Veiligheidszorg draait om beïnvloeding van gedrag, percepties en emoties van mensen. Langzaam maar zeker begint in de veiligheidzorg de idee te ontstaan dat die beïnvloeding (ook) kan plaatsvinden langs andere wegen dan de tot nu toe gebruikelijke. Bijvoorbeeld via directe beïnvloeding van de zintuigen. Op diverse andere vakgebieden zijn immers al interessante resultaten met deze manier van beïnvloeding geboekt. Op verzoek van het ministerie van Binnenlandse Zaken en Koninkrijksrelaties initieerde het Centrum voor Criminaliteitspreventie en Veiligheid daarom een ontwikkelproject. Doel daarvan is praktisch uitvoerbare manieren te vinden om via zintuigbeïnvloeding bij te dragen aan veiligheid en veiligheidsbeleving in de (semi) openbare ruimte.
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Different inputs from a multisensory object or event are often integrated into a coherent and unitary percept, despite differences in sensory formats, neural pathways, and processing times of the involved modalities. Presumably, multisensory integration occurs if the cross-modal inputs are presented within a certain window of temporal integration where inputs are perceived as being simultaneous. Here, we examine the role of ongoing neuronal alpha (i.e. 10-Hz) oscillations in multimodal synchrony perception. While EEG was measured, participants performed a simultaneity judgement task with visual stimuli preceding auditory ones. At stimulus onset asynchronies (SOA's) of 160–200 ms, simultaneity judgements were around 50%. For trials with these SOA's, occipital alpha power was smaller preceding correct judgements, and the individual alpha frequency was correlated with the size of the temporal window of integration. In addition, simultaneity judgements were modulated as a function of oscillatory phase at 12.5 Hz, but the latter effect was only marginally significant. These results support the notion that oscillatory neuronal activity in the alpha frequency range, which has been taken to shape perceptual cycles, is instrumental in multisensory perception.
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More and more information labels appear on the front of food packages, increasing the complexity of consumer decision-making and enhancing consumer scepticism toward food labels. It is important to evaluate the efficacy of information communicated to consumers. The experimental study among 209 Dutch consumers compared the effect of health and hedonic labels on consumer scepticism toward the labels and consumer responses to food products (apple juice and a chocolate cookie) under three presentation conditions (visual, visual-tactile and multisensory). The results demonstrated that consumers were more sceptical toward the hedonic label than toward the health label. The influence of consumer scepticism on product experience, product evaluation and purchase intention varied for different product categories. For a hedonic product (a chocolate cookie), the hedonic label had a more positive effect on consumer responses compared to the health label. The results also showed that the multisensory presentation reduced scepticism and enhanced product evaluation for the hedonic product compared to the visual and tactile presentations. The results suggest that multisensory experience may alter consumer scepticism toward food labels and thus product evaluation and consumer choice. Our findings can be useful for food manufacturers and policy makers in evaluating the efficacy of food labels and information presented on food packages.
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Persuasive games exist for a wide variety of objectives, from marketing, to healthcare and activism. Some of the more socially-aware ones cast players as members of disenfranchised minorities, such as migrants, prompting them to 'see what they see'. In parallel, a growing number of designers has recently started to leverage immersive technologies to enable the public to temporarily inhabit another person, to 'sense what they sense'. From these two converging perspectives, we hypothesize a still-uncharted space of opportunities at the crossroads of games, empathy, persuasion, and immersion. Following a Research through Design approach, we explored this space by designing A Breathtaking Journey, an embodied and multisensory mixed-reality game providing a first-person perspective of a refugee's journey. A qualitative study was conducted with a grounded theory/open coding methodology to tease out empathy-arousing characteristics, and to chart this novel game design space. As we elaborate on our analysis, we provide insights on empathic mixed-reality experiences, and conclude with offering three design opportunities: visceral engagement, reflective moments and affective appeals, to spur future research and design.
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This paper reports the responses of nursing home residents who live in a psychogeriatric ward to the abstract interactive art installation ‘Morgendauw’, which was specifically designed for this study. All stakeholders were involved in designing and implementing Morgendauw. The artwork seems able to evoke responses in both the residents and their caregivers, but the amount and duration of the responses observed during the study were limited. 15 interactions over the course of 14 h were noted and almost all of them were initiated by the nursing home staff, physiotherapy students or visitors (n = 12). Interactions lasted for about 3 min on average. Although the nursing home residents initially did not seem to notice the artwork, the threshold of acknowledging and approaching the artwork was quickly overcome when staff nudged or directed the residents’ attention towards the artwork. Beyond this point, nursing home residents generally needed little explanation of the interface to interact with the artwork. The location in which Morgendauw was placed during the study or the characteristics of the installation seemed to create a threshold. Further research should focus on the importance and the effects of context when designing and implementing an interactive art installation in a nursing home environment.
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This pilot study explores the possibility of cognitive training software Neurotracker (NT), to have potential beneficial effects for Traumatic Brain Injury patients with Sensory Processing Disorder. Five subjects with TBI and SPD trained for 5 weeks/21 sessions with Neurotracker. Pre-post training cognitive tests (WAIS TMTA, TMTB, LNS) and surveys were conducted to measure possible cognitive differences with no statistical significant results. However, significant improvement in Neurotracker scores were found. =2.73, SD = 0.55) and positive changes associated with attention attention span, divided attention, (multiple) object tracking and motion sickness. LinkedIn: https://www.linkedin.com/in/bernard-de-roosz-28b96b125/
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The Feral Drifting with Lonja Wetlands workshop involved a 4-day feral, performative investigation of multispecies relations and spatio-temporalities of care that shape the flow of life and death in Lonjsko Polje (or Lonja Wetlands), the largest protected wetlands in Croatia. Together with 19 workshop participants, we experimented with feral ways of sensemaking that invite open-ended, multisensory, and spontaneous encounters unfolding beyond the bounds of human control.Inspired by the movements and rhythms of local, other-than-human creatures, such as storks, mosquitoes, storms, and the river Sava, as well as the artistic strategies of dérive (including their flaws), we drifted with the local ecologies and invited pathways towards care-full co-habitation. To navigate through these space-times, we experimented with various performative and speculative sense-making practices including walking, listening, storytelling and forming relations.This feral investigation resulted in co-creative outcomes – or fragments – in diverse forms, such as multispecies rituals, synesthetic maps, wayfinding games, and memory seed banks that were documented as short videos and later turned into the Feral Fragments of Lonjsko Polje film. Here, we share the key processes of our collective workshop and reflect on them in relation to the notion of feral data.
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The concept of immersion has been widely used for the design and evaluation of user experiences. Augmented, virtual and mixed-reality environments have further sparked the discussion of immersive user experiences and underlying requirements. However, a clear definition and agreement on design criteria of immersive experiences remains debated, creating challenges to advancing our understanding of immersive experiences and how these can be designed. Based on a multidisciplinary Delphi approach, this study provides a uniform definition of immersive experiences and identifies key criteria for the design and staging thereof. Thematic analysis revealed five key themes – transition into/out of the environment, in-experience user control, environment design, user context relatedness, and user openness and motivation, that emphasise the coherency in the user-environment interaction in the immersive experience. The study proposes an immersive experience framework as a guideline for industry practitioners, outlining key design criteria for four distinct facilitators of immersive experiences–systems, spatial, empathic/social, and narrative/sequential immersion. Further research is proposed using the immersive experience framework to investigate the hierarchy of user senses to optimise experiences that blend physical and digital environments and to study triggered, desired and undesired effects on user attitude and behaviour.
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Previous investigations of consumer subcultures in the CCT tradition focused primarily on consumer behaviours, feelings, experiences and meanings of consumption. This paper advocates that in order to deeply understand and interpret a particular subculture, researchers in consumer culture should consider more thoroughly the interaction between consumers and producers in consumption markets. This argument is illustrated with a research project on lifestyle sports. From the results of this study it appears that producers play a vital and interdependent role in meaning and interpretation processes. It is argued that processes in which consumers give meaning to activities can not be isolated from the processes in which producers ascribe meanings to activities, settings and markets. In this 'circuit of culture', production and consumption are not completely separate spheres of existence but rather are mutually constitutive of one another (Du Gay, Hall, Janes, Mackay, & Negus, 1997).
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Recent developments in digital technology and consumer culture have created new opportunities for retail and brand event concepts which create value by offering more than solely marketing or transactions, but rather a place where passion is shared. This chapter will define the concept of ‘fashion space’ and consumer experience, and delves into strategies for creating experiences that both align with a brand’s ethos and identity and build brand communities. It will provide insight on creating strong shared brand experiences that integrate physical and digital spaces, AR and VR. These insights can be used for consumer spaces but also for media and buyer events, runway shows, test labs and showrooms. Since its launch in 2007, international fashion brand COS has focused on creating fashion spaces that build and reinforce a COS fashion community. COS retail stores with their extraordinary architecture, both traditional and contemporary, contribute stories and facilitate intense brand experiences. Moreover, COS’ dedication to share the artistic inspirations of its people led to collaborating on interactive and multi-sensory installations which allow consumers to affectively connect to the brand’s personality and values. Thus, the brand was able to establish itself firmly in the lifestyle of its customers, facilitating and developing their aesthetics and values. This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in "Communicating Fashion Brands. Theoretical and Practical Perspectives" on 03-03-2020, available online: https://www.routledge.com/Communicating-Fashion-Brands-Theoretical-and-Practical-Perspectives/Huggard-Cope/p/book/9781138613560. LinkedIn: https://nl.linkedin.com/in/overdiek12345
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