Twitter timelines are increasingly populated with brand tweets that are linked to public events, a practice that is also known as real-time marketing (RTM). In two studies, we examine whether RTM is an effective strategy to boost sharing behavior, and if so, what event- and content-related characteristics are likely to contribute to its effectiveness. A content analysis of brand tweets from Nielsen’s top-100 advertisers (n=1500) shows that not all events are equally effective. RTM is only a more effective strategy (vs. no real-time marketing), when brand messages are linked with unpredictable events but not when brand messages are linked with predictable events. In a follow-up study, we examined what content characteristics improve the shareability of predictable RTM messages. A content analysis of RTM messages (n=143) from the Forbes top-100 brands showed that predictable events yield more retweets when the event is visually integrated in the brand tweet (vs. not visually integrated). The presence of event-driven hashtags did not lead to more retweets. Implications for theory and practice are discussed.
This paper presents an overview of studies that explore the impact of digital signage, environmental design and the use of background music on time perception and customer experience, thus exploring the psychological value of time.
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In a growing number of economic branches, citizens are becoming more active, as part-time producers, service providers, suppliers or even entrepreneurs. They compete with traditional companies, but often operate through new business models.
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The Dutch floriculture is globally leading, and its products, knowledge and skills are important export products. New challenges in the European research agenda include sustainable use of raw materials such as fertilizer, water and energy, and limiting the use of pesticides. Greenhouse growers however have little control over crop growth conditions in the greenhouse at individual plant level. The purpose of this project, ‘HiPerGreen’, is to provide greenhouse owners with new methods to monitor the crop growth conditions in their greenhouse at plant level, compare the measured growth conditions and the measured growth with expected conditions and expected growth, to point out areas with deviations, recommend counter-measures and ultimately to increase their crop yield. The main research question is: How can we gather, process and present greenhouse crop growth parameters over large scale greenhouses in an economical way and ultimately improve crop yield? To provide an answer to this question, a team of university researchers and companies will cooperate in this applied research project to cover several different fields of expertise The application target is floriculture: the production of ornamental pot plants and cut flowers. Participating companies are engaged in the cultivation of pot plans, flowers and suppliers of greenhouse technology. Most of the parties fall in the SME (MKB) category, in line with the RAAK MKB objectives.Finally, the Demokwekerij and Hortipoint (the publisher of the international newsletter on floriculture) are closely involved. The project will develop new knowledge for a smart and rugged data infrastructure for growth monitoring and growth modeling in the greenhouse. In total the project will involve approximately 12 (teacher) researchers from the universities and about 60 students, who will work in the form of internships and undergraduate studies of interesting questions directly from the participating companies.
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
The city of Amsterdam is well-known for its creative citizens, innovative use of public spaces, and bottom up and informal (citizen) initiatives. Many of these initiatives are endorsed and - after some time - formalised by local government. However, some need to be relocated or disappear due to densification-strategies. This is particularly the case in contexts of urban growth and not unique for Amsterdam. Depending on the specific circumstances, densification strategies compensate densification with nature conservation and/or public space programs. Densification is a contested approach – chiefly because it often entails quantitative approaches that are abstracting specific places into numerical value and generalized policy ambitions that do not resonate with the creative language and practical wisdom and imagination at play in the specific places. Often, these strategies also involve uncertainty regarding their relationship with informal citizen initiatives. Particularly in the urban fringe, we see a variety of initiatives that have developed over the years and which have obtained temporary approval for their activities. In this pop-up research we explore if, and how techniques of research by design contribute to making productive these confrontations – between formal and informal resources, between practical wisdom and generalised knowledge, between local creative-artistic and more general quantitative approaches - with the broader aim to create more sustainable and liveable cities.
