With the rise of innovation and entrepreneurship as avenues for journalists to take in their search for journalistic work, we need to critically interrogate how these terms are understood. Various journalism institutions are pushing a particular understanding of journalism, and of what constitutes meaningful and innovative journalism. In this paper, we review the literature on these themes and draw on experimental research done by one of the authors to argue for a more process-oriented approach to journalistic innovation and entrepreneurship. As a researcher-maker, one of the authors created an innovative journalistic project and tried to develop a business model for this project. She participated in an accelerator process organised by one of the main funds aimed at journalism innovation in the Netherlands. We show that one existing, and prevalent, understanding of innovation in journalism is one that is linear, rational and outcome-oriented. We challenge this understanding and draw on process-oriented theories of innovation to introduce the concepts of effectuation, improvisation and becoming as new lenses to reconsider these phenomena. These concepts provide clearer insight into the passionate and improvisational nature of doing innovative journalistic work.
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There has been limited adoption of Immersive Journalism (IJ) by the audience; simultaneously, the audience’s perspective is rarely considered in the production and research of IJ. At this point, however, it is crucial to incorporate an audience perspective to identify potentially unintended effects of IJ and improve on the innovation of IJ. This study investigates the audience’s experience and evaluation of IJ by qualitatively analyzing their thoughts after viewing two IJ cases. Our results indicate that the audience may pick up on intended effects, such as a sense of presence and an intense emotional experience, but some also express unease towards these effects. Furthermore, the audience struggles to comprehend this study’s two immersive journalistic cases as part of the journalistic genre. These findings provide insight into the gap between the initial hype and the current reality of IJ and provide the basis for propositions for future IJ productions.
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Although basic features of journalism have remained the same over the last decades, the tasks journalists perform, the skills they need and the position they have within news organizations have changed dramatically. Usually the focus in the discourse on changes in journalism is on skills, especially on technical multi-media skills or research skills. In this paper we focus on changes in professional roles of journalists, arguing that these roles have changed fundamentally, leading to a new generation of journalists. We distinguish between different trends in journalism. Journalism has become more technical, ranging from editing video to programming. At the same time, many journalists are now more ‘harvesters’ and ‘managers’ of information and news instead of producers of news. Thirdly, journalists are expected to gather information from citizens and social media, and edit and moderate user-contributions as well. Lastly, many journalists are no longer employed by media but work as freelancers or independent entrepreneurs. We track these trends and provide a detailed description of developments with examples from job descriptions in the Netherlands.
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Over the past decade, journalists have created in-depth interactive narratives to provide an alternative to the relentless 24-hour news cycle. Combining different media forms, such as text, audio, video, and data visualisation with the interactive possibilities of digital media, these narratives involve users in the narrative in new ways. In journalism studies, the convergence of different media forms in this manner has gained significant attention. However, interactivity as part of this form has been left underappreciated. In this study, we scrutinise how navigational structure, expressed as navigational cues, shapes user agency in their individual explorations of the narrative. By approaching interactive narratives as story spaces with unique interactive architectures, in this article, we reconstruct the architecture of five Dutch interactive narratives using the walkthrough method. We find that the extensiveness of the interactive architectures can be described on a continuum between closed and open navigational structures that predetermine and thus shape users’ trajectories in diverse ways.
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Innovations in digital storytelling techniques have spurred on the development of new journalistic and audience practices. The production processes of interactive and immersive journalistic narratives are highly technological and require specialist knowledge of both journalism and design, and require producers to consider how audience engagement and user activity both fit into their story. The resulting narratives redefine the boundaries of what is considered a journalistic production, often requiring users to act within the story, thereby challenging the existing author-user relationship. In this chapter we discuss how the boundaries of journalism are redefined or blurred during both the production and reception processes of interactive, immersive journalism.
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The promotor was Prof. Erik Jan Hultink and copromotors Dr Ellis van den Hende en Dr R. van der Lugt. The title of this dissertation is Armchair travelling the innovation journey. ‘Armchair travelling’ is an expression for travelling to another place, in the comfort of one’s own place. ‘The innovation journey’ is the metaphor Van de Ven and colleagues (1999) have used for travelling the uncharted river of innovation, the highly unpredictable and uncontrollable process of innovation. This research study began with a brief remark from an innovation project leader who sighed after a long and rough journey: ‘had I known this ahead of time…’. From wondering ‘what could he have known ahead of time?’ the immediate question arose: how do such innovation journeys develop? How do other innovation project leaders lead the innovation journey? And could I find examples of studies about these experiences from an innovation project leader’s perspective that could have helped the sighing innovation project leader to have known at least some of the challenges ahead of time? This dissertation is the result of that quest, as we do know relatively little how this process of the innovation project leader unfolds over time. The aim of this study is to increase our understanding of how innovation project leaders lead their innovation journeys over time, and to capture those experiences that could be a source for others to learn from and to be better prepared. This research project takes a process approach. Such an approach is different from a variance study. Process thinking takes into account how and why things – people, organizations, strategies, environments – change, act and evolve over time, expressed by Andrew Pettigrew (1992, p.10) as catching “reality in flight”.
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Digital innovation in education – as in any other sector – is not only about developing and implementing novel ideas, but also about having these ideas effectively used as well as widely accepted and adopted, so that many students can benefit from innovations improving education. Effectiveness, transferability and scalability cannot be added afterwards; it must be integrated from the start in the design, development and implementation processes, as is proposed in the movement towards evidence-informed practice (EIP). The impact an educational innovation has on the values of various stakeholders is often overlooked. Value Sensitive Design (VSD) is an approach to integrate values in technological design. In this paper we discuss how EIP and VSD may be combined into an integrated approach to digital innovation in education, which we call value-informed innovation. This approach not only considers educational effectiveness, but also incorporates the innovation’s impact on human values, its scalability and transferability to other contexts. We illustrate the integrated approach with an example case of an educational innovation involving digital peer feedback.
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In recent years, the number of publications on innovation in the construction industry has increased. Many of these documents address qualitative issues, e.g. policies for innovation and present case studies. A more quantitative approach is taken in this paper, which is the continuation of a previous study. It focuses on main types and sources of innovation in the construction industry, and includes an analysis of 55 years of publications in two leading Dutch professional journals. The results show a recent increase in innovation, with two-thirds of innovations coming out of supplying industries. Construction companies contribute mainly in process innovations. Innovation in construction remains to be technology- rather than market-driven. Regulations have a surprising impact, as over one-third of all counted new innovations are related to new regulations.
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The Utrecht School of Journalism has a long tradition in international higher education. The School’s European Culture & European Journalism (ED&EJ) programme is an example of a pedagogical practice in higher education where advanced students learn how to perform in an international context. Journalism students from Moscow to Ottawa and from Helsinki to Bilbao learn alongside Dutch students. It is not only the content of the programme and the reporting for the Web Magazine that makes the EC&EJ programme an inspirational educational experience. The programme demonstrates the importance of sharing different professional and cultural values. This sharing and confronting of professional standards contributes to an important new qualification for all higher educated professionals: awareness of cultural differences and similarities
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Over the past years, innovative technologies (such as Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR)) have become more common within news organizations. These technologies allow users to immerse themselves in a virtual world. With these types of productions, the journalist tries to engage and involve the user by introducing emotional styles, often to create empathy. This does not only demand new technological skills, but also challenges the way journalist allow emotions in journalistic productions, and what role they take in relation to the story and the user. Through fifteen in-depth interviews with immersive producers and experts in renowned news organizations across the globe, this paper examines both the motivations of journalists who produce immersive stories, and how they seek to balance traditional journalistic norms and emotionality in them. The results show that journalists believe that emotions and facts can be compatible with journalistic production. Yet, they struggle with their role in relation to the user. Immersive journalism obliges journalists to carefully reconsider their relationship with their public. In sum, this study illuminates an ongoing professional debate on the role of emotionality, user agency, and journalistic control and autonomy.
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