Recommenders play a significant role in our daily lives, making decisions for users on a regular basis. Their widespread adoption necessitates a thorough examination of how users interact with recommenders and the algorithms that drive them. An important form of interaction in these systems are algorithmic affordances: means that provide users with perceptible control over the algorithm by, for instance, providing context (‘find a movie for this profile’), weighing criteria (‘most important is the main actor’), or evaluating results (‘loved this movie’). The assumption is that these algorithmic affordances impact interaction qualities such as transparency, trust, autonomy, and serendipity, and as a result, they impact the user experience. Currently, the precise nature of the relation between algorithmic affordances, their specific implementations in the interface, interaction qualities, and user experience remains unclear. Subjects that will be discussed during the workshop, therefore, include but are not limited to the impact of algorithmic affordances and their implementations on interaction qualities, balances between cognitive overload and transparency in recommender interfaces containing algorithmic affordances; and reasons why research into these types of interfaces sometimes fails to cross the research-practice gap and are not landing in the design practice. As a potential solution the workshop committee proposes a library of examples of algorithmic affordances design patterns and their implementations in recommender interfaces enriched with academic research concerning their impact. The final part of the workshop will be dedicated to formulating guiding principles for such a library.
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Purpose: This study aimed to develop and pretest a systematic conversation approach for nurses to tailor aftercare to oncology patient's goals, unmet needs and wishes. Methods: We used an iterative developmental process for complex interventions: 1. Identifying problems 2. Identifying overall objectives 3. Designing the intervention 4. Pretesting and adapting the intervention. Results: The main results of the problem identification were: non-systematic and incomplete screening of potential issues, caveats in providing information, and shared decision-making. The overall objective formulated was: To develop a model for aftercare conversations based on shared goal-setting and decision-making. The conversation approach consists of four phases: 1. Preparation of the consultation including a questionnaire, 2. Shared goal-setting by means of a tool visualizing domains of life, and 3. Shared care planning by means of an overview of possible choices in aftercare, a database with health care professionals and a cancer survivorship care plan. 4. Evaluation. The results of the pretest revealed that the conversation approach needs to be flexible and tailored to the patient and practice setting, and embedded in the care processes. The conversation approach was perceived as enhancing patient-centeredness and leading to more in-depth consultations. Conclusion: The conversation approach was developed in co-creation with stakeholders. The results of the pretest revealed important implications and suggestions for implementation in routine care. The aftercare conversation approach can be used by nurses to provide tailored patient-centered evidence-based aftercare. Tailored aftercare should support oncology patient's goals, unmet needs and wishes. Further tailoring is needed.
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This paper is about the political imbalance in the EU when it comes to attracting European agencies. Over the years, mainly due to the Brexit negotiations and for cost-efficiency reasons, many EU agencies moved from the UK to elsewhere, finding a new sea for headquarters functions or other departments. Whenever such a move is announced, EU countries and their candidate host cities jump into the breach to make a beneficial offer. The way these processes take place is a vector of the politicization of European integration. Nevertheless, these new locations of the EU agencies have won the bidding contest, is a process that usually takes place under the radar. The decision-making of these kinds of processes rests with the member states of the agency. Instead of choosing the most strategic place and ensuring an equal distribution among EU countries, which is the deal, often the highest bidder or the state contributing the most wins the agency. Interestingly, these processes have hardly been studied in the light of the increased politicization. This paper is an attempt to fill this research gap, by focusing on three cases and the processes of decision-making. The cases are the Collège européen de police (European Police College, CEPOL) which moved from the UK to Budapest in 2014, the European Medicine Agency (EMA) moving from London to Amsterdam in 2019, and the European Centre for Medium-Range Weather Forecasts (ECMWF) which moved its EU-funded program to Bonn and Helsinki mid-2021. The research strategy is as follows: the cases and the lobbying processes are described, then the main political actors are described, and the outcomes are described. The main research question is: How do these processes of political decision-making work out in practice? By answering this question, this study contributes to the discussion on globalized decision-making across the EU and the politicized imbalance which is the result of this.
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Emotional reactions to marketing stimuli are essential to tourist destination marketing, yet difficult to validly measure. A neuromarketing experiment was peformed to establish whether brain event-related potentials (ERPs), elicited by destination photos, can be used to evaluate the effectiveness of tourist destination marketing content in movies. Two groups of participants viewed pictures from the cities of Bruges and Kyoto. Prior to viewing the pictures, one group saw an excerpt from the movie In Bruges, which positively depicts Bruges’ main tourist attractions. The other group saw a movie excerpt that did not feature Bruges (the Rum Diary). An early emotional response was osberved to the subsequently presented Bruges pictures for the In Bruges group only; no reliable between-group differences were found in ERPs to pictures from Kyoto. In conclusion, EEG-based neuromarketing is a valuable tool for evaluating the effectiveness of destination marketing, and popular movies can positively influence affective destination image.
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The purpose for writing this paper is twofold: (1) building on the former PBPD publication on “Placecinemaking”, from the viewpoints of the foundations of history, theory, and methodology; and (2) demonstrating the methodology on a new movie/place-making project, “Le Mille Notti”, which was launched after the publication of said PBPD paper. This new submission is therefore a complementary extension and a deeper analysis of what was presented in 2023 on PBPD. The approach is based on documental back-tracing, where needed complemented by interviews and testimonials. The analysis pertains to a wide range of fields, from the history of cinema to leisure direction and to placemaking. This paper is based on a further analysis of the “Placecinemaking” approach, in order to extract: (a) historical roots and context in the history of cinema; to enable (b) application to a new film in the series of projects where the approach was organically developed into a repeatable process; and to present (c) the outcome of the new movie, titled “Le Mille Notti” in the specific areas pertaining to the movie, Borgo Aurora, Turin, and its actors. Research was based on documental back-tracing, therefore no new empirical findings will be made available or generated from this process besides what was tracked in documental sources (newspapers, production notes, earlier interviews as already publicly published and distributed in media, and more). Process and methods will be equivalent to the ones adopted in the PBPB publication, 2023, therefore already tested and proven by peer review. The paper will have a potential high impact in terms of further proving, justifying, and contextualizing an organic approach as formalized in a repeatable process. The paper does uniquely present, critically review, and demonstrate the place-making fit of a new film, “Le Mille Notti”, providing additional insights into the “Placecinemaking” approach.
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The Nature Spectacle: On Images, Money, and Conservation Capitalism by Jim Igoe is, as its Preface states, an ambitious book that seeks to make connections between diverse times and places. The preface also, in many ways, tells more about the background and intention of the book than its chapters do, tying together the author’s origins and motivation. Igoe recalls his childhood in St. Louis, Missouri, much of which he spent “in front of a television and at a neighborhood movie theatre” (p. XII), once watching a musical, which was “essentially an extended Chevrolet commercial set among the geysers of Yellowstone” (P. 109). It is the mix of such absurd and comical observations of commercialism merging with Nature, and much heavier criticism of the capitalist cult of economic growth, development, and also conservation that characterizes The Nature of Spectacle. Much of Igoe’s outdoor experiences were shaped by green spaces, created in St. Louis as part of commodity exhibits at the 1904 World’s Fair. The author admits to feeling both critical and nostalgic of those places that have merged (sub)urban aesthetics with that of industrially developed commercial “spaces” (p. XII) – important concepts that form a leitmotif throughout the book. https://doi.org/10.1080/03066150.2018.1488355 https://www.linkedin.com/in/helenkopnina/
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The world of student associations, is not all what it seems to be. Here, like in the corporate boardroom, we find a world of personal ambition that drive unproductive acquisitions and other unwanted managerial behavior. Agency problems as studied by Jensen & Meckling (1976) and eloquently summarized by Gordon Gekko (1987) are major causes of the credit crisis of 2008.
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People suffering from dementia often have problems with way finding and feel restless. In this paper we present an interactive wall developed for decreasing the amount of wandering behaviour of people suffering from dementia. The installation aims at making these people feel more at home in the nursing homes by guiding them with a motion triggered audio path. This leads them to a wall with large windows displaying images and short movie tracks from their hometown. The results of an observation study show that the interactive wall succeeds in attracting people and thus reducing the wandering behaviour. Remarks of the elderly as well as their family and caretakers support this conclusion.
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A social media architect is an appealing new profession that entails crossovers between communication and IT & Design. There are no study programmes for this job. Important questions are how to interest secondary school pupils for such a new job, and how to prepare them for these jobs or jobs that do not even exist today? This research aims to set an example by presenting a realistic job profile of a social media architect by linking the ‘21st century skills’ to the context in which he/she operates.
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This study will examine how branded games in the LEGO Ninjago franchise communicate the brand narrative through their mechanical, semiotic and referential design. Digital games as communicative tools facilitate a new paradigm of marketing focusing on experience creation through integrated marketing communication plans. The LEGO brand creates highly successful games that communicate the brand effectively. To explore the possibilities and counteract the simplistic use of branded games, this study introduces an innovative framework to formally analyze branded games and their communication of a brand narrative through mechanical, semiotic and referential layers. This framework introduces formal game design to advertising studies, while dragging game studies into branded ecosystems. Using the framework, we analyze LEGO Ninjago the Movie – The Videogame, to identify how this paid digital game expands the Ninjago universe and fulfills specific marketing purposes oriented to LEGO toy sets. Our analysis shows that on a mechanical and semiotic layer, the game presents a standalone experience catering to the universe of the Ninjago movie and the values of the Ninjago brand narrative. However, by framing the whole game as LEGO – in its materiality and interactable objects – the LEGO brand narrative of creative construction informs the act of play. The referential design in these games makes use of playful disruption of rules to instill additive comprehension in the player related to purchasable sets and content.
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