De Experience Tool: Mapping facts and practice to develop (spatial) experiences (Moes, Schrandt, Manuputty, Admiraal & van der Mark, 2019), is in eerste instantie ontwikkeld door docent-onderzoekers en een oud-student van het Amsterdam Fashion Institute (AMFI) om studenten beter onderbouwde afwegingen te laten maken over inrichting van bijvoorbeeld metrostations, winkels maar ook tentoonstellingen. De toolkit is dus niet ontwikkeld in het kader van Designing Experiencescapes of De Tentoonstellingsmaker van de 21ste Eeuw, maar deze onderzoeken hebben wel een belangrijke inhoudelijke basis gegeven voor de toolkit en zijn dus zeer relevant voor de (toekomstige) tentoonstellingsmaker. Het doel van deze tool is om spelers te inspireren bij en informeren over het creëren van belevingen in (hoofdzakelijk) fysieke ruimtes. De tool is voor iedereen die geïnteresseerd is in het creëren van belevingen en met name interessant voor studenten die een beleving willen neerzetten, in welke vorm dan ook en professionals uit de museale en de retailsector die invloed hebben op het inrichten van fysieke ruimtes.
MULTIFILE
Background: Globalisation trends such as increased migration to andwithin European countries have led to even greater cultural diversityin European societies. Cultural diversity increases the demand ofcultural competency amongst professionals entering their workfield. In particular, healthcare professionals need knowledge and skillsto equip them to work with clients from different cultural backgrounds.Within higher education (HE), the professional developmentof cultural competency should ideally feature in undergraduate educationand is often promoted as a by-product of a study abroadperiod. However, recognising that logistical and financial barriersoften exist for extended study abroad, one alternative approachcould be participation, at home or abroad, in a short-term internationalprogramme set within students’ own HE institutions.Purpose: The aim of this study was to explore HE students’ experiencesof participating in international ‘short-term mobility week’programmes at three European universities.Methods: Each university involved in the research offered short termprogrammes for healthcare professions students at their owninstitution, where both local students and students from abroadcould participate. Participants were healthcare students in theprogramme at one of the three universities. Data were collectedthrough focus group interviews (4–8 students per group; n = 25).The data were transcribed and then analysed qualitatively, usinga content comparison method.Results: The analysis identified six categories, which reflectedstudents’ journeys within the short-term international experiences.Conclusions: The analysis suggested that, for these students,engagement in a short-term mobility week programme providedvaluable opportunities for encounters with others, which contributedto personal and professional development, greater confidencein the students’ own professional identities, as well as anincreasing sense of cultural awareness.
DOCUMENT
Collecting local memories on-line is a growing practice with participatory elements on different levels. Three levels of participation – micro, meso and macro – are introduced by describing an exemplary case: the Memory of East in Amsterdam. These levels of this particular case can be grounded in the statements of the Convention on the Value of Cultural Heritage for Society. This indicates that the Memory of East case might be a good practice. However, looking at 53 other cases shows that the three levels are present, but designed differently with respect to the degree in which residents participate. Since the convention is not specific enough we choose the notion of cultural citizenship to assess the value of cases like these. We claim that the cases that have more focus on ordinary residents participating on all three levels assures a sustainable and self-feeding system, which is the best answer to the goals of the convention.
DOCUMENT
The main aim of the project is to provide new research in the arts by focusing on the concept of the inter-sensorial as an essential text for the creation of art and culture. It is designed to foreground the role of the sensorium as an underpinning source for many aspects of thought and cultural heritage. This project will blend visual arts with applied arts and traditional local traditions, revealing new light on the artistic facets and customs which are usually overlooked.The extended residencies will promote transnational mobility for emerging artists, facilitating international relationships between different artistic and cultural contexts within the EU. This will promote transnational interconnectivity between artists and cultures, creating a resourceful intercultural fertilisation, endorsing cultural diversity, social inclusion and most of all, further research on the intercultural facets.Through the various side-activities to take place during the mobilities of the artists, the project aims to strengthen and develop diverse audiences by producing the necessary elements for a dialogue, illustrating interpretations of rich layers of tangible and intangible heritage and legacies of European countries related to the tradition of sensorial experiences and how they evolved around traditional customs. Furthermore, it also aims to rethink and project new and innovative ways for documenting, preserving and communicating data to different audiences.
This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities. The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.
