Liveblogs are very popular with the public and journalists alike. The problem, though, is their credibility, given the uncertainty of the covered events and the immediacy of their production. Little is known about how journalists routinize the unexpected—to paraphrase Tuchman—when journalists report about an event that is still unfolding. This paper is about makers of liveblogs, livebloggers, so to speak, and the routines and conventions they follow. To better understand the relationship between those who do the “liveblogging” and how the “liveblogging” is done, we interviewed a selection of nine experienced livebloggers who cover breaking news, sports, and politics for the three most-visited news platforms in the Netherlands. Based on our results, we concluded that journalists working at different platforms follow similar routines and conventions for claiming, acquiring, and justifying knowledge. Journalists covering news in liveblogs must have expert knowledge, as well as technical and organizational skills. Liveblogging—in contrast to regular, online reporting—is best summarized as a social process instead of an autonomous production. These findings are important for three reasons: first, to understand how journalists cope with uncertainty covering events under immediate circumstances using liveblogs; second, to understand the workings of this popular format; and third, to contribute to literature about journalistic genres, discourse communities and, more specifically, generic requirements of liveblogs for effects of credibility to take place.
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This article traces the emergence of one particular genre of discourse, the genre of "new realism" in the Dutch public debates on multicultural society from the early 1990s till Spring 2002. The focus upon different "genres" implies an interest in the performative power of discourse, i.e. the way in which any discourse, in or by its descriptions of reality, (co)produces that reality. Four distinctive characteristics of "new realism" are detected in three subsequent public debates, culminating in the genre of "hyper-realism", of which the immensely successful and recently murdered politician Pim Fortuyn proved to be the consummate champion. Cet article explique le développement d'un genre particulier de discours, le "nouveau réalisme", au sein du débat public sur la société multiculturelle aux Pays Bas. La période étudidée s'étale du début des années 1990 jusqu'au printemps 2002. L'importance attribuée aux différents "genres" reflète un intérêt pour le pouvoir performatif du discours, notamment la facon dont le discours (co)produit la réalité qu'il décrit. On décèle quatre traits distinctifs du "nouveau réalisme" dans trois débats publics qui débouchent sur le "hyper-réalisme" genre dont Pim Fortuyn, homme politique ayant connu un grand succès et victime récente d'un meurtre,s'était fait le champion attitré.
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The present study was to further the understanding of the conceptual relationship between narrative absorption, that is the intense engagement with a story world, and felt suspense, that is the anticipation of a narrative outcome event. To this end, a media comparative online experiment was conducted with a 2 (Media format: film vs. Literature) × 2 (Suspense structure: diegetic vs. Non-diegetic delay) × 2 (Stories) between subject design. Results revealed a complex relationship among felt suspense, attention, emotional engagement, and transportation, showing the high importance of attention in felt suspense, and the moderating effect of media format and gender. Findings indicate that non-diegetic suspense delay unlike diegetic suspense decreases felt suspense and narrative absorption independently of media format.
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This project establishes a collaborative network centered around the Amsterdam Museum, comprising key stakeholders from prominent cultural institutions, including the Centraal Museum Utrecht and the Rotterdam Museum. The consortium is designed to explore the transformative potential of co-creation in museums, focusing on enhancing visitor engagement, fostering inclusivity, and integrating digital technologies into cultural practices. Key personnel will provide interdisciplinary expertise in communication and cultural heritage, facilitating a robust understanding of stakeholder dynamics and collaborative processes. The research aims to analyze how co-creation can bridge the gap between museums and their diverse audiences, creating a sense of ownership and connection. Initial observational findings suggest that co-creation practices significantly enhance visitor experiences while revealing stakeholders' desires for deeper collaborative opportunities. To achieve these objectives, qualitative methods such as semi-structured interviews, focus groups, and ethnographic observations will be employed, delivering rich insights into the impact of co-created programming. An essential output of this project will be an academic publication aimed at foundational research on effective co-creation practices within the cultural sector. Furthermore, the consortium will pursue a larger grant application to secure sustainable funding for ongoing research initiatives, ensuring the long-term viability and impact of this collaborative network. This will not only advance academic discourse but also facilitate knowledge transfer between academia and museums, enriching cultural engagement strategies. Ultimately, the project aspires to enhance the visibility and societal relevance of cultural institutions, fostering innovative solutions to contemporary challenges through collaborative research and community involvement.
Despite Dutch Hospitality industry’s significant economic value, employers struggle to attract and retain early career professionals at a time when tourism is forecasted to grow exponentially (Ruël, 2018). Universally, hospitality management graduates are shunning hospitality careers preferring other career paths; stimulating the Dutch Hospitality to find innovative ways of attracting and retaining early career professionals. Following calls from the Human Resource Management (HRM) community (Ehnert, 2009), we attribute this trend to personnel being depicted as rentable resources, driving profit’’ often at personal expense. For example, hotels primarily employ immigrants and students for a minimum wage suppressing salaries of local talent (Kusluvan, et al 2010, O’Relly and Pfeffer, 2010). Similarly, flattening organizational structures have eliminated management positions, placing responsibility on inexperienced shoulders, with vacancies commonly filled by pressured employees accepting unpaid overtime jeopardizing their work life balance (Davidson, et al 2010,). These HRM practices fuel attrition by exposing early career professionals to burnout (Baum et al, 2016, Goh et al, 2015, Deery and Jog, 2009). Collectively this has eroded the industry’s employer brand, now characterized by unsocial working hours, poor compensation, limited career opportunities, low professional standing, high turnover and substance abuse (Mooney et al, 2016, Gehrels and de Looij, 2011). In contrast, Sustainable HRM “enables an organizational goal achievement while simultaneously reproducing the human resource base over a long-lasting calendar time (Ehnert, 2009, p. 74).” Hence, to overcome this barrier we suggest embracing the ROC framework (Prins et al, 2014), which (R)espects internal stakeholders, embraces an (O)pen HRM approach while ensuring (C)ontinuity of economic and societal sustainability which could overcome this barrier. Accordingly, we will employ field research, narrative discourse, survey analysis and quarterly workshops with industry partners, employees, union representatives, hotel school students to develop sustainable HRM practices attracting and retaining career professionals to pursue Dutch hospitality careers.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
