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.
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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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Paper on audience participation for 2020 meeting of Anescas (Association nationale d’établissements d’enseignement supérieur de la création artistique arts de la scène).
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Municipalities increasingly seek to include citizens in decision-making processes regarding local issues, such as urban planning. This paper presents a case study on using Virtual Reality (VR) in a process of civic participation in the redesign of a public park. The municipality included citizens in intensive co-design activities to create three designs for the park and engaged the neighbourhood community in co-decision, in the form of a ballot. Through the civic participatory process, we studied the effectiveness of using VR technology to engage the community in participating in the co-decision process. The three designs were presented using highly realistic 360˚ visualisations and the effects on engagement were compared between various devices: VR headsets, smartphones, tablets, and computers. Viewing the designs in 2D paper plans was also included in the comparison. The study included over 1300 respondents that participated in the ballot. A statistical analysis of the collected data shows that participants viewing the 360˚ rendered images with VR technology expressed a significantly higher engagement in the co-decision process than those using their computer at home or viewing 2D paper plans. The paper describes the complete participatory design process and the impact of the e-governance used on the target group as well as on the actors organizing the e-governance process. We discuss how the use of new technology and active presence of a voting-support team inspired citizens to participate in the co-creation process and how the investment in this procedure helped the local authorities to generate support for the plans and strengthen its relationship with the community. The use of realistic visualisations that can be easily assessed by citizens through user-friendly technology, enabled a large and diverse audience to participate. This resulted in greater visibility of municipal efforts to enhance the living environment of citizens and is therefore an important step in increased civic engagement in municipal policy-making and implementation.
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The Annual Conference on the Human Factor in Cybercrime is a small and specialised scientific event that aims to bring together scholars from around the world to present their research advances to a select audience. Its dynamic and linear format favours group discussions since all contributions are heard by all the attendants. This, together with its tailored social scheme, promotes interaction between members, which—in turn—leads to new collaborations. However, it has not yet been analysed whether the design of the conference actually encourages varied participation and fosters collaborative networks among its participants. The purpose of this chapter is to assess participation in the 2018 and 2019 editions to determine whether this is the case. Using descriptive analyses, here we show how participation in the conference has varied and examine the composition of the collaboration networks among the participants. The results show an increased and more diverse participation in the 2019 meeting along with a greater presence of stakeholders. Furthermore, the findings reveal that members of previously established organisations play an important role in cohering the network. Yet few connections exist between academia and practice. A further analysis of the strengths and weaknesses identified in the two editions of the conference serves to elaborate a series of recommendations for future editions.
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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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This paper will describe the rationale and findings from a multinational study of online uses and gratifications conducted in the United States, Korea, and the Netherlands in spring 2003. A survey research method of study was conducted using a questionnaire developed in three languages and was presented to approximately 400 respondents in each country via the Web. Web uses and gratifications were analyzed cross-nationally in a comparative fashion and focused on the perceived involvement in different types of on-line communities. Findings indicate that demographic characteristics, cultural values, and Internet connection type emerged as critical factors that explain why the same technology is adopted differently. The analyses identified seven major gratifications sought by users in each country: social support, surveillance & advice, learning, entertainment, escape, fame & aesthetic, and respect. Although the Internet is a global medium, in general, web use is more local and regional. Evidence of media use and cultural values reported by country and online community supports the hypothesis of a technological convergence between societies, not a cultural convergence.
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This project builds upon a collaboration which has been established since 15 years in the field of social work between teachers and lecturers of Zuyd University, HU University and Elte University. Another network joining this project was CARe Europe, an NGO aimed at improving community care throughout Europe. Before the start of the project already HU University, Tallinn Mental Health Centre and Kwintes were participating in this network. In the course of several international meetings (e.g. CARe Europe conference in Prague in 2005, ENSACT conferences in Dubrovnik in 2009, and Brussels in April 2011, ESN conference in Brussels in March 2011), and many local meetings, it became clear that professionals in the social sector have difficulties to change current practices. There is a great need to develop new methods, which professionals can use to create community care.
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For environmental governance to be more effective and transformative, it needs to enhance the presence of experimental and innovative approaches for participation. This enhancement requires a transformation of environmental governance, as too often the (public) participation process is set up as a formal obligation in the development of a proposed intervention. This article, in search of alternatives, and in support of this transformation elaborates on spaces where participatory and deliberative governance processes have been deployed. Experiences with two mediated participation methodologies – community art and visual problem appraisal – allow a demonstration of their potential, relevance and attractiveness. Additionally, the article analyzes the challenges that result from the nature of these arts-based methodologies, from the confrontational aspects of voices overlooked in conventional approaches, and from the need to rethink professionals’ competences. Considering current environmental urgencies, mediated participation and social imaginaries still demonstrate capacities to open new avenues for action and reflection.
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Traditioneel is de bezoeker van een symfonisch concert vooral een stille, aandachtige luisteraar. Maar de relaties tussen symfonieorkesten en hun publiek worden de afgelopen twintig jaar steeds vaker kritisch bevraagd in het Nederlandse cultuurpolitieke discours. Misschien is aandachtig luisteren niet altijd meer de ideale vorm van publieksparticipatie. Inmiddels zijn Nederlandse symfonieorkesten begonnen om experimentele concerten te organiseren waarin het publiek een nieuwe rol krijgt. In dit proefschrift wordt onderzocht wat voor werk het orkesten kost om publieksparticipatie te innoveren. Het blijkt een complexe taak voor orkesten, want wanneer de rol van het publiek verandert, leidt dat tot onbekende situaties door het hele organisatieproces heen die het bestaande esthetische kader doen rammelen. Het zorgt ervoor dat orkesten moeten opnieuw reflecteren op hun routines, normen, manieren van werken, evalueren en waarderen.De innovatie van publieksparticipatie gaat om veel meer dan alleen stoelen anders neer zetten, een nieuwe marketingcampagne of buiten de concertzaal spelen. Als symfonieorkesten publieksparticipatie (willen) gaan innoveren, dan worden er meer kwaliteitsrepertoires van belang dan alleen het traditioneel esthetische. De innovatie van participatie vraagt dus om reflectie op de vraag wat eigenlijk een ‘goed’ concert is. Publieksparticipatie vernieuwen is dus niet alleen praktisch werk voor symfonieorkesten, maar ook artistiek werk.
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