The paper investigates how an audience can be challenged to 'perform as interface' pointing towards the activation of a certain attitude; an active mind-set which constantly leads the attention back to the experience of our body; to perceive, critically read and make sense of this experience in relation to the interaction with(in) the technologically mediated world [16]. As a case, the paper focuses on the interactive installation "CHAIR-JUMP-CHUTE" and on the various ways the audience was induced to interact with it. The paper identifies triggers stimulating the participant to become fully - as in physically and mentally - engaged in the interaction with a technological installation in the semi-public setting of a cultural institute. Furthermore, it explores how the perceived thresholds (like other people watching, physical challenges or "apparative resistance" [9], become more than 'elements to overcome' as they can also be seen as giving meaning and depth to the interactive experience. The paper sums up what factors trigger this challenging and at the same time demanding (embodied) interaction, in order for this interaction to become an important actual / critical part of the aesthetic experience of interactive art, as it challenges the participant to perform as interface.
Doelstellingen De mate van betrokkenheid van jonge gebruikers bij wervingsadvertenties voor geldezels op Instagram onderzoeken. Methoden Drie advertenties die de belangrijkste mechanismen voor betrokkenheid bij cybercriminaliteit weerspiegelen en gericht waren op Nederlandse gebruikersclusters werden op twee Instagram-plaatsingen geplaatst. Door middel van dit quasi-experimentele 3 × 2 factorial design konden we het bereik en de weergaven van de advertenties, de doorklikratio's, het geslacht van de deelnemers en de temporele verdelingen van de gebruikersbetrokkenheid analyseren. Resultaten De analyse toont aan dat tot 3% van de jonge gebruikers zich bezighield met de advertenties, vooral met advertenties die een luxe levensstijl promoten en neutralisatietechnieken gebruiken. Mannen waren vaker betrokken en 's nachts werd er meer geklikt. Conclusies Sommige jonge Instagram-gebruikers lijken geneigd om geld te verdienen via hun bankpas en lopen het risico om online betrokken te raken bij cybercriminaliteit. We moedigen toekomstig onderzoek aan om het gebruik van sociale media in criminologische studies verder te onderzoeken. ENGLISH Objectives Examine the level of engagement of young users with money mule recruitment ads on Instagram. Methods Three ads reflecting key cybercrime involvement mechanisms and targeting Dutch user clusters were run on two Instagram placements. By means of this quasi-experimental 3 × 2 factorial design, we were able to analyze the reach and views of the ads, click-through rates, gender of the participants, and temporal distributions of user engagement. Results Mimicking actual recruitment environments, analysis shows that up to 3% of young users engaged with the ads, especially those promoting a luxury lifestyle and using neutralization techniques. Men were more likely to engage, and click-through rates were higher at night. Conclusions Some young Instagram users seem prone to making money through their bank cards and risk becoming involved in cybercrime online. We encourage future research to explore further the use of social media in criminological studies. This is a post-peer-review, pre-copyedit version of an article published in Journal of Experimental Criminology. The final authenticated version is available online at: https://link.springer.com/article/10.1007/s11292-022-09537-7
Previous research suggests that narrative engagement (NE) in entertainment-education (E-E) narratives reduces counterarguing, thereby leading to E-E impact on behavior. It is, however, unclear how different NE processes (narrative understanding, attentional focus, emotional engagement, narrative presence) relate to different thought types (negative or positive; about the narrative form or about the target behavior) and to E-E impact. This study explores these relations in the context of alcohol binge drinking (BD). Participants (N = 172) watched an E-E narrative showing negative BD consequences, thereby aiming to discourage BD. The main findings were that the E-E narrative had a positive impact on discouraging BD on almost all assessed BD determinants such as beliefs and attitude. It was shown that attentional focus, emotional engagement, and narrative presence were associated with BD-discouraging impact, albeit on different BD-related determinants. No evidence was found that negative thoughts about BD mediated these associations. From this, we conclude that attentional focus, emotional engagement, and narrative presence were important for E-E impact but that negative thoughts about BD did not play a role therein. The study’s empirical and practical implications are discussed.
Last year, in the aftermath of the pandemic, Effenaar invited sixteen musicians to explore the hybrid world during the first edition of Hybrid Music Vibes - made possible by Innovation Lab (an arrangement of Creative Industries Fund NL and ClickNL) and Stichting Cultuur Eindhoven. In this first edition, talent from the region could learn about the use of new technologies, experiment with various techniques, and the artists were also given the opportunity to realize their own concept. With the aim of providing the artist with new possibilities for expression, and thus the creation of a new relationship with the public, and thus possible revenue models. The program consists of four meetings, each of which starts with a knowledge session followed by a workshop. In the knowledge session, leading speakers (including Raynor de Groot and Tim van der Zalm) will inform the participating artists about the opportunities offered by the use of new technologies, for example in relation to 'fan engagement'. In the workshop, the artists are then challenged to apply this in their own work, working towards a concept. After the program has ended, the artists will pitch this concept and a number of artists will be selected together with the program partners and the public to realize their concept.Societal issueMusic inclusion. Help the music industry and beginning artists to make use of new immersive media technologies to create new music experiences and reach new audiences. To not be left out and only the big companies have the knowledge and means to use it.Benifit to societyNew insights how immersive technologies can create new audience connections and means for artisits to express themselves and be included in society.
Het doel van het onderzoeksproject Immersieve journalistiek en het Betrokken Publiek is om samen met publieke mediaorganisaties en drie kennisinstellingen meer inzicht te krijgen in hoeverre emotionele betrokkenheid van nieuwsconsumenten bij journalistieke producties van invloed kan zijn op de publieke functie van journalistieke organisaties. Het overdragen van informatie aan burgers en het duiden van gebeurtenissen en ontwikkelingen in de samenleving is een kerntaak van de journalistiek. Publieke mediaorganisaties moeten tevens hun specifieke publieke functie waarmaken. Tegelijkertijd is door de toegenomen concurrentie en commercialisering in de mediasector, de journalistiek nog meer genoodzaakt het publiek centraal te stellen en zoeken journalistieke organisaties naar nieuwe manieren om de mediaconsument aan zich te binden. Zij zoeken daarom naar nieuwe technieken en vormen van journalistiek. Een vorm is immersieve journalistiek. Via immersieve journalistieke technieken zoals 360-graden video, augmented reality en virtual reality gaat het publiek als het ware deel uitmaken van een verhaal in plaats van het alleen te ‘ondergaan’. Hierdoor zouden gebruikers meer emotioneel betrokken worden bij nieuws, waardoor de media hun publieke functies (beter) kunnen waarborgen. Of immersiviteit de betrokkenheid van het publiek daadwerkelijk vergroot en of emotionele betrokkenheid ook bijdraagt aan de informatieve - en duidingsfunctie van de journalistiek is echter de vraag. Onderzoek naar immersieve technieken in de journalistiek is nu nog grotendeels gericht op de productiekant en op de narratieve elementen van dergelijke media-uitingen. Er bestaat nog weinig kennis over de ervaring van de gebruiker en welke impact immersiviteit heeft op kennisoverdracht. Veel publieke media-organisaties experimenteren met immersieve journalistiek, maar worstelen met de vraag of ze daarmee hun publieke functie kunnen waarmaken. Dit onderzoek biedt een nieuw perspectief op de ervaringen van de huidige mediaconsument en de rol die emotie speelt bij immersieve journalistieke verhalen. Volgens de werkveldpartners is er in het werkveld veel behoefte aan publieksonderzoek, waarna praktische tools ontwikkeld kunnen worden.
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
