Aware of the consequences of their inactive lifestyles, many people still struggle to integrate enough physical activity into their busy lives. Interventions that nudge to reinforce existing active behaviour seem therefore more likely to be effective than those adding an activity to daily routines. To encourage people to increase their physical activity level, we designed Discov, a network of physical waypoints triggering people to lengthen their walks. Placed in a public park, Discov encourages people to explore their surroundings in a fun and challenging way by creating an interactive walking experience. Adopting a Research-through-Design approach, we explore the potential of the design of accessible infrastructures and human-environment interactions to impact public health by nudging citizens into being more physically active. We discuss insights gathered through this process and report on first user tests of this interactive walking experience.
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Over the past decade, journalists have created in-depth interactive narratives to provide an alternative to the relentless 24-hour news cycle. Combining different media forms, such as text, audio, video, and data visualisation with the interactive possibilities of digital media, these narratives involve users in the narrative in new ways. In journalism studies, the convergence of different media forms in this manner has gained significant attention. However, interactivity as part of this form has been left underappreciated. In this study, we scrutinise how navigational structure, expressed as navigational cues, shapes user agency in their individual explorations of the narrative. By approaching interactive narratives as story spaces with unique interactive architectures, in this article, we reconstruct the architecture of five Dutch interactive narratives using the walkthrough method. We find that the extensiveness of the interactive architectures can be described on a continuum between closed and open navigational structures that predetermine and thus shape users’ trajectories in diverse ways.
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The goal of this study was (1) to determine whether and how nursing home residents with dementia respond to the interactive art installation in general and (2) to identify whether responses change when the content type and, therefore, the nature of the interaction with the artwork changes. The interactive art installation ‘VENSTER’ evokes responses in nursing home residents with dementia, illustrating the potential of interactive artworks in the nursing home environment. Frequently observed responses were naming, recognizing or asking questions about depicted content and how the installation worked, physically gesturing towards or tapping on the screen and tapping or singing along to the music. It seemed content matters a lot. When VENSTER is to be used in routine care, the choice of a type of content is critical to the intended experience/usage in practice. In this study, recognition seemed to trigger memory and (in most cases) a verbal reaction, while indistinctness led to asking for more information. When (initially) coached by a care provider, residents actively engaged physically with the screen. Responses differed between content types, which makes it important to further explore different types of content and content as an interface to provide meaningful experiences for nursing home residents. •Implications for rehabilitation •VENSTER can facilitate different types of responses ranging from verbal reactions to active physical engagement. The choice of a type of content is critical to the intended experience/usage in practice. •Activating content seems suitable for use as a meaningful experience during the spare time in between existing activities or therapy. •Sessions with interactive content are short (avg. 30 mins) and intense and can therefore potentially be used as an activating therapy, activity or exercise. •In order to actively engage residents with dementia, the role of the care provider seems very important.
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This paper reports the responses of nursing home residents who live in a psychogeriatric ward to the abstract interactive art installation ‘Morgendauw’, which was specifically designed for this study. All stakeholders were involved in designing and implementing Morgendauw. The artwork seems able to evoke responses in both the residents and their caregivers, but the amount and duration of the responses observed during the study were limited. 15 interactions over the course of 14 h were noted and almost all of them were initiated by the nursing home staff, physiotherapy students or visitors (n = 12). Interactions lasted for about 3 min on average. Although the nursing home residents initially did not seem to notice the artwork, the threshold of acknowledging and approaching the artwork was quickly overcome when staff nudged or directed the residents’ attention towards the artwork. Beyond this point, nursing home residents generally needed little explanation of the interface to interact with the artwork. The location in which Morgendauw was placed during the study or the characteristics of the installation seemed to create a threshold. Further research should focus on the importance and the effects of context when designing and implementing an interactive art installation in a nursing home environment.
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Ambient Intelligent environments are interactive environments that sense human behaviour and can respond intelligently. This workshop explores how interactive environments can be designed with persuasive quality, influencing human experience and behaviour. The workshop follows a research-through-design approach where practise-relevant insights are gained while designing. The focus will be on intuitive and rational decision-making, the role of aesthetics in persuasion, social and spatial influences on persuasion and the ethics of designing for persuasion.
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Ga in gesprek met ooggetuigen van de Tweede Wereldoorlog ín oorlogstijd bij Erfgoed ’s-Hertogenbosch vanaf 16 november. Via interactieve portretten sta je oog in oog met de Bosschenaren Roosje, Fientje en Jan tijdens gebeurtenissen die hun leven veranderen.De bezoeker ontmoet de Bosschenaren Roosje, Fientje en Jan in de interactieve expositie en kan met hen in gesprek gaan. De Tweede Wereldoorlog krijgt in deze vernieuwende publiekspresentatie vanuit verschillende perspectieven gezicht. Diverse thema's zoals het dagelijks leven, verzet, collaboratie, vervolging en bevrijding komen aan bod. De personen worden geïntroduceerd door historica en Andere Tijden-presentatrice Astrid Sy. De inzet van innovatieve technieken, zoals spraakherkenning, maakt het mogelijk om virtueel een actief gesprek te voeren met de persoon uit de Tweede Wereldoorlog. Iets dat in het echt nauwelijks meer mogelijk is, omdat bijna alle ooggetuigen van de oorlog zijn overleden.
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Experience quality has been studied for many decades in various contexts. While understanding of experience quality has advanced, its context-specific and multi-dimensional nature has challenged its conceptualisation. With the rise of experiential accommodation in tourism and hospitality, luxury lodges have been increasingly recognised in the industry and by customers as the emblem of luxury experiences, albeit receiving limited scholarly attention. Through a qualitative multiple-case study methodology, utilising high-engagement research techniques, this study explores the dimensions and determinants of luxury lodge experience quality. The study presents an experience quality model grounded in empirical data, bridging various experience quality theoretical perspectives to explain the luxury lodge experience, and demonstrating generalisation capabilities for other service contexts. The study contributes to the ongoing discourse on experience quality, particularly in the context of small luxury accommodation. The study also offers important practical implications for luxury accommodation operators on designing, staging and managing quality experiences.
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In the context of developing mentor teachers' use of supervisory skills, two consecutive studies were conducted, using stimulated recall. Firstly, with eight participants, an instrument was developed to categorize contents of interactive cognitions. Secondly, with 30 participants, the instrument was applied to uncover contents of mentor teachers' interactive cognitions, before and after training in supervisory skills. After training, mentor teachers demonstrate an increased awareness of their use of supervisory skills. This indicates that mentor teachers not only seem to emphasize pupil learning and needs when conducting a mentoring dialogue, but simultaneously focus on their own supervisory behaviour.
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The paper investigates how an audience can be challenged to 'perform as interface' pointing towards the activation of a certain attitude; an active mind-set which constantly leads the attention back to the experience of our body; to perceive, critically read and make sense of this experience in relation to the interaction with(in) the technologically mediated world [16]. As a case, the paper focuses on the interactive installation "CHAIR-JUMP-CHUTE" and on the various ways the audience was induced to interact with it. The paper identifies triggers stimulating the participant to become fully - as in physically and mentally - engaged in the interaction with a technological installation in the semi-public setting of a cultural institute. Furthermore, it explores how the perceived thresholds (like other people watching, physical challenges or "apparative resistance" [9], become more than 'elements to overcome' as they can also be seen as giving meaning and depth to the interactive experience. The paper sums up what factors trigger this challenging and at the same time demanding (embodied) interaction, in order for this interaction to become an important actual / critical part of the aesthetic experience of interactive art, as it challenges the participant to perform as interface.
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The paper investigates how an audience can be challenged to 'perform as interface' pointing towards the activation of a certain attitude; an active mind-set which constantly leads the attention back to the experience of our body; to perceive, critically read and make sense of this experience in relation to the interaction with(in) the technologically mediated world [16]. As a case, the paper focuses on the interactive installation "CHAIR-JUMP-CHUTE" and on the various ways the audience was induced to interact with it. The paper identifies triggers stimulating the participant to become fully - as in physically and mentally - engaged in the interaction with a technological installation in the semi-public setting of a cultural institute. Furthermore, it explores how the perceived thresholds (like other people watching, physical challenges or "apparative resistance" [9], become more than 'elements to overcome' as they can also be seen as giving meaning and depth to the interactive experience. The paper sums up what factors trigger this challenging and at the same time demanding (embodied) interaction, in order for this interaction to become an important actual / critical part of the aesthetic experience of interactive art, as it challenges the participant to perform as interface.
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