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.
News media in The Netherlands show great variety in the extent and ways, in which they realize media accountability online in terms of actor transparency, product transparency and feedback opportunities online. It is suggested that even those news rooms that seem to adhere to transparency and public accountability still need to explore the functionality and application of media accountability instruments (MAI). Both in terms of potentials and pitfalls, news rooms need to consider about what they want to be transparent and in what ways. To the extent that online innovations are visible, traditional news media seem to experiment, as is the case with newsroom blogs or the project of hyper local journalism Dichtbij.nl, part of the Telegraaf Company. Various news media have on-going projects on audience participation, online applications and distribution models. However, since many projects merely aim at finding new applications, processes, platforms and business models, it remains to be seen assess whether projects are indeed reasonably innovative and feasible at the same time. The development of an online and therefore immediate, archived, personalized and interactive context, offers practical and ethical challenges to Dutch journalism. These challenges bring shifts in its role and responsibility to society. It means that changes occur in what journalists are accountable for, as well as ways in how they are accountable. The Dutch media landscape lodges various professional accountability instruments like the press council and both profession-wide and news media specific codes of ethics, but some of these instruments receive only moderate support. Proactive openness is more an exception than the rule and may well be a distinctive indicator for quality journalism. Although news media often acknowledge the importance of media accountability offline and online, they often lack the resources or courage to use them or have different priorities. This ambiguous position may indicate that in relation to media accountability online, Dutch news media are between hope and fear: that it will either improve their relationship with the public and fuel professional quality, or ask too much of resources with too little benefit.
The key goal was to further develop, secure and disseminate knowledge and concepts concerning the role of high realism in Virtual Reality. It followed the Digital Media Concept professorship to create and examine the effects of high quality worlds and characters in VR. Key focus was on the effect of high versus low realism in (existing and non-existing) digital environments as well as digital characters and avatars (digital representations of human users) and embodied agents (digital representations of computer programs that have been designed to interact with, or on behalf of, a human). This means on the one hand getting better equipment and skills to digitize and create high realistic avatars in VR. And on the other hand this means that a better understanding of the concept of realism and quality is needed. This encompasses a whole range of terms that varies from realistic resemblance, to high fidelity appearance and (real-time interactive and authentic) behaviour based on high AI programming. Research showed that very important is congruency in realism between elements within a VR world. Furthermore it showed that high realism is not always needed to stimulate ‘real’ (VR) behaviour. High immersive experiences and impulse behaviour also functions in virtual environments that have lower levels of realism. Studies have been conducted within the field of health, entertainment, advertising, architecture and journalism. An example is the VR game Descend, see link (used to examine the effect of realism through resemblance).Partners: Radboud University, Enversed, Stanford University, University of Oregon, Cornell University, several companies
