Page 18 - Studia Universitatis Hereditati, vol 10(2) (2022)
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dia universitatis her editati, letnik 10 (2022), številk a 2 / volume 10 (2022), number 2 18an 2010, 4). This condition cannot be met withes 2013; Dewey 1963). In this vein 10 stories have
time-scarce and non-captive audiences, whether been developed and tested in relation to soft-
hereditatithis is happening onsite or in the digital environ- ware, graphic design, ease of navigation, story
ment. In order to create a mental bridge to se- content and multimedia (Saridaki and Meima-
lected phenomena, and make the novel seem fa- ris 2018).
miliar by relating it to prior knowledge and/or
universal concepts in a much shorter time peri- Experience design
od and more entertaining way, we presuppose a “Experience” is a term often used with little at-
limited WM capacity to deal with visual, audi- tention to meaning, mostly interpreted as a sen-
tory and verbal material and an almost unlimit- sation. It generally indicates the ‘complex of all
ed LTM, capable of retaining retain schemas i.e., which it is distinctively human’ and stands at
mental representations that vary in their degree the centre of educational endeavour. Educa-
of automation (Sweller, van Merrienboer and tion per se might be defined as an emancipation
Paas 1998). This condition applies for the target and enlargement of experience. Experience im-
publics with visual and auditory impairments, plies process and content: it includes what we do,
the latter are also supported by sign language and how we act and are acted upon, the ways in
visitors. The target publics with intellectual dis- which we do and suffer, desire and enjoy, see, be-
abilities (ID) are offered a separate text version lieve, imagine, love. The process of experiencing
following the rules of text simplification both at has two meanings: “having an experience” and
the lexical as at the syntactical level (Chen et al. “knowing an experience”. Primary experience is
2017; Saggion 2017; Change 2019). what occurs as through a minimum of inciden-
tal reflection, and secondary reflective experience
Whoever is familiar with Homer, Dante, through the intervention of systematic think-
Shakespeare or any saga, knows that humans are ing. Experience has within it judgment, thought
captivated by storytelling. It is through storytell- and connectedness with other experiences, it is a
ing that we make sense of the world, of the self hermeneutical act: “experiencing” and “what is
and the other. Bruner maintains that children experienced” stand to one another in the most
construct a story about their actions when they complete interdependence, comprising a whole
desire integrate their own desires with the fami- (Dewey 1963; 1966). In every society, there are
ly rules. This push to construct narrative shapes traces of another time, of other cultures, of a way
how children acquire language. Moreover, the of thinking different from our own, signs of a
habit persists into adulthood as a primary in- culture, documents of the invisible. The collec-
strument for making meaning. These storytell- tive place for reflection on what is not seen, what
ing skills ensure our place within human society, is not real, has always been the theatre. There-
and probably imply that information not struc- fore, understanding the symbolism of a work of
tured, as a narrative is more likely to be forgot- art leads to reflection on what the theatre can
ten. Since Aesop and the Bible, every story in- teach us for the experience design. The theatre
cludes a moral stance, and many stories deal with is not just a place with chairs, a stage and a cur-
the norm or its violations according to Brun- tain; it is also the dramaturgy that transports to
er, while according to Egan anyone, even very the audience a hidden meaning within a story. It
young children, can acquire historical knowl- is like a magic box that each of us opens and ex-
edge if it is presented at the developmentally ap- plores it during the performance and which dis-
propriate level (Bruner 1990; Egan 1983; 1989). appears the moment the lights come back on. At
According to Kirk and Pitches storytelling can the exit, we may seem empty-handed, but if one
promotes deep learning by prompting reflection looks carefully in the pocket, as in a magic trick,
on practice, whereas Dewey argues that humans something has remained. Within this vein, we
learn best by reflecting on their experiences and used theatrical dramaturgy to give a body of her-
on the experiences of the others (Kirk and Pitch-
time-scarce and non-captive audiences, whether been developed and tested in relation to soft-
hereditatithis is happening onsite or in the digital environ- ware, graphic design, ease of navigation, story
ment. In order to create a mental bridge to se- content and multimedia (Saridaki and Meima-
lected phenomena, and make the novel seem fa- ris 2018).
miliar by relating it to prior knowledge and/or
universal concepts in a much shorter time peri- Experience design
od and more entertaining way, we presuppose a “Experience” is a term often used with little at-
limited WM capacity to deal with visual, audi- tention to meaning, mostly interpreted as a sen-
tory and verbal material and an almost unlimit- sation. It generally indicates the ‘complex of all
ed LTM, capable of retaining retain schemas i.e., which it is distinctively human’ and stands at
mental representations that vary in their degree the centre of educational endeavour. Educa-
of automation (Sweller, van Merrienboer and tion per se might be defined as an emancipation
Paas 1998). This condition applies for the target and enlargement of experience. Experience im-
publics with visual and auditory impairments, plies process and content: it includes what we do,
the latter are also supported by sign language and how we act and are acted upon, the ways in
visitors. The target publics with intellectual dis- which we do and suffer, desire and enjoy, see, be-
abilities (ID) are offered a separate text version lieve, imagine, love. The process of experiencing
following the rules of text simplification both at has two meanings: “having an experience” and
the lexical as at the syntactical level (Chen et al. “knowing an experience”. Primary experience is
2017; Saggion 2017; Change 2019). what occurs as through a minimum of inciden-
tal reflection, and secondary reflective experience
Whoever is familiar with Homer, Dante, through the intervention of systematic think-
Shakespeare or any saga, knows that humans are ing. Experience has within it judgment, thought
captivated by storytelling. It is through storytell- and connectedness with other experiences, it is a
ing that we make sense of the world, of the self hermeneutical act: “experiencing” and “what is
and the other. Bruner maintains that children experienced” stand to one another in the most
construct a story about their actions when they complete interdependence, comprising a whole
desire integrate their own desires with the fami- (Dewey 1963; 1966). In every society, there are
ly rules. This push to construct narrative shapes traces of another time, of other cultures, of a way
how children acquire language. Moreover, the of thinking different from our own, signs of a
habit persists into adulthood as a primary in- culture, documents of the invisible. The collec-
strument for making meaning. These storytell- tive place for reflection on what is not seen, what
ing skills ensure our place within human society, is not real, has always been the theatre. There-
and probably imply that information not struc- fore, understanding the symbolism of a work of
tured, as a narrative is more likely to be forgot- art leads to reflection on what the theatre can
ten. Since Aesop and the Bible, every story in- teach us for the experience design. The theatre
cludes a moral stance, and many stories deal with is not just a place with chairs, a stage and a cur-
the norm or its violations according to Brun- tain; it is also the dramaturgy that transports to
er, while according to Egan anyone, even very the audience a hidden meaning within a story. It
young children, can acquire historical knowl- is like a magic box that each of us opens and ex-
edge if it is presented at the developmentally ap- plores it during the performance and which dis-
propriate level (Bruner 1990; Egan 1983; 1989). appears the moment the lights come back on. At
According to Kirk and Pitches storytelling can the exit, we may seem empty-handed, but if one
promotes deep learning by prompting reflection looks carefully in the pocket, as in a magic trick,
on practice, whereas Dewey argues that humans something has remained. Within this vein, we
learn best by reflecting on their experiences and used theatrical dramaturgy to give a body of her-
on the experiences of the others (Kirk and Pitch-
