To start the walk, click on 'entrance'. You can also navigate through specific sections of the walk by clicking on the photographs.

Walking the newsroom: Towards a sensory experience of journalism


We would like to thank the three peer reviewers for reading, engaging with and responding to our piece. We appreciate your thorough and generative feedback.

We would like briefly contextualise our resubmission via this note.

In short, we see three recurring themes within the reviews:

a)   We provided limited context for the project, nor did we specify what kinds of insights we hope to provide with this piece.

b)   The reflections on the artistic methods (and the sensory walk in specific) could have been developed further.

c)    The map generated a fragmentary navigation.


We acknowledge these points of feedback and would like to take this opportunity to demonstrate how this informed the resubmission of our exposition.

Crucially, we critically reviewed the structure of the exposition, so as to make its navigation more intuitive and provide a pointed contextual guidance throughout the experience. Specifically, the exposition now opens with an overview of the sensory walk – which is less cluttered and more accessible in its use. Here, it’s now easier to directly navigate through the walk itself. Entering the walk via the ‘Entrance’, you’ll now be able to read a less theoretical and more contextual introduction: as per the peer reviewers’ suggestions, we start the exposition by introducing the newsroom of Dagblad van het Noorden, our reasoning behind our project, and who we are. From this point onwards, you can continue the walk or return to the overview.

One of the more design-oriented points of feedback is that the map forced the reader to go back and forth and that the text could be integrated more directly into the map. We took this to heart by redesigning and reorganising the walk, so as to take the reader more on a walk with us and integrate the text much more in the expo, whilst allowing the reader an alternative non-linear route if desired. By providing visual clues, it is now easier to 1. continue the walk in a more linear fashion, 2. navigate to the overview of the walk and 3. review contextual descriptions and 4. use audiovisual material (there are play symbols for all videos and photographs are clickable).

This redesign also afforded more direct reflections on our methodology– as our analysis is now more directly interwoven with the walk itself. Simultaneously, we edited the text so as to function even more as a critical part of the walk rather than paper on its own next to the exposition. To us, this approach highlights not only the potential of artistic methods, but also the affordances of the Research Catalogue – and our resubmission offered us the opportunity to reflect on and enact the critical potential of our piece.

Thank you,

Sander Holsgens, Saskia de Wildt, Tamara Witschge