Designing for interactivity for audience engagement in journalistic narratives is a new practice that emerged after The New York Times' success with Snow Fall in 2012. Journalists have begun collaborating with designers in interdisciplinary teams to design these interactive narratives. Few studies describe the new practice that is the result of this collaboration. In this study, we examine the production processes of three journalistic interactive narratives and their design for audience engagement by focusing on the imagined user as part of the production process. Our analysis shows how producers develop the role of users by considering the narrative's experience and accessibility. Together, these two concepts underpin the practice of designing for audience engagement and subsequent entextualisation. Our findings show that, although producers claim that they approach users differently when designing texts for interactive audience engagement, their concepts of the interactive user are grounded in more traditional notions of authorship and audience in journalistic practices.

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.

In 2018, Het Scheepvaartmuseum in Amsterdam acquired a portrait of Lieutenant-Admiral Cornelis Tromp (1629-1691), painted by Ferdinand Bol, from a private collection. Previously, this work was only known from a reproduction print by Lambert Visscher. After its acquisition, the portrait was restored in 2019, which is when its material and (art) historical aspects were examined.In the portrait, Tromp wears two insignia: a diamond portrait medallion on a red ribbon and the badge of the Danish Order of the Elephant. This badge was added to the portrait later, but by Bol himself. Tromp was thus initially depicted wearing only one of the insignia: the diamond medallion with the red ribbon. That Bol regarded this version of the portrait as completed is evidenced by the egg-white varnish he applied to it. At a later stage however, he exchanged this insignia for the badge of the Order of the Elephant. He carefully hid the medallion and ribbon from view by first scraping off their paint and then obscuring the remains of these forms with a layer of grey paint. Finally, he added the insignia of the Order of the Elephant. During a later restoration, the paint Bol used to cover the medallion and ribbon was largely removed, revealing these forms once again.The ship in the background is the Gouden Leeuw (Golden Lion), Tromp's flagship during the Third Anglo-Dutch War (1672-1674). Since Tromp had received the portrait medallion from the English king in January 1675, the first portrait version can be dated to February 1675 at the earliest and May 1676 at the latest, when Tromp was appointed commander-in-chief of the Danish fleet in Denmark. After Tromp was elevated to the Order of the Elephant upon his arrival in Copenhagen, Bol altered the portrait to keep it in step with Tromp's career. This chronology sheds new light on Bol's artistic practice. which was always assumed to have ended in 1669 when Bol married the wealthy widow Anna van Erckel. However, Tromp's portrait demonstrates that Bol continued to paint into the second half of the 1670s.After his elevation to the Order of the Elephant, Tromp only allowed himself to be portrayed with this insignia, which was always depicted correctly. It was only Bol who depicted the badge incorrectly, indicating that he did not make the adjustment at Tromp's instigation. Presumably Bol did this of his own initiative, or that of his wife's, Anna van Erckel. Archival evidence strongly suggests that she was the first owner of the portrait and that she also owned a portrait, painted by Bol, of Tromp's wife Margaretha van Raephorst. It was not previously known that Bol had painted her, however a portrait by him of an anonymous woman is clearly Van Raephorst's likeness. Archival documents show that Van Erckel and Bol knew the Tromp couple personally and maintained friendly relations with them. In Bol and Van Erckel's stately canal house, the portraits would have been 'proof' of that personal relationship.

Snow Fall in the polder. Interactive multimedia productions in Dutch journalism Interactive multimedia productions are a recent journalistic format. The format has been studied in the Anglo-Saxon context as digital longform and interactive documentary . Research has consequently focused on English language productions. This article presents an overview of these types of productions created in the Netherlands and also proposes an analytical apparatus and conceptualization that does justice to the main properties of this new genre; multimediality and interactivity. The results show that this journalistic form is mainly produced by established national newsrooms. Furthermore, the potential of digital media is used sparsely. Despite the use of complex narrative structures like multi-linear and non-linear stories, familiar media forms are used. Interactive features are mostly utilized to provide additional information to users.

Interactive multimedia productions are a recent journalistic format. The format has been studied in the Anglo-Saxon context as digital longform and interactive documentary. Research has consequently focused on English language productions. This article presents an overview of these types of productions created in the Netherlands and also proposes an analytical apparatus and conceptualization that does justice to the main properties of this new genre; multimediality and interactivity. The results show that this journalistic form is mainly produced by established national newsrooms. Furthermore, the potential of digital media is used sparsely. Despite the use of complex narrative structures like multi-linear and non-linear stories, familiar media forms are used. Interactive features are mostly utilized to provide additional information to users.

This report advices which native species of the genus Rosa and autochthonous material should be included in the gene bank for native trees and shrubs in Flevoland based on information on the distribution of the species, recent knowledge about taxonomy and genetic information.

The foundation of the Confrerie Pictura (an artistic brotherhood) in The Hague has given rise to controversy on several occasions. In the eighteenth century, for example, Johan van Gool was annoyed by Houbraken, who believed that the artist painters of The Hague had founded their Confrerie in 1662, while it was abundantly clear to Van Gool that the correct date was 1656. Nowadays the question under discussion is the nature of the Confrerie as an organisation. Was it the first step towards an eighteenth-century society, as Hoogewerff suggested in his authoritative book on the Dutch St Luke’s guilds, or was the new organisation more like a guild, as later argued by Hoogewerff’s most important critic Hessel Miedema? Based on archival records, this article maps out the early history and establishment of the Confrerie in order to determine what kind of organisation it had been between 1656 and 1700. This article argues that all four authors are right: the Confrerie was both a guild and a society, and however paradoxical it may sound, it was founded in 1656 and again in 1662.

This is an attempt to outline a consensus taxonomy for the dog-roses (Rosa sect. Caninae) of northern, western and central Temperate Europe, including the British Isles, by combining the characteristics of the main British and Continental systems in use today. It involves adopting the slightly narrower species concept of the Continent with the wider recognition of hybrids followed in Britain. The proposed system is based on the traditional view of species of dog-roses; it is considered premature to attempt a ‘phylogenetic’ system based on the highly fragmentary data that are so far available.

Hyperlocal media are increasingly prominent in local media ecologies. However, economic pressures are their biggest challenge and are therefore our main thematic. The study is based on empirical data from 35 hyperlocals in Sweden, the UK, France, the Netherlands and Belgium. We present a conceptual framework of viable, sustainable and resilient models and find that hyperlocals are diversifying their revenues. Drawing on business ecosystems as a theoretical approach, we find these hyperlocals are surviving by forging symbiotic relationships with media, businesses, advertisers and communities in their environment. With its focus on imbalanced and evolving relations, the approach offers a broad framework to explain how hyperlocal business models are developing through a dynamic system of proximal interdependencies. The results contribute to new knowledge by explaining the revenue diversification of hyperlocals in the digital ecosystemic space.

Samenvatting Met hoge verwachtingen van publieksparticipatie startten nieuwsmedia in het begin van deze eeuw met het publiceren van weblogs op hun websites door zowel journalisten als publiek. Media verwachtten hiervan enerzijds waardevolle journalistieke input tegen lage kosten en anderzijds meer betrokkenheid van het publiek. Of deze verwachtingen van Nederlandse nieuwsmedia met betrekking tot publieksparticipatie en weblogs zijn uitgekomen, hebben we onderzocht.

With high expectations of audience participation news media started at the beginning of this century with weblogs on their websites. Journalists and readers could publish directly on the media website. The connection with the audience would be strengthened while media would get cheap and relevant content. The main question in this article we want to address is how audience participation at Dutch traditional news media has evolved and especially through blogs. We examined all major Dutch news brands in the presence of blogs from both audience and journalists and interviewed journalists about their expectations and results. The results show that their expectations were not realized and many news media quitted their blogs. Audience participation is still highly valued but blogging, the most extreme form of public participation, has become marginal while the interaction has moved to Facebook.

The job titles kunstschilder (artist painter) and klad- or grofschilder (coarse painter) only came into regular use after 1640. In the first decades of the seventeenth century, anyone who painted for a living was simply referred to as a schilder (painter). This article traces the way the division of the painter’s craft into two more or less separate trades emerged, specifically for Leiden. The background against which this process is considered is the genesis of Leiden’s Guild of St Luke. In the art historical literature, the Guild of St Luke usually appears in its role as successful protector of the artist painters against the import of paintings from other towns and cities. In most studies, the importance of the guild is measured in terms of the composition of the local holdings of paintings – the demand side of the art market. The difficult genesis of the Leiden Guild of St Luke provides a good opportunity to consider the importance of this guild from the supply side – the artists themselves.

In 1999 werden de gratis kranten Metro en Spits in Nederland gelanceerd. Behalve die twee titels werden ook zes andere gratis dagbladen in Nederland gestart tussen 2000 en 2008. In 2007 bereikte de totale gratis oplage een hoogtepunt van bijna twee miljoen per dag. In dit artikel wordt de geschiedenis van de deze categorie kranten beschreven tegen de Europese achtergrond waar ook sprake is van een ‘levenscyclus’ met een snelle opkomst en een sterke sanering die tijdens de economische recessie inzette. Daarnaast wordt ingegaan op de voorlopers van deze mediasoort, op de lezers van gratis kranten en de gevolgen die gratis kranten op de totale krantenoplage in Nederland heeft gehad. Halfway the first decennium of the 21st century free newspapers in the Netherlands had a circulation of almost two million and were responsible for a third of the total newspaper circulation. Four national titles competed. They saw a quick rise and also a sudden decline after 2008. In 2015 only one national model remains. In this article we analyse this development against the European background as several countries in Europe show the same picture. Also the historical context of the global rise of free newspapers – going back to the late 19th century – and kickstarted in 1995 by Metro Sweden -is provided. As free newspapers rely only on advertising for income, a combination of economic recessions and fierce competition can be lethal. Free newspapers mainly compete among themselves which explained the sudden decline in the number of titles and circulation after 2008. Also the rise of digital media could be harmful for free newspapers as they provide a attractive alternative for young readers, the target group for free newspapers. There always has been a high overlap between the readership of free and paid newspapers, suggesting low substitution. Free newspapers seem to follow a pattern of a classic ‘life cycle’ model.

The design and operations of inpatient care facilities are typically largely historically shaped. A better match with the changing environment is often possible, and even inevitable due to the pressure on hospital budgets. Effectively organizing inpatient care requires simultaneous consideration of several interrelated planning issues. Also, coordination with upstream departments like the operating theatre and the emergency department is much-needed. We present a generic analytical approach to predict bed census on nursing wards by hour, as a function of the Master Surgical Schedule and arrival patterns of emergency patients. Along these predictions, insight is gained on the impact of strategic (ie, case mix, care unit size, care unit partitioning), tactical (ie, allocation of operating room time, misplacement rules), and operational decisions (ie, time of admission/discharge). The method is used in the Academic Medical Center Amsterdam as a decision-support tool in a complete redesign of the inpatient care operations.

BACKGROUND:The actual amount of care hospitalised patients need is unclear. A model to quantify the demand for hospital care services among various clinical specialties would avail healthcare professionals and managers to anticipate the demand and costs for clinical care.METHODS:Three medical specialties in a Dutch university hospital participated in this prospective time and motion study. To include a representative sample of patients admitted to clinical wards, the most common admission diagnoses were selected from the most recent update of the national medical registry (LMR) of ICD-10 admission diagnoses. The investigators recorded the time spent by physicians and nurses on patient care. Also the costs involved in medical and nursing care, (surgical) interventions, and diagnostic procedures as an estimate of the demand for hospital care services per hospitalised patient were calculated and cumulated. Linear regression analysis was applied to determine significant factors including patient and healthcare outcome characteristics.RESULTS:Fifty patients on the Surgery (19), Pediatrics (17), and Obstetrics & Gynecology (14) wards were monitored during their hospitalization. Characteristics significantly associated with the demand for healthcare were: polypharmacy during hospitalization, complication severity level, and whether a surgical intervention was performed.CONCLUSIONS:A set of predictors of the demand for hospital care services was found applicable to different clinical specialties. These factors can all be identified during hospitalization and be used as a managerial tool to monitor the patients' demand for hospital care services and to detect trends in time.

Background Hospitals are constantly being challenged to provide high-quality care despite ageing populations, diminishing resources, and budgetary restraints. While the costs of care depend on the patients’ needs, it is not clear which patient characteristics are associated with the demand for care and inherent costs. Therefore, a practical explanatory model would avail healthcare professionals and managers in determining the demand and costs for clinical care. We performed three studies to generate a valid model.