The idea of European unity, in any case the official entity as it is communicated by the European Commission, is intrinsically linked to the end of the Second World War: the Stunde Null or 'Hour Zero' on the 8th of May 1945. Industry was in shambles, many cities had been destroyed, and the European societies had to find a way to make peace with the guilt and shame associated with the Holocaust. The pioneers of European integration in the 1950s all agreed on one thing: Never again. No more war. It is a powerful and persuasive image. Clean and clear. Very simple, too - almost as simple as the 'American Dream'. From that point on, the concept of European integration was framed almost naturally in terms of an unwavering contrast between the past and the present. The European {pre-WWII) past was chauvinism, petty disputes, and war, while the European {post-WWII) present was multicultural, cosmopolitan, peaceful, and prosperous. Simple solutions can be deceiving, however, and this was no exception. The choir of critical politicians, policy-makers and opinion leaders is swelling. These voices, the critics and sceptics, are found on the left and the right, in the East and the West, and are unfettered by post-war taboos: Is Europe actually all that multicultural, peaceful and prosperous? And should it be? Why, or why not? LinkedIn: https://www.linkedin.com/in/guido-van-hengel-8312729/
At the 75th anniversary of the end of the Second World War, questions arise if contemporary audiences still find historical accounts relevant. Fundamental to understanding the relevance of stories from the war is assessing their emotional impact on leisure participants from various social groups. We used the social identity theory framework to assess differences in emotional reactions of Dutch and German visitors to stories of the Second World War presented at a Dutch museum exhibit. Emotional reactions were measured using physiological signals of heart rate and heart rate variability as well as self-report. Emotions experienced were mixed and often, but not always, different between Dutch and German participants. Patterns in the physiological and self-report data differed. Many of the significant differences were generally consistent with a collective guilt account of German social identity, but the findings as a whole were more complex than could be predicted by existing social identity accounts. Specifically, participants did not simply categorize themselves with either national or human identities of characters based on what their respective stories emphasized. We conclude that stories of the Second World War are still relevant, but touch on audiences’ nationalities in a complex way, beyond simple historical categories.
This critical, literature-review based research project, inspired by the outbreak of the Russia-Ukraine war, examines the limitations and possibilities of restorative justice in a time of war. Any armed conflict creates and amplifies the need for extreme militarisation and securitisation, accompanied by belligerent rhetoric. Thus, for restorative justice scholars and practitioners, the outbreak of war challenges the applicability of restorative justice values and practices, as bipolar interpretations of events, conflicts, and human suffering displace more balanced views. The purpose of our research is to critically discuss the applicability of restorative justice in times of war and in the context of the Russo-Ukrainian War in particular. Our motivation to focus on this specific war and to examine the (im)possibilities of restorative justice from Eurocentric perspective stems from three observations: (1) In the last 20 years restorative justice was continuously promoted in Europe as a new “culture” of justice; (2) The Russo-Ukrainian War currently takes place on the European continent and impacts the European security architecture more than that of other world regions; (3) This war has a particular meaning to the world (e.g., a violent clash between the (former) Cold War superpowers, an element of surprise, the shattered myth of overwhelming Russian military might, the nuclear threat coupled with a global energy crisis etc.).
Worldwide over- and misuse of antibiotics has contributed to the development of antibiotic-resistance. The occurrence and increase of antibiotic-resistance is one of the most pressing global health care issues of the 21st century. Recently it has been recognized that fruit and flower anthocyanins have antimicrobial activity and thereby the potential to function as novel antibiotics. At the Hanze University of Applied Science, we were able to confirm the antimicrobial efficacy of purified Rosa and Tulipa anthocyanin extracts against an array of microbial species. Using our optimized extraction methods, anthocyanins can easily be extracted and purified from floral residual streams. Once marketed as novel antimicrobials, this valorization of residual streams to high-value compounds contributes to the transition towards a circular economy. However, for future application in different antimicrobial products, it is necessary to identify and characterize single antimicrobial anthocyanin molecules. Moreover, analysis of pilot-scale extraction- and fractionation-yields and antimicrobial bench-mark doses will provide information on their market and application potential. In the current project we propose to develop a strategy composed of fractionation and state-of-the-art characterization methods to identify anthocyanin-molecules with potent antimicrobial effects. To our knowledge this is the first strategy that combines in-depth chemical characterization of anthocyanins in relation to their antimicrobial efficacy. Once developed, this strategy will allow us to single out anthocyanin molecules with antimicrobial properties. The development of the proposed fractionation and characterization strategy is the first step towards the development of single anthocyanin molecules as novel plant-based antibiotics.
Gender barriers are a complex problem, as they are created and maintained by multiple dimensions of our societal system; governments, the corporate world, and by society itself. Within the hospitality industry, one of the most people-oriented sectors there is, gender barriers are especially a problem. Although there is equality amongst the entire Dutch hospitality sector in general (48.2% women, (CBS, 2022)), only 17% of top-management positions within the 5 largest hotel-chains in the country are occupied by women (Hampshire Hotel Group, 2022; Accor Group, 2022; van der Valk International, 2022; NH Hotels, 2022; NIBC, 2022). With the hospitality industry revolving around people and experiences, it is of utmost importance that it represents the actual world-population and society. In order to address the current challenges the industry is facing, it is time to face the elephant in the room; why don’t women get included in top and senior management within the hospitality industry as much as men do? This trajectory aims to identify where gender barriers occur within the Dutch hospitality industry and accordingly develop, and test interventions (enablers) together with two of the largest hotel-chains in the Netherlands, in order to improve women career advancement. The first phases of the trajectory will focus on the entire Dutch hotel sector, while the intervention phase will only be executed in collaboration with NH Hotels and IHG. The final phase of the trajectory will explore the implications of the findings from the industry to hospitality management education. By enabling more women to advance their hospitality careers, this will have a large impact on the industry’s sustainability and resilience, and again positively impact wider society.
Last year, in the aftermath of the pandemic, Effenaar invited sixteen musicians to explore the hybrid world during the first edition of Hybrid Music Vibes - made possible by Innovation Lab (an arrangement of Creative Industries Fund NL and ClickNL) and Stichting Cultuur Eindhoven. In this first edition, talent from the region could learn about the use of new technologies, experiment with various techniques, and the artists were also given the opportunity to realize their own concept. With the aim of providing the artist with new possibilities for expression, and thus the creation of a new relationship with the public, and thus possible revenue models. The program consists of four meetings, each of which starts with a knowledge session followed by a workshop. In the knowledge session, leading speakers (including Raynor de Groot and Tim van der Zalm) will inform the participating artists about the opportunities offered by the use of new technologies, for example in relation to 'fan engagement'. In the workshop, the artists are then challenged to apply this in their own work, working towards a concept. After the program has ended, the artists will pitch this concept and a number of artists will be selected together with the program partners and the public to realize their concept.Societal issueMusic inclusion. Help the music industry and beginning artists to make use of new immersive media technologies to create new music experiences and reach new audiences. To not be left out and only the big companies have the knowledge and means to use it.Benifit to societyNew insights how immersive technologies can create new audience connections and means for artisits to express themselves and be included in society.
