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.
MULTIFILE
In media audience research we tend to assume that media are engaged with when they are used, however ‘light’ such engagement might be. Once ‘passive media use’ was banned as a reference to media use, being a media audience member became synonymous with being a meaning producer. In audience research however I find that media are not always the object of meaning making in daily life and that media texts can be hardly meaningful. Thinking about media and engagement, there is a threefold challenge in relation to audience research. The coming into being of platform media and hence of new forms of media production on a micro level that come out of and are woven into practices of media use, suggests that we need to redraft the repertoire of terms used in audience research (and maybe start calling it something else). Material and immaterial media production, the unpaid labour on the part of otherwise audience members should for instance be taken into account. Then, secondly, there is the continuing challenge to further develop heuristically strong ways of linking media use and meaning making, and most of all to do justice, thirdly, to those moments and ways in which audiences truly engage with media texts without identifying them with those texts.
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Background: Survivors of lymphoma experience multiple challenges after treatment. However, a lack of knowledge of in-depth experiences of lymphoma survivors in early aftercare persists. Objective: To gain an in-depth understanding of the experiences of lymphoma survivors in early aftercare who have received an aftercare consultation based on evidence-based guideline recommendations, with an advanced practice nurse. Methods: This study used a narrative design. We recruited lymphoma survivors after a best-practice aftercare consultationwith an advanced practice nurse. A total of 22 lymphoma survivors and 9 partners participated. Data were collected through narrative interviews and analyzed according to thematic narrative analysis. Results: Six themes emerged: living and dealing with health consequences, coping with work and financial challenges, having a positive outlook and dealing with uncertainty, deriving strength from and experiencing tensions in relationships, getting through tough times in life, and receiving support from healthcare professionals. Conclusions: The stories of lymphoma survivors in early aftercare revealed their experiences of how they coped with a range of challenges in their personal lives. Choosing an aftercare trajectory based on an aftercare consultation that encourages patients to think about their issues, goals, and possible aftercare options may be useful for their transition from treatment to survivorship. Implications for practice: Survivors’ social support and self-management capabilities are important aspects to be addressed in cancer care. An aftercare consultation involving shared goal setting and care planning may help nurses provide personalized aftercare.
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Inside Out is an innovative research project that translates cutting-edge microbiome science into immersive, multisensory experiences aimed at long-term behavioral and mental health transformation. Combining extended reality (XR), speculative gastronomy, and narrative therapy, the project enables participants to explore their inner microbiome landscape through taste, smell, touch, and interactive storytelling. This pioneering methodology connects gut-brain science with emotional and sensory engagement. Participants experience their bodies from the inside out, cultivating a visceral understanding of the symbiotic microbial worlds within us. The project includes AI-generated "drinkable memories," microbiome-inspired food designs, haptic-olfactory VR environments, and robotic interactions that choreograph the body as terrain. Developed in collaboration with designers from Polymorf, producer Studio Biarritz, psychiatrist-researcher Anja Lok, and microbiome scientists from Amsterdam UMC and the Amsterdam Microbiome Expertise Center, Inside Out bridges scientific rigor with artistic expression. The project seeks to: • Increase embodied understanding of the microbiome’s role in health and well-being • Shift public perception from hygiene-based fear to ecological thinking • Inspire behavioral change related to food, gut health, and mental resilience The outcomes are designed to reach a large audience and implementation in science museums, art-science festivals, and educational programs, with a view toward future clinical applications in preventive healthcare and mental well-being. By making the invisible microbiome tangible, Inside Out aims not only to inform, but to transform—redefining how we relate to the ecosystems within us.
In the small village of Nuenen in the Netherlands, Vincent van Gogh, the legendary artist, resided with his parents for two years in the late 19th century. Today, visitors can literally walk in Vincent’s footsteps and hear stories about that period of his life. There is also a renovated indoor museum in the village showcasing many beautiful and inspiring objects.We carefully studied the visitor experience over two rounds of data collection: one in 2018 and another in 2023 after the museum's renovation. In the second round, 40 students from Breda University of Applied Sciences were invited to spend a day in Nuenen. The participants, aged mostly between 20 and 30 years, came from the Netherlands and 16 other countries. None of them had visited the previous museum setup in Nuenen, although two-thirds had visited at least one other Vincent-centered attraction or had researched Vincent and his life prior to the visit.During their visit, research participants were tracked using Bluetooth beacons (indoors) and GPS tracking (outdoors), while wearing wristbands that measured their level of emotional engagement in real time. They toured the museum and the village and provided feedback on their experience through questionnaires administered before and after the visit.The results of the research showed that visitors were emotionally touched at certain stops of the tour more than others, enjoyed interacting with specific elements in the museum, and spent more time in particular areas of the museum. Most participants could vividly imagine themselves back in the days (narrative transportation), felt closer to Nuenen residents as a result of the visit, and generally found the visit to be quite meaningful. Learning and self-expansion were high, with some visitors even finding the visit transformative, leading to changes in attitude, behavior, and identities. We also found a strong correlation between these measures and the Net Promoter Score (NPS). Recommendations and emotion maps were presented to the museum as they continue to refine their visitor experiences.Research carried out for Van Gogh Village Museum Nunen.
