Background: Around 13% of the world’s population suffers from obesity. More than 40% of people with obesity display emotional eating behaviour (eating in response to negative emotions or distress). It is an alternate to moreeffective coping strategies for negative emotions. Our study explored the opportunities for helping adults with emotional overeating using a virtual coach, aiming to identify preferences for tailored coaching strategies applicable in a personal virtual coach environment. Three different coaching strategies were tested: a validating, a focus-on-change, and a dialectical one – the latter being a synthesis of the first two strategies. Methods: A qualitative study used vignettes reflecting the two most relevant situations for people with emotional eating: 1. experiencing negative emotions, with ensuing food cravings; and 2. after losing control to emotional eating, with ensuing feelings of low self-esteem. Applied design: 2 situations × 3 coaching strategies. Participants: 71 adult women (Mage 44.4/years, range 19–70, SD = 12.86) with high scores on the DEBQ-emotional eating scale (Memo 3.65, range 1.69–4.92, SD = .69) with mean BMI 30.1 (range 18–46, SD = 6.53). They were recruited via dieticians’ practices, were randomly assigned to the conditions and asked how they would face and react to thepresented coaching strategies. Data were transcribed and a thematic analysis was conducted. Results: Qualitative results showed that participants valued both the validating coaching strategy and the focus-onchange strategy, but indicated that a combination of validation and focus-on-change provides both mental supportand practical advice. Data showed that participants differed in their level of awareness of the role that emotions play in their overeating and the need for emotion-regulation skills. Conclusion: The design of the virtual coach should be based on dialectical coaching strategies as preferred by participants with emotional eating behaviour. It should be tailored to the different stages of awareness of their emotions and individual emotion-regulation skills.
Background: Around 13% of the world’s population suffers from obesity. More than 40% of people with obesity display emotional eating behaviour (eating in response to negative emotions or distress). It is an alternate to moreeffective coping strategies for negative emotions. Our study explored the opportunities for helping adults with emotional overeating using a virtual coach, aiming to identify preferences for tailored coaching strategies applicable in a personal virtual coach environment. Three different coaching strategies were tested: a validating, a focus-on-change, and a dialectical one – the latter being a synthesis of the first two strategies. Methods: A qualitative study used vignettes reflecting the two most relevant situations for people with emotional eating: 1. experiencing negative emotions, with ensuing food cravings; and 2. after losing control to emotional eating, with ensuing feelings of low self-esteem. Applied design: 2 situations × 3 coaching strategies. Participants: 71 adult women (Mage 44.4/years, range 19–70, SD = 12.86) with high scores on the DEBQ-emotional eating scale (Memo 3.65, range 1.69–4.92, SD = .69) with mean BMI 30.1 (range 18–46, SD = 6.53). They were recruited via dieticians’ practices, were randomly assigned to the conditions and asked how they would face and react to thepresented coaching strategies. Data were transcribed and a thematic analysis was conducted. Results: Qualitative results showed that participants valued both the validating coaching strategy and the focus-onchange strategy, but indicated that a combination of validation and focus-on-change provides both mental supportand practical advice. Data showed that participants differed in their level of awareness of the role that emotions play in their overeating and the need for emotion-regulation skills. Conclusion: The design of the virtual coach should be based on dialectical coaching strategies as preferred by participants with emotional eating behaviour. It should be tailored to the different stages of awareness of their emotions and individual emotion-regulation skills.
This article provides a detailed case study of “journalistic theater,” focusing on Teatro di Nascosto, an Italy-based international group creating public events in the Middle East and Europe. Employing a reconstruction method, the study explores the production process of The Catwalk (2018, 2019), a series of performances on people’s daily lives and emotional responses to current affairs in conflict zones. The article offers 3 main perspectives on news work at the intersection of journalism and performance arts. First, live experience performance can enhance news work with artist-journalists engaging in intimate relationships for which they “dissolve” in a real-life situation. Second, empathy-driven news work succors performers and audiences with a sense of hope for recovery and healing, drawn from communal experiences, and advancing journalism’s “emotional turn” with a compassionate orientation. Third, journalistic theater’s physicality extends news work with the stage as a platform and warrants a perspective of embodied journalism, spotlighting the human body as a medium.
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?
"Speak the Future" presents a novel test case at the intersection of scientific innovation and public engagement. Leveraging the power of real-time AI image generation, the project empowers festival participants to verbally describe their visions for a sustainable and regenerative future. These descriptions are instantly transformed into captivating imagery using SDXL Turbo, fostering collective engagement and tangible visualisation of abstract sustainability concepts. This unique interplay of speech recognition, AI, and projection technology breaks new ground in public engagement methods. The project offers valuable insights into public perceptions and aspirations for sustainability, as well as understanding the effectiveness of AI-powered visualisation and regenerative applications of AI. Ultimately, this will serve as a springboard for PhD research that will aim to understand How AI can serve as a vehicle for crafting regenerative futures? By employing real-time AI image generation, the project directly tests its effectiveness in fostering public engagement with sustainable futures. Analysing participant interaction and feedback sheds light on how AI-powered visualisation tools can enhance comprehension and engagement. Furthermore, the project fosters public understanding and appreciation of research. The interactive and accessible nature of "Speak the Future" demystifies the research process, showcasing its relevance and impact on everyday life. Moreover, by directly involving the public in co-creating visual representations of their aspirations, the project builds an emotional connection and sense of ownership, potentially leading to continued engagement and action beyond the festival setting. "Speak the Future" promises to be a groundbreaking initiative, bridging the gap between scientific innovation and public engagement in sustainability discourse. By harnessing the power of AI for collective visualisation, the project not only gathers valuable data for researchers but also empowers the public to envision and work towards a brighter, more sustainable future.
