In this booklet, the focus is on the stories of three Polish men in The Hague. The researcher, Karijn Nijhoff, has followed these men extensively and has recorded their migration stories in detail. We can read about their arrival, their experiences, their travels. We see a process of temporary and continuous, varied labor market participation. We can see a reality of different shades of gray. Integration, as defined by policy makers, can be a whole different process than the official descriptions prescribe. Er is ook een Nederlandse vertaling van dit rapport in deze database: "Tussen de mazen van het net".
There is a great interest in storytelling for tourism experience development. An objective of storytelling is to engage people (Gabriel, 2000) by sparking emotions. Storytelling involves loading tourism experiences in a way that engages visitors’ emotions.Emotions are regarded as core building blocks of an experience (Bastiaansen, et al., 2019). It is assumed that an experience involving emotional engagement through storytelling should translate into a memorable experience. Zak (2015) asserts that emotions and identification lead to empathy, then to narrative transportation and better recall of the story. However, little is known about how storytelling in tourism experiences leads to emotions and memories. In this study, we compared the emotional impact and the memories of a (tourism) experience withoutstorytelling(mainly providing facts and information) to onewith storytelling(using specific storytelling techniques). The Van Gogh Heritage Foundation is currentlyredesigning three Van Gogh visitor centers located in the south of the Netherlands where Van Gogh spent most of his life. For two locations, we wrote a factual “non-story” version, and an emotional “story” version of certain events that took place in Vincent’s (early) years. We then created four 6-minutes videos, consisting of images, and a voiceover. Forty participants had their brain activity (EEG) and skin conductivity monitored while watching two of the four videos. Participants were asked to evaluate the videos immediately afterwards. One week after the experiment, 26 participants were interviewed about their memories of the videos. Results show that the “stories” led to a significantly higher level of narrative transportation than the “non-stories”. Furthermore, the “stories” lead to empathy for certain story’s characters, and to stronger and more vivid memories. The presentation will include theoretical and managerial implications. We will show how the outcomes have found their way into the redesign of the visitor centers.
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.
In view of the 75th commemoration of the liberation of World War II, Visit Brabant asked BUas to connect the main heritage locations in the province through storytelling in order to attract more visitors.In 2015, we developed a narrative concept entitled “Crossroads. Life changing stories 40-45”. In 2016, we developed a brand guide which explains storytelling guidelines. In collaboration with Brabant Heritage and Brabant Remembers, in 2017-208, 15 meetings were organized all over the province to collect personal WWII narratives. From over 600 narratives, together with a group of historians, we selected 75 narratives. Under our guidance, these 75 narratives have been rewritten into Crossroads stories by some 20 different authors. Brabant Remembers has launched a marketing campaign and (digital and physical) experiences based on these stories. The aim is to touch visitors and local people emotionally with personal stories from the past, and to offer new ways of interacting with these stories, especially for young people.WhenThe project has been running since 2015. We currently play an advisory role in the development of the Brabant Remembers app (for example augmented reality videos), and in physical products such as the Dilemma Maze and the Stilllevens of Studio Verdult.Partners: Visit Brabant, Brabant Remembers, Erfgoed Brabant, Stichting Crossroads
-Chatbots are being used at an increasing rate, for instance, for simple Q&A conversations, flight reservations, online shopping and news aggregation. However, users expect to be served as effective and reliable as they were with human-based systems and are unforgiving once the system fails to understand them, engage them or show them human empathy. This problem is more prominent when the technology is used in domains such as health care, where empathy and the ability to give emotional support are most essential during interaction with the person. Empathy, however, is a unique human skill, and conversational agents such as chatbots cannot yet express empathy in nuanced ways to account for its complex nature and quality. This project focuses on designing emotionally supportive conversational agents within the mental health domain. We take a user-centered co-creation approach to focus on the mental health problems of sexual assault victims. This group is chosen specifically, because of the high rate of the sexual assault incidents and its lifetime destructive effects on the victim and the fact that although early intervention and treatment is necessary to prevent future mental health problems, these incidents largely go unreported due to the stigma attached to sexual assault. On the other hand, research shows that people feel more comfortable talking to chatbots about intimate topics since they feel no fear of judgment. We think an emotionally supportive and empathic chatbot specifically designed to encourage self-disclosure among sexual assault victims could help those who remain silent in fear of negative evaluation and empower them to process their experience better and take the necessary steps towards treatment early on.
We had been involved in the redesign of the 4 Period Rooms of the Marquise Palace, also called the Palace of Secrets, in Bergen op Zoom. This design was based on the biography of a historical figure: Marie Anne van Arenberg, whose dramatic life was marked by secrets. Each of the 4 rooms represents a turning moment in Marie Anne’s story: the official marriage, the secret marriage and the betrayal, the dilemma and choice, with, in a final room, the epilogue. These different episodes are reflected in the way the rooms are furnished: the ballroom, the bedroom, the dining room. The Secret Marquise as design and exhibition has brought more visitors to the museum. As designers and researchers, however, we were interested in understanding more about this success, and, in particular, in understanding the visitors experience, both emotionally and sensorially at different moments/situations during the story-driven experience.In the fall of 2021, the visitors’ lived experience was evaluated using different approaches: a quantitative approach using biometric measurements to register people’s emotions during their visit, and a qualitative one consisting of a combination of observations, visual imagery, and interpretative phenomenological analysis (IPA).Qualitatively, our aim was to understand how respondents made sense of Marie Anne’s story in the way in which this was presented throughout the exhibition. We specifically looked at the personal context and frame of reference (e.g., previous experiences, connection to the visitor’s own life story, associations with other stories from other sources). In the design of the rooms, we used a combination of digital/interactive elements (such as a talking portrait, an interactive dinner table, an interactive family painting), and traditional physical objects (some 17th century original objects, some reproductions from that time). The second focal point of the study is to understand how these different elements lead the visitors experience.
