Pressure from politics and the public has created a greater demand for the media to be more accountable. Moreover, growing structural changes in the media landscape – including media concentration, commercialization, fiercer competition, an increasingly fragmented public, and the advent of new media – have also challenged how media should be accountable and responsive. This article looks at how Dutch broadcast media are responding to increasing pressure in terms of accountability and responsiveness through a case-‐study research from two leading broadcast news organizations. The need for more openness to and connection with the public is acknowledged, and among many journalists this is now even considered a necessity. However, when it comes to routinized daily application, there is a general resistance as it does not live within their professional autonomy and authority. New online instruments have created opportunities with more platforms and possibilities for the public to participate. However, at this point the online instruments put new constraints on the social system of organization with unforeseen activities and costs.
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Installatierede uitgesproken bij de aanvaarding van het lectoraat Image in Context aan de Hanzehogeschool Groningen te Groningen op 13 november 2012. Tekst in het Nederlands en het Engels.
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Deze publicatie is een voortvloeisel van het Time line Gallery project. In dit project bundelden ontwerpbureau DesignArbeid, het lectoraat Image in Context van Academy Minerva en kunstruimte Sign de krachten om jonge kunstenaars in staat te stellen om in door henzelf gevormde teams de mogelijkheden van de publieke ruimte begin 21 eeuw te onderzoeken en zichtbaar te maken. De straat als galery waarin projecten in een tijdslijn na elkaar eigen vormen van counter public space (Klug ..) kunnen realiseren. De kunstenaars zetten zich uiteen met actuele kwesties waarvoor nieuwe vormen van uitwisseling en participatie werden ontwikkeld: de klimaatcrisis tastbaar in het stijgende water, de rol van de vrouw binnen de studentenvereniging, vervreemding in het publiek domein, ons koloniaal verleden zichtbaar in onze publieke ruimte, propaganda achter grote stadsevents, het gemak waarmee ons fakenews op de mouw gespeld kan worden en de wijze waarop publiek en privaat domein in elkaar overlopen.De vraag die voor ons allen leidend is: Hoe kunnen kunstenaars en ontwerpers interventies doen die eraan bijdragen dat we als autonoom denkende mensen weer verbinding krijgen met wat Bruno Latour (2019) het Aardse noemt. Het Aardse als zijnde een concept dat ons helpt om de richting aan te geven waarheen we ons moeten bewegen in een bewustzijn dat de wereld niet meer bestaat uit een omgeving waar mensen zich in bevinden, maar uit een krachtenveld, een ecologie, waar we onderdeel van zijn. De onderzoekers van het lectoraat zoeken de conceptuele invalshoeken die ons helpen om zichtbaar te maken welke mogelijkheden de kunst heeft om het hoofd te bieden aan de vele vormen van propaganda en disciplinering in het begin van de 21 e eeuw die dit onmogelijk willen maken. Daarom vindt u in deze publicatie naast een schets van de verschillende interventies die de deelnemende kunstenaars ontwikkelden, ook de verschillende conceptuele perspectieven waar de onderzoekers uit het lectoraat mee werken.De hier gepresenteerde artistieke praktijken zijn een moment in de ontwikkeling van de kunstenaars, het gevolg van een scala aan ontmoetingen die eraan vooraf zijn gegaan en de consekwentie van een dynamiek die ze op een geven moment met elkaar in gang hebben durven zetten. Zonder de moed tot handelen was er nooit iets gebeurd. De gepresenteerde concepten zijn de diepe gronden waar een onderzoeker pas na verloop van tijd op durft te gaan bouwen. Deze concepten kunnen iets teweegbrengen. In de ontmoetingen kan het concept zich gronden en verbreden en kunnen de artistieke praktijken nieuwe betekenislagen krijgen. Samen helpen ze ons reflecteren op de nieuwe rollen van kunstenaars en ontwerpers in de openbare ruimte als publiek domein.
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In recent decades the trend of public accountability, transparency and governance has become a priority in many public sectors, but in de media sector and the public broadcasting sector in particular there have only very recently been attempts to address the public in terms of accountability and responsiveness
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Immersive journalism (IJ) is often assumed to be inherently emotion-inducing. Through using inclusive technology, interaction possibilities and immersive narratives, the audience should ideally experience what feels like to be in a certain situation. However, for the most part we do not know to which extent and in what form IJ influences the experience of emotions. We wanted to investigate, whether, and if so, which characteristics of IJ are related to the experience of emotions, and which role the personality trait empathy tendency plays in this respect. This is important, as the evaluation of IJ often relies on the emotion-inducing assumption thereof. Four different experiments comparing one immersive journalistic characteristic (level of inclusion, interaction possibilities, immersive narratives) to the respective non-immersive counterpart were conducted. Results indicate that while the level of inclusion and interaction possibility increase the intensity of the experience, the immersive narrative influences the valence dimension of emotions. Additionally, empathy tendency is found to be a relevant moderator for these effects. Conclusions are threefold. First, the narrative form of IJ is key; second, the analysis of IJ needs to go beyond the level of inclusion; third, including emotions when assessing IJ is fundamental to understand its impact.
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Europeans live their lives at a time when certain collective expectations of how the world should function no longer seem to describe their experience of what actually happens. This bifurcation of experience and expectation is causing some severe symptoms of dislocation. Truth turns relative and his- tory seems in need of radical revision. Even time itself seems topsy-turvy, in a way that some Messianic beliefs find very much to their taste. This is the hallmark of the contemporary moment and why, this essay will argue, that in lieu of any other generalising term, we need to make the most use of ‘contemporary’ and ‘contemporaneity’ for emancipatory purposes.
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In the course of our supervisory work over the years, we have noticed that qualitative research tends to evoke a lot of questions and worries, so-called frequently asked questions (FAQs). This series of four articles intends to provide novice researchers with practical guidance for conducting high-quality qualitative research in primary care. By ‘novice’ we mean Master’s students and junior researchers, as well as experienced quantitative researchers who are engaging in qualitative research for the first time. This series addresses their questions and provides researchers, readers, reviewers and editors with references to criteria and tools for judging the quality of qualitative research papers. The second article focused on context, research questions and designs, and referred to publications for further reading. This third article addresses FAQs about sampling, data collection and analysis. The data collection plan needs to be broadly defined and open at first, and become flexible during data collection. Sampling strategies should be chosen in such a way that they yield rich information and are consistent with the methodological approach used. Data saturation determines sample size and will be different for each study. The most commonly used data collection methods are participant observation, face-to-face in-depth interviews and focus group discussions. Analyses in ethnographic, phenomenological, grounded theory, and content analysis studies yield different narrative findings: a detailed description of a culture, the essence of the lived experience, a theory, and a descriptive summary, respectively. The fourth and final article will focus on trustworthiness and publishing qualitative research.
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Whitepaper about Immersive Technologies in Tourism and state of the art application cases and best practices within the field of museums, art, destination marketing, virtual events and much more.
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Organizing entrepreneurial collaboration in small, self-directed teams is gaining popularity. The underlying co-creation processes of developing a shared team vision were analyzed with a core focus on three underlying processes that originate from the shared mental models framework. These processes are: 1) the emergence of individual visions and vision integration, 2) conflict solving, and 3) redesigning the emerging knowledge structure. Key in the analysis is the impact of these three processes on two outcome variables: 1)the perceived strength of the co-creation process, 2) the final team vision. The influence of business expertise and the relationship between personality traits and intellectual synergy was also studied. The impact of the three quality shared mental model (SMM) variables proves to be significant and strong, but indirect. To be effective, individual visions need to be debated during a second conflict phase. Subsequently, redesigning the shared knowledge structure resulting from the conflict solving phase is a key process in a third elaboration phase. This sequence positively influences the experienced strength of the co-creation process, the latter directly enhancing the quality of the final team vision. The indirect effect reveals that in order to be effective, the three SMM processes need to be combined, and that the influence follows a specific path. Furthermore, higher averages as well as a diversity of business expertise enhance the quality of the final team vision. Significant relationships between personality and an intellectual synergy were found. The results offer applicable insights for team learning and group dynamics in developing an entrepreneurial team vision. LinkedIn: https://www.linkedin.com/in/rainer-hensel-phd-8ba44a43/ https://www.linkedin.com/in/ronald-visser-4591034/
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