(‘Co’-)Designing for healthy behaviour greatly benefits from integrating insights about individual behaviour and systemic influences. This study reports our experiences in using insights about individual and systemic determinants of behaviour to inform a large co-design project. To do so, we used two design tools that encourage focusing on individual determinants (Behavioural Lenses Approach) and social / systemic aspects of behaviour (Socionas). We performed a qualitative analysis to identify 1) when and how the team applied the design tools, and 2) how the tools supported or obstructed the design process. The results show that both tools had their distinctive uses during the process. Both tools improved the co-design process by deepening the conversations and underpinnings of the prototypes. Using the Behavioural Lenses under the guidance of a behavioural expert proved most beneficial. Furthermore, the Socionas showed the most potential when interacting with stakeholders, i.c. parents and PPTs.
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This open access book is a valuable resource for students in health and other professions and practicing professionals interested in supporting effective change in self-management behaviors in chronic disease, such as medication taking, physical activity and healthy eating. Developed under the auspices of the Train4Health project, funded by the Erasmus+ program of the European Union, the book contains six chapters written by international contributors from different disciplines. This chapter presents open-access educational products that supplement this book: case studies and a web application to simulate behaviour change support in persons with chronic disease. The former is of particular interest for academic educators, while the latter may interest students independently pursuing training outside the classroom. These products can also be useful for professionals aiming to enhance behaviour change competencies in practice. First, it addresses key aspects of product development, including hallmarks such as the incorporation of behaviour change science and transnational co-production with users. Then, the main features of case studies and the web application with 2D virtual humans are described.
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Long-term care facilities are currently installing dynamic lighting systems with the aim to improve the well-being and behaviour of residents with dementia. The aim of this study was to investigate the implementation of dynamic lighting systems from the perspective of stakeholders and the performance of the technology. Therefore, a questionnaire survey was conducted with the management and care professionals of six care facilities. Moreover, light measurements were conducted in order to describe the exposure of residents to lighting. The results showed that the main reason for purchasing dynamic lighting systems lied in the assumption that the well-being and day/night rhythmicity of residents could be improved. The majority of care professionals were not aware of the reasons why dynamic lighting systems were installed. Despite positive subjective ratings of the dynamic lighting systems, no data were collected by the organizations to evaluate the effectiveness of the lighting. Although the care professionals stated that they did not see any large positive effects of the dynamic lighting systems on the residents and their own work situation, the majority appreciated the dynamic lighting systems more than the old situation. The light values measured in the care facilities did not exceed the minimum threshold values reported in the literature. Therefore, it seems illogical that the dynamic lighting systems installed in the researched care facilities will have any positive health effects.
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With increasing penetration rates of driver assistance systems in road vehicles, powerful sensing and processing solutions enable further automation of on-road as well as off-road vehicles. In this maturing environment, SMEs are stepping in and education needs to align with this trend. By the input of student teams, HAN developed a first prototype robot platform to test automated vehicle technology in dynamic road scenarios that include VRUs (Vulnerable Road Users). These robot platforms can make complex manoeuvres while carrying dummies of typical VRUs, such as pedestrians and bicyclists. This is used to test the ability of automated vehicles to detect VRUs in realistic traffic scenarios and exhibit safe behaviour in environments that include VRUs, on public roads as well as in restricted areas. Commercially available VRU-robot platforms are conforming to standards, making them inflexible with respect to VRU-dummy design, and pricewise they are far out of reach for SMEs, education and research. CORDS-VTS aims to create a first, open version of an integrated solution to physically emulate traffic scenarios including VRUs. While analysing desired applications and scenarios, the consortium partners will define prioritized requirements (e.g. robot platform performance, dummy types and behaviour, desired software functionality, etc.). Multiple robots and dummies will be created and practically integrated and demonstrated in a multi-VRU scenario. The aim is to create a flexible, upgradeable solution, published fully in open source: The hardware (robot platform and dummies) will be published as well-documented DIY (do-it-yourself) projects and the accompanying software will be published as open-source projects. With the CORDS-VTS solution, SME companies, researchers and educators can test vehicle automation technology at a reachable price point and with the necessary flexibility, enabling higher innovation rates.
In recent years, organizations across Europe, and the Netherlands in particular, have increasingly supported efforts to enhance the sustainability of festivals such as the European Climate Pact, launched by the European Commission as part of the European Green Deal, European Festivals Association and Green Deals Circular Festivals in the Netherlands (European Union [EU], 2025). As a result, festivals across Europe are growing their environmental stewardship and serving as prototypes for wider societal transitions towards sustainability (Calvano, 2024; Irimiás et; al., 2024). However, festival organizers and other stakeholders still face challenges in developing effective communication strategies that truly activate more sustainable behaviour among festival goers (Harms et. al., 2023). Generic, one-size-fits-all approaches are often applied, yet they tend to have limited impact. This is also due to the diverse nature of music festivals, ranging from indoor to outdoor settings, single-day events to multi-day experiences, and from urban to rural locations, all of which shape the audience, context, and communication needs in unique ways (Tölkes & Butzmann, 2018; Dodds et. al., 2020). Essentially, festivals are ideal for informing, experiencing and activating sustainable behavioural change through effective communication before, during and after festivals. It is therefore crucial that a more targeted approach is utilized where messages can be tailored to make communication more effective (Temmerman & Veeckman, 2024). To address pressing sustainable and social challenges within the festival sector, NHL Stenden (NHLS) will collaborate with ESNS and Thansk on a design research project. In partnership with a network of festival organizers, industry professionals, and experts, the project will explore effective communication strategies for sustainability. The goal is to develop an actionable, research-informed roadmap that supports music festivals in enhancing their sustainability communication tailored to the sector’s dynamic and diverse nature.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
