Page 17 - Studia Universitatis Hereditati, vol 10(2) (2022)
P. 17
ia universitatisversal design for cultural offers (EFHU 2010; - the particularities of informal learning in
applying the inter pr etive equation to facilitating cultur al exper iences ... 17 EBU 2022b). cultural settings esp. the short time-budget
and knowledge gaps of non-captive audien-
Research methodology ces;
Addressing audiences with visual, auditory and
intellectual impairments in digital culture re- - the rising desire for storytelling in audio-vi-
quires a new approach. The aim is to link audi- sual media formats in the cultural sector
ence needs with the delivery of a rewarding ex-
perience in the digital environment respecting - the need to restructure the learning para-
special needs. digm and the methodological approach to
make cultural offers accessible for audiences
Research Objectives with special needs (visual, hearing, mobility
The knowledge acquisition pattern in the digital and cognitive impairments)
environment for audiences with special remains
an under-researched topic. The main objective is Learning in disguise
to consider the conditions regulating informal Humans acquire, store, recall, code and decode
learning and suggest a framework to bridge the information about the relative locations and at-
existing spatiotemporal gap between heritage as- tributes of phenomena in their everyday life us-
sets and target publics with visual, auditory and ing perception and memory to create cognitive
cognitive impairments. maps. Genetically intrinsic only to humans,
memory is the collective function of the human
The Spatio-Temporal Gap ability to perceive, learn and cognize. Memory is
Aligned with hermeneutical principles, a hy- not only the information storage place, but also
pothesis is formulated, that heritage generates the information processor, with memory func-
often a spatiotemporal gap between items and tions distributed in the cortex and sub-cortex
the audience: while the tangible form is perceiv- (Waxman 1996, 281). The human memory pro-
able by the eye, the intangible dimension needs cessor consists of Sensory Memory (SM), Short-
to be revealed. We further argue that the spati- Term Memory (STM), Working Memory (WM)
otemporal gap in heritage settings is of cognitive and Long-Term Memory (LTM). Human Cog-
nature impacting both the onsite experience as nitive Architecture (HCA) offers an unlimited
the digital representation of heritage. To appre- LTM able to hold mental representations of var-
ciate heritage values and effectively bridge the ied automaticity degrees, but a limited capaci-
gap between the item and the audience, the lat- ty WM with independent sub-components to
ter needs to be linked to the intangible dimen- deal with auditory and visual material (Robin-
sion of the item: symbols, meanings and social son 1998, 306). Despite the fact that we are ad-
values. Presentations of cultural heritage to the dressing audiences with special needs, those are
public, as authored by the supply side, usual- at the same time non-captive audiences engag-
ly disregards HCA mechanisms, such as the eye ing potentially with culture and heritage in their
scan path movement, general cognitive ability leisure time. As such, they are linked with their
g, category learning, the ability to perceive and own pre-understandings and prior knowledge,
process information, retain and evoke mental to follow Gadamer’s main principle. Moreover,
representation, WM and LTM capacity and in- a very particular condition regulates the scene:
teractions (Prasada 2000). Learning, visual and the main difference between learners in formal
auditory disabilities are conditions, which dic- settings and non-captive audiences is the possi-
tate an alternative experience design that relates bility to rehearse material. As the WM is limit-
to: ed in capacity with respect to the number of el-
ements it can handle simultaneously, rehearsal
is necessary to prevent information loss (Cow-
applying the inter pr etive equation to facilitating cultur al exper iences ... 17 EBU 2022b). cultural settings esp. the short time-budget
and knowledge gaps of non-captive audien-
Research methodology ces;
Addressing audiences with visual, auditory and
intellectual impairments in digital culture re- - the rising desire for storytelling in audio-vi-
quires a new approach. The aim is to link audi- sual media formats in the cultural sector
ence needs with the delivery of a rewarding ex-
perience in the digital environment respecting - the need to restructure the learning para-
special needs. digm and the methodological approach to
make cultural offers accessible for audiences
Research Objectives with special needs (visual, hearing, mobility
The knowledge acquisition pattern in the digital and cognitive impairments)
environment for audiences with special remains
an under-researched topic. The main objective is Learning in disguise
to consider the conditions regulating informal Humans acquire, store, recall, code and decode
learning and suggest a framework to bridge the information about the relative locations and at-
existing spatiotemporal gap between heritage as- tributes of phenomena in their everyday life us-
sets and target publics with visual, auditory and ing perception and memory to create cognitive
cognitive impairments. maps. Genetically intrinsic only to humans,
memory is the collective function of the human
The Spatio-Temporal Gap ability to perceive, learn and cognize. Memory is
Aligned with hermeneutical principles, a hy- not only the information storage place, but also
pothesis is formulated, that heritage generates the information processor, with memory func-
often a spatiotemporal gap between items and tions distributed in the cortex and sub-cortex
the audience: while the tangible form is perceiv- (Waxman 1996, 281). The human memory pro-
able by the eye, the intangible dimension needs cessor consists of Sensory Memory (SM), Short-
to be revealed. We further argue that the spati- Term Memory (STM), Working Memory (WM)
otemporal gap in heritage settings is of cognitive and Long-Term Memory (LTM). Human Cog-
nature impacting both the onsite experience as nitive Architecture (HCA) offers an unlimited
the digital representation of heritage. To appre- LTM able to hold mental representations of var-
ciate heritage values and effectively bridge the ied automaticity degrees, but a limited capaci-
gap between the item and the audience, the lat- ty WM with independent sub-components to
ter needs to be linked to the intangible dimen- deal with auditory and visual material (Robin-
sion of the item: symbols, meanings and social son 1998, 306). Despite the fact that we are ad-
values. Presentations of cultural heritage to the dressing audiences with special needs, those are
public, as authored by the supply side, usual- at the same time non-captive audiences engag-
ly disregards HCA mechanisms, such as the eye ing potentially with culture and heritage in their
scan path movement, general cognitive ability leisure time. As such, they are linked with their
g, category learning, the ability to perceive and own pre-understandings and prior knowledge,
process information, retain and evoke mental to follow Gadamer’s main principle. Moreover,
representation, WM and LTM capacity and in- a very particular condition regulates the scene:
teractions (Prasada 2000). Learning, visual and the main difference between learners in formal
auditory disabilities are conditions, which dic- settings and non-captive audiences is the possi-
tate an alternative experience design that relates bility to rehearse material. As the WM is limit-
to: ed in capacity with respect to the number of el-
ements it can handle simultaneously, rehearsal
is necessary to prevent information loss (Cow-
