, visual arts receivers assessed their motivation to participate as follows: in person – 4.00 by men and 4.10 by women, digitally – 3.33 by men and 3.28 by women (Figure 31).

Figure 31

The differences between men and women in assessing their motivation to participate regarding the form of participation in receiving a particular type of art are the following: first, women assessed their motivation to participate in person in musical arts as 3.2% lower than men; however, motivation to participate digitally in musical arts is seen as 3.0% higher by women than men. Second, women assessed their motivation to participate in person in performing arts as 4.8% lower than men; motivation to participate digitally in performing arts is seen as 11.0% lower for women than men. Third, women assessed their motivation to participate in person in literary arts as 6.1% lower than men; motivation to participate digitally in literary arts was reported as 15.4% lower for women than for men. Fourth, women assessed their motivation to participate in person in audio-visual arts as 1.9% lower than men; however, motivation to participate digitally in audio-visual arts was reported as 1.3% higher for women than men. Finally, women assessed their motivation to participate in person in visual arts as 2.4% higher than men; motivation to participate digitally in visual arts was reported as 1.5% lower for women than men (Figure 32).

Figure 32

We can observe the following about the differences between the forms of participation in the receiving process for men and women regarding their motivation to participate in particular types of art. First, men assessed their motivation to participate digitally in musical arts as 21.2% lower than in person; for women, this difference is lower, i.e., 16.2%. Second, men assessed their motivation to participate digitally in the performing arts as 23.0% lower than in person; this difference was 28.1% for women. Third, men assessed their motivation to participate digitally in literary arts as 6.4% lower than in person; this difference was 15.7% for women. Fourth, men assessed their motivation to participate digitally in audio-visual arts as 3.4% lower than in person; this difference was 0.2% for women. Finally, men assessed their motivation to participate digitally in visual arts as 16.7% lower than in person; this difference was 19.9% for women (Figure 33).

Figure 33

Musical arts receivers assessed the ease of the form of participation in their receiving process in the following gender distribution: in person – 3.86 by men and 3.52 by women, digitally – 4.03 by men and 3.52 by women. Performing arts receivers assessed the ease of participation as follows: in person – 3.69 by men and 3.52 by women, digitally – 3.85 by men and 3.33 by women. Literary arts receivers assessed the ease of participation as follows: in person – 4.03 by men and 3.86 by women, digitally – 3.96 by men and 3.59 by women. Audio-visual arts receivers assessed the ease of participation: in person – 3.70 by men and 3.55 by women, digitally – 4.10 equally by men women. Finally, visual arts receivers assessed the ease of participation: in person – 3.64 by men and 3.78 by women, digitally – 3.67 by men and 3.58 by women (Figure 34).

Figure 34

Regarding the differences between men and women in assessing the ease of participation regarding the form of participation in the receiving process of a particular type of art, the results are the following: first, women assessed the ease of in-person participation in musical arts as 6.4% lower than did men; the ease of digital participation in musical arts was reported as 12.7% lower for women than for men. Second, women assessed the ease of in-person participation in performing arts as 4.6% lower than did men; the ease of digital participation in the performing arts was reported as 13.4% lower for women than for men. Third, women assessed the ease of in-person participation in literary arts as 4.4% lower than did men; the ease of digital participation in literary arts was reported as 13.5% lower for women than for men. Fourth, women assessed the ease of in-person participation in audio-visual arts as 4.1% lower than did men; however, the ease of digital participation in audio-visual arts was reported as equal for women and men. Finally, women assessed the ease of in-person participation in visual arts as 3.6% higher than did men; the ease of digital participation in visual arts was reported as 2.4% lower for women than for men (Figure 35).

Figure 35

We can observe the following about the differences between the form of participation in the receiving process by men and women regarding the ease of participation in a particular type of art. First, men assessed the ease of digital participation in musical arts as 7.2% higher than in person; women reported no difference here. Second, men assessed the ease of digital participation in performing arts as 4.4% higher than in person; this difference is 5.2% lower for women. Third, men assessed the ease of digital participation in literary arts as 1.8% lower than in person; this difference was 6.9% for women. Fourth, men assessed the ease of digital participation in the audio-visual arts as being 10.8% higher than in person; this difference was 15.5% for women. Finally, men assessed the ease of digital participation in visual arts as 0.7% higher than in person; women assessed the ease of digital participation in visual arts as 5.2% lower than in person (Figure 36).

Figure 36