Dit onderzoeksrapport past in een nieuwe ontwikkeling in de gezondheidscommunicatie, waarbij medische wenselijkheden (hier: afvallen) worden verbonden met sociale omstandigheden. Het laatste betekent twee dingen. Ten eerste accepteren we hiermee dat veel mensen zelf niet actief op zoek gaan naar, en vaak ook niet zitten te wachten op, gezondheidsinformatie. De boodschap moet dus in een aantrekkelijke vorm en op een toegankelijke manier naar hen toe gebracht worden, waardoor deze toch (eventueel terloops) wordt meegenomen. Ten tweede accepteren we ook dat, in tegenstelling tot wat vaak wordt verondersteld, veel mensen niet leren en veranderen door een toename in kennis van het gezondheidskundige probleem en het gewenste gedrag. Een dergelijke leerroute is wel mogelijk, maar het alternatief gaat veeleer uit van de alledaagse praktijk, waarin mensen (soms) proberen gezonder te leven, in een bepaalde sociale omgeving, in relatie met anderen, waarin heel diverse zaken meespelen en motieven voor gezond gedrag botsen met verschillende concurrerende motieven (zoals bijvoorbeeld gemak, gewoonte, en geld). Hoe je in zo'n context dan van a naar b moet, hoe je je leven dan anders moet inrichten, dat is de inzet van die alternatieve leerroute. Een van de meest opvallende varianten van dit nieuwe denken is de Entertainment-Education (E&E) Strategy, waarbij educatieve boodschappen worden verweven met amusement. Dat is in Nederland geprobeerd in de TV-serie 'Voor dik & dun'. Deze serie is volgens de E&E formule ontwikkeld. De vraag was of dit werkt (zowel in de praktijk als met betrekking tot het effect). Om die vraag te beantwoorden hebben we - en dit wordt nog weinig gedaan - een opzet gekozen waarin meerdere perspectieven zijn geïntegreerd: het perspectief van de programmamakers, dat van gezondheidsprofessionals en (uiteraard) dat van de kijkers zelf. Bij de laatsten hebben we zowel een kwalitatieve als kwantitatieve onderzoekslijn gevolgd.
Final report for the AR in Staged Entertainment project funding partner.
Games are designed with different objectives in mind. Some primarily for entertainment, others also to educate, motivate or persuade its players. Games with the latter objective, that of persuasion, are designed not only to be entertaining, but also with the intent to shape how players think and feel about issues in reality. However, despite the growing interest in persuasive games, we still lack the design insights and strategies that support their production, particularly for those using immersive technologies. To address this gap, we organize a hands-on workshop and bring together academic and industry experts to explore persuasive game design. Through making we generate knowledge in the form of insights and examplar work, and subsequently formulate best-practises and design strategies for future design and research.
Creating and testing the first Brand Segmentation Model in Augmented Reality using Microsoft Hololens. Sanoma together with SAMR launched an online brand segmentation tool based on large scale research, The brand model uses several brand values divided over three axes. However they cannot be displayed clearly in a 2D model. The space of BSR Quality Planner can be seen as a 3-dimensional meaningful space that is defined by the terms used to typify the brands. The third axis concerns a behaviour-based dimension: from ‘quirky behaviour’ to ‘standardadjusted behaviour’ (respectful, tolerant, solidarity). ‘Virtual/augmented reality’ does make it possible to clearly display (and experience) 3D. The Academy for Digital Entertainment (ADE) of Breda University of Applied Sciences has created the BSR Quality Planner in Virtual Reality – as a hologram. It’s the world’s first segmentation model in AR. Breda University of Applied Sciences (professorship Digital Media Concepts) has deployed hologram technology in order to use and demonstrate the planning tool in 3D. The Microsoft HoloLens can be used to experience the model in 3D while the user still sees the actual surroundings (unlike VR, with AR the space in which the user is active remains visible). The HoloLens is wireless, so the user can easily walk around the hologram. The device is operated using finger gestures, eye movements or voice commands. On a computer screen, other people who are present can watch along with the user. Research showed the added value of the AR model.Partners:Sanoma MediaMarketResponse (SAMR)
The AR in Staged Entertainment project focuses on utilizing immersive technologies to strengthen performances and create resiliency in live events. In this project The Experiencelab at BUas explores this by comparing live as well as pre-recorded events that utilize Augmented Reality technology to provide an added layer to the experience of the user. Experiences will be measured among others through observational measurements using biometrics. This projects runs in the Experience lab of BUas with partners The Effenaar and 4DR Studio and is connected to the networks and goals related to Chronosphere, Digireal and Makerspace. Project is powered by Fieldlab Events (PPS / ClickNL)..
This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
