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Feeling the News?

Immersive journalism (IJ) is often assumed to be inherently emotion-inducing. Through using inclusive technology, interaction possibilities and immersive narratives, the audience should ideally experience what feels like to be in a certain situation. However, for the most part we do not know to which extent and in what form IJ influences the experience of emotions. We wanted to investigate, whether, and if so, which characteristics of IJ are related to the experience of emotions, and which role the personality trait empathy tendency plays in this respect. This is important, as the evaluation of IJ often relies on the emotion-inducing assumption thereof. Four different experiments comparing one immersive journalistic characteristic (level of inclusion, interaction possibilities, immersive narratives) to the respective non-immersive counterpart were conducted. Results indicate that while the level of inclusion and interaction possibility increase the intensity of the experience, the immersive narrative influences the valence dimension of emotions. Additionally, empathy tendency is found to be a relevant moderator for these effects. Conclusions are threefold. First, the narrative form of IJ is key; second, the analysis of IJ needs to go beyond the level of inclusion; third, including emotions when assessing IJ is fundamental to understand its impact.

Ben Grosser-Geert Lovink Dialogue on Media Art in the Age of Platform Capitalism

US new media artist Ben Grosser and I met at the 2013 Unlike Us #3 Institute of Network Cultures event in Amsterdam where he presented his Demetricator, a free web browser extension that hides all the metrics on Facebook. I have followed his work ever since. We got in contact again in 2019 when he premiered his video art clip Order of Magnitude.[1] The cut-up piece features Mark Zuckerberg’s obsession with growth. Instead of taking the traditional critical approach, Ben Grosser magnifies particular words that return in each and every one of his sentences: more, millions, billions, trillions. Covering the earliest days of Facebook in 2004 up through Zuckerberg’s compelled appearances before the US Congress in 2018, Grosser viewed every one of these recordings and used them to build a supercut drawn from three of Mark’s most favoured words: more, grow, and his every utterance of a metric such as two million or one billion. Inside the exploding galaxy of Facebook there are no limits of growth. After a few minutes the viewer gets exhausted and is ready to swipe the video away, stand up and walk out: the exact opposite response to what we experience when we’re on Facebook, Instagram, or WhatsApp. The emptiness of the guy suffocates. Well done, Ben.

We can only keep hoping

The studies in this thesis aim to increase understanding of the effects of various characteristics of scientific news about a common chronic disease, i.e., diabetes, on the cognitive responses (e.g., emotions, attitudes, intentions) of diabetes patients. The research questions presented in this thesis are guided by the Health Belief Model, a theoretical framework developed to explain and predict healthrelated behaviours based on an individual’s beliefs and attitudes. The model asserts that perceived barriers to a recommended health behavior, advantages of the behavior, self-efficacy in executing the behavior, and disease severity and personal susceptibility to the disease are important predictors of a health behavior. Communication is one of the cues to action (i.e., stimuli) that may trigger the decision-making process relating to accepting a medical or lifestyle recommendation.

Deconstructing the cloud

How nursing home residents respond to the interactive art installation ‘Morgendauw’

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.

Explaining the role of character development in the evaluation of morally ambiguous characters in entertainment media

The current project aims at better understanding how narrative characteristics in stories function in the liking, moral evaluation, and enjoyment of narratives featuring morally ambiguous characters (MACs). Shafer and Raney (2012) found that viewers differently enjoyed a heroic versus MAC-centered narrative. Building on this approach, a mixed-method design was used to investigate character development in two morally ambiguous narratives. Results of both a qualitative content analysis and an experiment provide support for the claim that character development is a central mechanism to explain viewer responses to MACs in narrative content. Thus, this study provides new directions for understanding characters in media research.