Loneliness among young adults is a growing concern worldwide, posing serious health risks. While the human ecological framework explains how various factors such as socio-demographic, social, and built environment characteristics can affect this feeling, still, relatively little is known about the effect of built environment characteristics on the feelings of loneliness that young people experience in their daily life activities. This research investigates the relationship between built environment characteristics and emotional state loneliness in young adults (aged 18–25) during their daily activities. Leveraging the Experience Sampling Method, we collected data from 43 participants for 393 personal experiences during daily activities across different environmental settings. The findings of a mixed-effects regression model reveal that built environment features significantly impact emotional state loneliness. Notably, activity location accessibility, social company during activities, and walking activities all contribute to reducing loneliness. These findings can inform urban planners and municipalities to implement interventions that support youngsters’ activities and positive experiences to enhance well-being and alleviate feelings of loneliness in young adults. Specific recommendations regarding the built environment are (1) to create spaces that are accessible, (2) create spaces that are especially accessible by foot, and (3) provide housing with shared facilities for young adults rather than apartments/studios.
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Expressive cultural activities, such as viewing visual art, drama, or dance, are perceived as beneficial to individuals and societies, justifying public funding. However, not everyone benefits and participates equally. We intentionally sampled infrequent and frequent attendees among young adults in the Netherlands. Results indicated that infrequent and frequent attendees differed in expressive cultural activity constraints and socialization, though not on demographic background. Their cultural, social, and emotional experience through self-report and physiological data revealed no significant differences between the groups’ experience of a dramatic performance. These outcomes suggest that, as an example of expressive cultural activity, a dramatic performance experience can be equally emotionally beneficial to frequent and infrequent attendees, an important prerequisite to broader appeal and intergroup contact. Implications of the use of physiological data in leisure experience research are discussed
This project challenges traditional cognition-based research methods. While informative, they do not fully capture the complexity of economic transformation. This hinders our ability to support regenerative entrepreneurs in their journey toward a fair and sustainable economy. At AUAS Centre for Economic Transformation, our search for a more integrative approach to building new business models, led us to arts- and nature-based research. We are intrigued by art- and nature-based research as a tool to integrate cognitive, emotional and practical elements (head/ heart/ hands). Our curiosity led us to the following research question: how can innovative methodologies that focus on lessons from the arts (creativity) and nature (diversity) help to enrich the understanding of economic transformation among researchers and entrepreneurs engaged in regenerative practices. This study employs an action-oriented research approach, including progressive learning and reflective monitoring and evaluation. During workshops the researchers and entrepreneurs go outside and collect pieces of nature. With these materials they compose their own work of art. Participants, under guidance, step-by-step, 'engage in dialogue' with their artwork based on their own question, eventually experiencing (a direction to) an answer. This project brings together researchers with expertise in the diverse fields of entrepreneurship, craftsmanship, co-ownership and economic ecosystems and entrepreneurs of regenerative practices. They emerge themselves in innovative research methods aimed at integrating head, heart, and hands to enhance diversity and creativity and enrich their understanding of economic transformation. The presentation will be enriched by the works of Claudy Jongstra, a Dutch artist and regenerative entrepreneur.
Codarts, as a University of the Arts, develops practice-oriented research to enhance artistic development, the arts practice and arts education. Performing arts, specifically dance, music and circus, enable us to communicate beyond geographical, cultural, linguistic and religious boundaries and helps us connect our common values and dreams. The performing arts are universal in their capacity to unite and inspire, providing an excellent opportunity for us to expand our research to an international level. However, the current research strategy at Codarts does not sufficiently match our European research ambitions, even though our education is inherently international and there are multiple strong connections to relevant themes in the European Research Area. Accordingly, with this project, we aim to bridge the gap between our current national research activities and our European ambitions by aligning our research focus with the European Research Area. The aim is to develop a strategy that enriches the arts practice, arts education and our research, creating a stronger connection to the European Research Area and to relevant European networks. Expanding the scope of our practice-oriented research towards European projects is essential to increase research opportunities, improve the applicability and societal impact of our research outcomes and provide more opportunities for students, teachers and researchers to learn and exchange knowledge and insights. Additionally, it is necessary to create a sustainable future for our institution. Strategic brainstorm sessions, benchmark studies, detailed action plans and viability assessments need to make sure that we become aware of our current position in the European research field, as well as identify potential partners and networks to collaborate with. This project will eventually work towards participation in a relevant European project proposal as the first step towards strengthening our position as a leading University of the Arts in Europe.
- MOTIVE: This project (NoSI) constitutes a first step towards a broader research aiming at counteracting the compartmentalization of Dutch education: WO-HBO-MBO. This first step focuses on vocational education and training (VET) in the creative industry (CI) to develop an incubator for an innovative and participatory VET system, that bridges the gap between the professional field and education. It starts from the pioneering experience of No School (NS) (http://noschool.nl/), where teachers and students already work together as co-creators. - RESULTS: 1) incubator of the new creative VET, based on the following activities: NS book-Manifesto; NS Pavilion; international VET movement /network of people working on educational change; 2) design of a large-scale subsidised study. - CONTENT: VET system needs a systematised renovation on both practical and theoretical level. We will furtherly develop the NS experiment into an incubator serving as operational example of co-creation between: HBO/MBO/WO; teachers/students; schools/professional field. We are in line with the CLICKNL agenda (The Human Touch) and NWA routes (Jeugd in ontwikkeling, opvoeding en onderwijs; Kunst: onderzoek en innovatie in de 21ste eeuw). - RELEVANCE: Starting directly from the practical needs of the professionals (VET teachers/students/professionals), NoSI bridges the gap between schools and the professional field towards a new educational system that can match the demands of the 21st century society. - METHODS: NoSI introduces Participatory Action Research (PAR) as on-going approach in which all the stakeholders (researchers, teachers, students/CI professionals) are actively involved in the decision-making process as co-creators in bringing an ‘idea’ directly into reality. It considers ‘action’ as the main criterion to validate any theory, prioritizing practical knowledges. PARTNERS: 1) ArtEZ lectoraat Kunst- en Cultuureducatie (AeCT), 2) No School (Cibap/SintLucas), 3) Studio INAMATT, 4) expert groups (UvA).
Tango is among the most widespread world music genres nowadays. However, only partial information about the elements and techniques of composing, arranging and performing tango has been documented and made available so far. This research project aims at investigating tango’s main aspects in the oeuvre of relevant tango musicians, promoting its creative practice and expanding its artistic community. By making the implicit knowledge in scores and recordings explicit and ready for creative use by the greater artistic community, tango can be preserved, on one side; and musicians can experiment and reach new artistic horizons, securing its continuation and development as vivid, contemporary music, on the other. The project has two research questions: 1. What are the main features and techniques of tango music composition, arrangement and performance? 2. How can musicians nowadays integrate these features and techniques into their practice to deepen their understanding and enhance their artistic creations and performances? This research uses a mixed method design, including the analysis of scores and recordings, literature review, interviews, observational studies and experimentation. It expands the artistic community on the topic and bridges two top-notch institutions devoted to tango learning: Codarts and UNSAM (Argentina). The research also endeavours improvements in the Codarts curriculum as it complements and expands its educational programme by providing students with research tools to enhance their creative practice. Theoretical and artistic outcomes will be documented and disseminated in concerts, concert-lectures, papers, articles and a tailor-made website containing compositions, arrangements, videos, text, musical examples and annotated scores, so as to record: a) the musical materials and techniques found in the analysed scores and recordings, together with their applications in practice and performance; b) the artistic processes, reflections and production of the participants; c) information on how to create, arrange and perform tangos.
