Abstract: Background: Chronic obstructive pulmonary disease (COPD) and asthma have a high prevalence and disease burden. Blended self-management interventions, which combine eHealth with face-to-face interventions, can help reduce the disease burden. Objective: This systematic review and meta-analysis aims to examine the effectiveness of blended self-management interventions on health-related effectiveness and process outcomes for people with COPD or asthma. Methods: PubMed, Web of Science, COCHRANE Library, Emcare, and Embase were searched in December 2018 and updated in November 2020. Study quality was assessed using the Cochrane risk of bias (ROB) 2 tool and the Grading of Recommendations, Assessment, Development, and Evaluation. Results: A total of 15 COPD and 7 asthma randomized controlled trials were included in this study. The meta-analysis of COPD studies found that the blended intervention showed a small improvement in exercise capacity (standardized mean difference [SMD] 0.48; 95% CI 0.10-0.85) and a significant improvement in the quality of life (QoL; SMD 0.81; 95% CI 0.11-1.51). Blended intervention also reduced the admission rate (relative ratio [RR] 0.61; 95% CI 0.38-0.97). In the COPD systematic review, regarding the exacerbation frequency, both studies found that the intervention reduced exacerbation frequency (RR 0.38; 95% CI 0.26-0.56). A large effect was found on BMI (d=0.81; 95% CI 0.25-1.34); however, the effect was inconclusive because only 1 study was included. Regarding medication adherence, 2 of 3 studies found a moderate effect (d=0.73; 95% CI 0.50-0.96), and 1 study reported a mixed effect. Regarding self-management ability, 1 study reported a large effect (d=1.15; 95% CI 0.66-1.62), and no effect was reported in that study. No effect was found on other process outcomes. The meta-analysis of asthma studies found that blended intervention had a small improvement in lung function (SMD 0.40; 95% CI 0.18-0.62) and QoL (SMD 0.36; 95% CI 0.21-0.50) and a moderate improvement in asthma control (SMD 0.67; 95% CI 0.40-0.93). A large effect was found on BMI (d=1.42; 95% CI 0.28-2.42) and exercise capacity (d=1.50; 95% CI 0.35-2.50); however, 1 study was included per outcome. There was no effect on other outcomes. Furthermore, the majority of the 22 studies showed some concerns about the ROB, and the quality of evidence varied. Conclusions: In patients with COPD, the blended self-management interventions had mixed effects on health-related outcomes, with the strongest evidence found for exercise capacity, QoL, and admission rate. Furthermore, the review suggested that the interventions resulted in small effects on lung function and QoL and a moderate effect on asthma control in patients with asthma. There is some evidence for the effectiveness of blended self-management interventions for patients with COPD and asthma; however, more research is needed. Trial Registration: PROSPERO International Prospective Register of Systematic Reviews CRD42019119894; https://www.crd.york.ac.uk/prospero/display_record.php?RecordID=119894
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The Internet and computers increasingly determine our daily lives. This goes for almost everyone in the Netherlands. Still, it is mostly teenagers who are well informed on how to use all the possibilities of new technologies. They are building a digital world of their own that parents usually know very little about. This booklet intends to inform teachers, parents and other interested parties on what teenagers are actually doing online and how important it is to keep abreast of the new developments that the Internet and computers bring into their world. On the basis of research into these issues in the Netherlands and abroad we attempt to indicate what the digital world of teenagers looks like and how it differs from that of grown-ups. What do they do, exactly, and why? We also look into teenagers’ ICT behaviour and into dangers and abuse of the Internet. Moreover we provide tips for parents and teachers on how to handle certain phenomena. This book does not pretend to provide an exhaustive overview of the digital world of teenagers. It is focused on some important characteristics and parts of that world. It reports on research of the INHOLLAND Centre for eLearning into various aspects of ICT behaviour among teenagers. The research was undertaken in the spring of 2006, focusing mainly on texting, networking, gaming, dangers and abuse on the Internet and the digital relation between school and the home. Ultimately we are especially concerned with the question of what teenagers really learn in their digital world, and how education can profit. This book also addresses that issue.
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Onderzoeksplatform ‘Connected Learning: ’Al ruim vijftien jaar houdt De Haagse Hogeschool zich bezig met onderzoek als deel van haar missie. Terwijl onderwijs vaak geworteld is in monodisciplinaire vakgebieden, kan met onderzoek wat makkelijker gekeken worden naar domeinen in de samenleving (zorg, veiligheid, ondernemen, etc.) waarin complexe problematiek steeds vaker wél dan niet een multidisciplinaire aanpak vereist. Bijna niemand werkt nog alleen of met alleen vakgenoten aan problemen of uitdagingen. En die veranderende beroepspraktijk is bij uitstek het domein van het hoger beroepsonderwijs. Daar leiden we voor op. Het onderzoeken van en experimenteren met nieuwe uitdagingen in de praktijk verbindt ons sterker met de samenleving, het stelt ons in staat om ons beroepsonderwijs te vernieuwen en geeft docenten, onderzoekers en studenten de kans om zich te ontwikkelen door samen te werken aan vragen en uitdagingen die de toekomst van de beroepspraktijk vorm geven. Veel onderzoek wordt uitgevoerd onder begeleiding van lectoren die samenwerken met docent-onderzoekers, studenten, en professionals in het werkveld aan veelal meerjarige onderzoeksagenda’s die lijn aanbrengen in verschillende deelactiviteiten. Een van de manieren waarop De Haagse Hogeschool onderzoek organiseert is in de vorm van onderzoeksplatforms die zich richten op verschillende domeinen van de samenleving. Wij zijn ‘Connected Learning’, een onderzoeksplatform dat zich richt op leren in de netwerksamenleving - in de samenleving zelf, maar ook in de beroepspraktijk en in ons onderwijs. Aangenaam. Wat wij doen? Daar gaat dit boek over, dus daar verklappen we hier nog niets over. Wat verwacht u als u nadenkt over onze naam? Enig idee? Geen idee? Benieuwd? Lees verder om te ontdekken wat ons inspireert, uitdaagt en nieuwsgierig maakt. Sommige van onze ideeën zijn doordacht en doorleefd omdat we er al jaren onderzoek naar doen, andere zijn nieuw en dagen ons uit om er grip op te krijgen. Wij geven met dit boek een beeld van waar we staan in 2018. Zie het als een eerste kennismaking, met de nadruk op ‘eerste’: we werken graag met veel en verschillende partners. Zie het als visitekaartje van onze onderzoeksagenda. We hopen van harte dat u zich als lezer uitgenodigd voelt om met ons samen op zoek te gaan—misschien wel naar een gezamenlijke toekomst. ‘Connected Learning’ Research Platform: For over fifteen years, The Hague University of Applied Sciences has been carrying out research as part of its mission. While education is often rooted in monodisciplinary subject areas, research allows for a broader look at areas of society (care, security, entrepreneurship etc.), where complex problems more often than not require a multidisciplinary approach. Today, barely anyone works on problems or challenges alone or solely with colleagues from within the same subject area. Universities of applied sciences are uniquely placed to deal with these changes in professional practices; after all, we train the professionals who will one day enter that field. Researching and experimenting with new challenges in professional practice allows us to connect more strongly with society, enables us to be innovative in our professional training and gives lecturers, researchers and students the opportunity to develop themselves by cooperating on the challenges and issues that will shape the future of that professional practice. Most research is carried out under the guidance of professors who cooperate with lecturers/researchers, students and the professional field, mainly on long-term research agendas that provide an outline for various sub-activities. One of the ways in which research is organised at The Hague University of Applied Sciences is in the form of research platforms that focus on various areas of society. We are ‘Connected Learning’, a research platform focusing on learning in the network society — in that society as such, but also in professional practice and our education. Nice to meet you! So, what do we do? That’s what this book is about, so we’re not going to give anything away just yet. Just thinking about our name, what do you expect we do? Any ideas? Or not a clue at all? If you’d like to find out, keep reading to find out what inspires us, what challenges we face and what drives our curiosity. Some of our ideas are well-established because we’ve been researching them for years, while other, newer ideas are more challenging to grasp. This book provides an overview of where we stand in 2018. You could see it as an initial introduction, with the emphasis on “initial”; we work with many different partners, and we enjoy doing so. Alternatively, you could see it as a calling card for our research agenda. We sincerely hope that, as a reader, you feel encouraged to join us in our quest — possibly towards a joint future.
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Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities. The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.
With the help of sensors that made data collection and processing possible, many products around us have become “smarter”. The situation that our car, refrigerator, or umbrella communicating with us and each other is no longer a future scenario; it is increasingly a shared reality. There are good examples of such connectedness such as lifestyle monitoring of elderly persons or waste management in a smart city. Yet, many other smart products are designed just for the sake of embedding a chip in something without thinking through what kind of value they add everyday life. In other words, the design of these systems have mainly been driven by technology until now and little studies have been carried out on how the design of such systems helps citizens to improve or maintain the quality of their individual and collective lives. The CREATE-IT research center creates new solutions and methodologies in “digital design” that contribute to the quality of life of citizens. Correspondingly, this proposal focuses on one type of digital design—smart products—and investigate the concept of empowerment in relation to the design of smart products. In particular, the proposal aims to develop a model with its supplementary tools and methods for designing such products better. By following a research-through-design methodology, the proposal intends to offer a critical understanding on designing smart products. Along with its theoretical contribution, the proposal will also aid the students of ICT and design, and professionals such as designers and engineers to create smart products that will empower people and the industry to develop products grounded in a clear user experience and business model.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
