Page 20 - Studia Universitatis Hereditati, vol 10(2) (2022)
P. 20
– Appropriate Techniquestudia universitatis her editati, letnik 10 (2022), številk a 2 / volume 10 (2022), number 2 20(Miller 1956; Baddeley and Hitch 1974, Bad-
Not much is known, if agencies and interpret- deley 2003; Perconti and Plebe 2020, 8; Cow-
ers do apply the principles of HCA to make in-hereditati an 2010, 8). Visitors with intellectual impair-
terpretive offers educationally relevant, as there ments are attracted by binary opposites – good
is a dearth in research in regards to a) certifica- and bad, big and little, love and hate – and they
tions, b) HE curricula and c) evaluation of ser- derive meaning from affective association with
vices. ADHOC has made an effort to link caus- one of the pairs: as Egan points out, these dis-
al mechanisms of HCA and instructional design crete stages build on each other and thus never
in order to facilitate higher cognitive results completely disappear: “Affective orientations to
in the informal setting, with less challenge for binary opposites … are not simply childish and
audiences with special needs (Berninger and inadequate ways of thinking. They will later be
Corinna 1998) and employ narratives of theatri- controlled by more sophisticated ‘paradigms’ but
cal dramaturgy in digital storytelling. The digi- they will remain absolutely basic and essential”
tal narrative is the main medium applied to en- (Egan 1983, 76). Graphic design is aligned with
gage and involve the selected target publics and the eye scan path movement, whereas informa-
respond to their individual needs (sound, image, tion layering follows international standards for
video, text simplification, sign language video). the interpretation of heritage (ICOMOS 2004;
Papathanasiou-Zuhrt 2015, 62). In order to de-
IO – Interpretive Opportunity congest the WM and redirect attention, meta-
An Interpretive Opportunity (IO) is an output phors, associations and universal concepts have
that provides the audience with rewarding expe- been extensively utilized, while meanings com-
riences. The IO presents a favourable set of cir- municated through the use of universal con-
cumstances for a meaningful moment of con- cepts differ substantially from transmitting for-
nection between the audience and the selected mal knowledge (Papathanasiou-Zuhrt 2012, 36).
assets, giving birth to a customized, personal ex- However, the use of procedures to reduce cogni-
perience. Since the connection happens within tive loads is not at the expense of understanding
the individual audience members, who retains and the latter is further supported by the theatri-
the sovereignty of their own mind and emo- cal dramaturgy and historical contextualization
tions, the mission of the IO – is to offer the op- using historic or fictious personage to support
portunity, which the audience may or may not empathy (Mc Kinney et al. 2018, 185; Papathana-
take. During the frond evaluation stage, 10 her- siou-Zuhrt 2020, 290). Heritage builds a strong
itage assets have been selected, out of which 6 motive for cultural consumption across a wide
IOs have been designed to pursue learning and range of varied audiences and the advent of dig-
behavioural objectives and impact the audience. ital technology has impacted the cultural herit-
Linking the IO to the principles of hermeneu- age sector world-wide. Still, the mere digital rep-
tics, which presupposes the understanding of the resentation of heritage, where the distant past is
parts, prior to the understanding of the whole, beyond the contemporary individual memory
the latter becomes a driver for the delivery of a and as such beyond the process of understand-
well-designed cognitive-emotional experience ing, builds a barrier for all audiences, especially
those with special needs. By creating a balance
The Audio-visual Narrative between novelty and familiarity, authenticity
Given that language is the most complex of the and the stories told, we can offer exceptional her-
human cognitive functions, the audio-visual itage experiences and link the audience to a cul-
story content is chunked with one novel con- tural continuum, considering a) the restrictions
cept per unit-, below the limit proposed by Mill- of human WM and the mechanisms of acquir-
er, Baddeley, Hitch and Baddeley and Cowan ing and retaining information adapted to audi-
Not much is known, if agencies and interpret- deley 2003; Perconti and Plebe 2020, 8; Cow-
ers do apply the principles of HCA to make in-hereditati an 2010, 8). Visitors with intellectual impair-
terpretive offers educationally relevant, as there ments are attracted by binary opposites – good
is a dearth in research in regards to a) certifica- and bad, big and little, love and hate – and they
tions, b) HE curricula and c) evaluation of ser- derive meaning from affective association with
vices. ADHOC has made an effort to link caus- one of the pairs: as Egan points out, these dis-
al mechanisms of HCA and instructional design crete stages build on each other and thus never
in order to facilitate higher cognitive results completely disappear: “Affective orientations to
in the informal setting, with less challenge for binary opposites … are not simply childish and
audiences with special needs (Berninger and inadequate ways of thinking. They will later be
Corinna 1998) and employ narratives of theatri- controlled by more sophisticated ‘paradigms’ but
cal dramaturgy in digital storytelling. The digi- they will remain absolutely basic and essential”
tal narrative is the main medium applied to en- (Egan 1983, 76). Graphic design is aligned with
gage and involve the selected target publics and the eye scan path movement, whereas informa-
respond to their individual needs (sound, image, tion layering follows international standards for
video, text simplification, sign language video). the interpretation of heritage (ICOMOS 2004;
Papathanasiou-Zuhrt 2015, 62). In order to de-
IO – Interpretive Opportunity congest the WM and redirect attention, meta-
An Interpretive Opportunity (IO) is an output phors, associations and universal concepts have
that provides the audience with rewarding expe- been extensively utilized, while meanings com-
riences. The IO presents a favourable set of cir- municated through the use of universal con-
cumstances for a meaningful moment of con- cepts differ substantially from transmitting for-
nection between the audience and the selected mal knowledge (Papathanasiou-Zuhrt 2012, 36).
assets, giving birth to a customized, personal ex- However, the use of procedures to reduce cogni-
perience. Since the connection happens within tive loads is not at the expense of understanding
the individual audience members, who retains and the latter is further supported by the theatri-
the sovereignty of their own mind and emo- cal dramaturgy and historical contextualization
tions, the mission of the IO – is to offer the op- using historic or fictious personage to support
portunity, which the audience may or may not empathy (Mc Kinney et al. 2018, 185; Papathana-
take. During the frond evaluation stage, 10 her- siou-Zuhrt 2020, 290). Heritage builds a strong
itage assets have been selected, out of which 6 motive for cultural consumption across a wide
IOs have been designed to pursue learning and range of varied audiences and the advent of dig-
behavioural objectives and impact the audience. ital technology has impacted the cultural herit-
Linking the IO to the principles of hermeneu- age sector world-wide. Still, the mere digital rep-
tics, which presupposes the understanding of the resentation of heritage, where the distant past is
parts, prior to the understanding of the whole, beyond the contemporary individual memory
the latter becomes a driver for the delivery of a and as such beyond the process of understand-
well-designed cognitive-emotional experience ing, builds a barrier for all audiences, especially
those with special needs. By creating a balance
The Audio-visual Narrative between novelty and familiarity, authenticity
Given that language is the most complex of the and the stories told, we can offer exceptional her-
human cognitive functions, the audio-visual itage experiences and link the audience to a cul-
story content is chunked with one novel con- tural continuum, considering a) the restrictions
cept per unit-, below the limit proposed by Mill- of human WM and the mechanisms of acquir-
er, Baddeley, Hitch and Baddeley and Cowan ing and retaining information adapted to audi-
