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.
DOCUMENT
There has been limited adoption of Immersive Journalism (IJ) by the audience; simultaneously, the audience’s perspective is rarely considered in the production and research of IJ. At this point, however, it is crucial to incorporate an audience perspective to identify potentially unintended effects of IJ and improve on the innovation of IJ. This study investigates the audience’s experience and evaluation of IJ by qualitatively analyzing their thoughts after viewing two IJ cases. Our results indicate that the audience may pick up on intended effects, such as a sense of presence and an intense emotional experience, but some also express unease towards these effects. Furthermore, the audience struggles to comprehend this study’s two immersive journalistic cases as part of the journalistic genre. These findings provide insight into the gap between the initial hype and the current reality of IJ and provide the basis for propositions for future IJ productions.
MULTIFILE
Civil society as a social sphere is constantly subjected to change. Using the Dutch context, this article addresses the question whether religiously inspired engagement is a binder or a breakpoint in modern societies. The author examines how religiously inspired people in the Netherlands involve themselves in non-governmental organizations (NGOs) and voluntary activities. Religious involvement and social engagement in different European countries are compared and discussed. In addition, the author explores the models of civil society and applies these to both the Christian and Islamic civil society in the Netherlands. Using four religious ‘identity organizations’ as case studies, this article discusses the interaction of Christian and Islamic civil society related to secularized Dutch society. The character and intentions of religiously inspired organizations and the relationship between religious and secular involvement are examined. This study also focuses on the attitude of policymakers towards religiously inspired engagement and government policy on ‘identity organizations’ in the Netherlands.
DOCUMENT
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.
Last year, in the aftermath of the pandemic, Effenaar invited sixteen musicians to explore the hybrid world during the first edition of Hybrid Music Vibes - made possible by Innovation Lab (an arrangement of Creative Industries Fund NL and ClickNL) and Stichting Cultuur Eindhoven. In this first edition, talent from the region could learn about the use of new technologies, experiment with various techniques, and the artists were also given the opportunity to realize their own concept. With the aim of providing the artist with new possibilities for expression, and thus the creation of a new relationship with the public, and thus possible revenue models. The program consists of four meetings, each of which starts with a knowledge session followed by a workshop. In the knowledge session, leading speakers (including Raynor de Groot and Tim van der Zalm) will inform the participating artists about the opportunities offered by the use of new technologies, for example in relation to 'fan engagement'. In the workshop, the artists are then challenged to apply this in their own work, working towards a concept. After the program has ended, the artists will pitch this concept and a number of artists will be selected together with the program partners and the public to realize their concept.Societal issueMusic inclusion. Help the music industry and beginning artists to make use of new immersive media technologies to create new music experiences and reach new audiences. To not be left out and only the big companies have the knowledge and means to use it.Benifit to societyNew insights how immersive technologies can create new audience connections and means for artisits to express themselves and be included in society.
Het doel van het onderzoeksproject Immersieve journalistiek en het Betrokken Publiek is om samen met publieke mediaorganisaties en drie kennisinstellingen meer inzicht te krijgen in hoeverre emotionele betrokkenheid van nieuwsconsumenten bij journalistieke producties van invloed kan zijn op de publieke functie van journalistieke organisaties. Het overdragen van informatie aan burgers en het duiden van gebeurtenissen en ontwikkelingen in de samenleving is een kerntaak van de journalistiek. Publieke mediaorganisaties moeten tevens hun specifieke publieke functie waarmaken. Tegelijkertijd is door de toegenomen concurrentie en commercialisering in de mediasector, de journalistiek nog meer genoodzaakt het publiek centraal te stellen en zoeken journalistieke organisaties naar nieuwe manieren om de mediaconsument aan zich te binden. Zij zoeken daarom naar nieuwe technieken en vormen van journalistiek. Een vorm is immersieve journalistiek. Via immersieve journalistieke technieken zoals 360-graden video, augmented reality en virtual reality gaat het publiek als het ware deel uitmaken van een verhaal in plaats van het alleen te ‘ondergaan’. Hierdoor zouden gebruikers meer emotioneel betrokken worden bij nieuws, waardoor de media hun publieke functies (beter) kunnen waarborgen. Of immersiviteit de betrokkenheid van het publiek daadwerkelijk vergroot en of emotionele betrokkenheid ook bijdraagt aan de informatieve - en duidingsfunctie van de journalistiek is echter de vraag. Onderzoek naar immersieve technieken in de journalistiek is nu nog grotendeels gericht op de productiekant en op de narratieve elementen van dergelijke media-uitingen. Er bestaat nog weinig kennis over de ervaring van de gebruiker en welke impact immersiviteit heeft op kennisoverdracht. Veel publieke media-organisaties experimenteren met immersieve journalistiek, maar worstelen met de vraag of ze daarmee hun publieke functie kunnen waarmaken. Dit onderzoek biedt een nieuw perspectief op de ervaringen van de huidige mediaconsument en de rol die emotie speelt bij immersieve journalistieke verhalen. Volgens de werkveldpartners is er in het werkveld veel behoefte aan publieksonderzoek, waarna praktische tools ontwikkeld kunnen worden.
