Final report for the AR in Staged Entertainment project funding partner.
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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.
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The use of the Zora robot was monitored and evaluated in 14 nursing care organizations (15 locations). The Zora robot, a Não robot with software, is designed as a social robot and used for pleasure and entertainment or to stimulate the physical activities of clients in residential care. In the first year, the aim was to monitor and evaluate how the care robot is used in daily practice. In the second year, the focus was on evaluating whether the use of Zora by care professionals can be extended to more groups and other type of clients. Interviews, questionnaires and observations were used as instruments to reveal the progress in the use of the robot and to reveal the facilitators and barriers. Care professionals experienced several barriers in the use of the robot (e.g., start-up time and software failures). The opportunity they had to discuss their experience during project team meetings was seen as a facilitator in the project. Furthermore, they mentioned that the Zora robot had a positive influence on clients as it created added value for the care professionals in having fun at work.
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Waarom gaan mensen naar festivals? Hoe beleven ze een festival? Waarom komen ze wel of niet terug? Hoe kunnen festivalorganisatoren de motivatie en beleving van bezoekers effectief beïnvloeden? Wat betekenen sociale media voor de festivalbeleving? Antwoorden op deze vragen helpen festivalorganisatoren een uniek festival aan te bieden en effectiever resultaten te behalen en overtuigender te rapporteren naar subsidieverstrekkers en sponsors. Het Crossmedialab, onderdeel van het Kenniscentrum Communicatie & Journalistiek van de Hogeschool Utrecht, heeft onderzoek uitgevoerd naar festivalbeleving. Dit cahier geeft een overzicht van onder zochte theorieën en bevat een integraal overzicht van factoren die van invloed zijn op de festivalbeleving. Nieuwe inzichten en het uniek ontwikkelde model van festivalbeleving biedt onderzoekers, eventprofessionals en vakdocenten kansen voor verder onderzoek en praktische toepassing.
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In the past two years [2010-2012] we have done research on the visitor experience of music festivals. We conducted several surveys asking festival visitors for demographic variables, taste in music, their motivation for visiting festivals, mentalities and the evaluation of the festival. We also asked for the use of social media before, after and during the festival. Results show that visitors using social media have a significantly different festival experience from users that do not use social media before, during or after the festival. Results on difference in festival satisfaction are mixed.
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Binnen de kamers van retorica namen de refereinen een aparte plaats in. Goede refereinen waren gebonden aan strikte regels en werden op de juiste manier voorgedragen op festivals waar de beste refereinen werden bekroond met een prijs. In dit artikel worden de drie prijswinnenende refereinen van het Rotterdamse rhetorijcfeest van 1561 onder de loep genomen.
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We need mental and physical reference points. We need physical reference points such as signposts to show us which way to go, for example to the airport or the hospital, and we need reference points to show us where we are. Why? If you don’t know where you are, it’s quite a difficult job to find your way, thus landmarks and “lieux de memoire” play an important role in our lives.
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The concept of immersion has been widely used for the design and evaluation of user experiences. Augmented, virtual and mixed-reality environments have further sparked the discussion of immersive user experiences and underlying requirements. However, a clear definition and agreement on design criteria of immersive experiences remains debated, creating challenges to advancing our understanding of immersive experiences and how these can be designed. Based on a multidisciplinary Delphi approach, this study provides a uniform definition of immersive experiences and identifies key criteria for the design and staging thereof. Thematic analysis revealed five key themes – transition into/out of the environment, in-experience user control, environment design, user context relatedness, and user openness and motivation, that emphasise the coherency in the user-environment interaction in the immersive experience. The study proposes an immersive experience framework as a guideline for industry practitioners, outlining key design criteria for four distinct facilitators of immersive experiences–systems, spatial, empathic/social, and narrative/sequential immersion. Further research is proposed using the immersive experience framework to investigate the hierarchy of user senses to optimise experiences that blend physical and digital environments and to study triggered, desired and undesired effects on user attitude and behaviour.
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The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
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