Page 22 - 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 22lation that digital images possess, must open thegible intangible form of a resource into powerful
door to the narrative, to a structure of its com- experience is needed. Without suitable presenta-
hereditatiponents in an increasingly specific language at tion and appreciation of what is being valued,
the service of culture and articulated, to sparkle cultural heritage remains meaningless and the
a cognitive-emotional experience without fossil- understanding is lost. The basic idea is that so-
izing in the search for suggestive effect, devoid cial cohesion takes place around the intrinsic
of internal logic. These are unmissable opportu- values that culture carries with it, such as tradi-
nities for the development of knowledge, of the tions, myths, legends are the source of much of
audience’s cultural capital. Today we risk being our behaviour. We need to be aware that there
in the presence of a spontaneous literacy offered are different readings and prejudices, and to
by the possibilities of technology, disordered in avoid the simplification of the so-called ‘cancel
its methods, rhapsodic and still tied to the de- culture movement’, which in the name of a sup-
fault procedures offered by the seller. We still posed ‘fairness for inclusiveness’ risks eliminat-
do not know where this process will take us, so ing the legacy of history. The ability to transform
precarious is the balance between constructing every contradiction into a matter for discussion
new procedures for the elaboration of meaning, and research that will provide the inclusive ma-
and remaining anchored to the babble and rep- terials, meaning to remove the obstacles that
etition of low-profile models that are essentially prevent dialogue instead of reducing everything
self-referential. What is certain is that these pos- to the “common denominator” and that means
sibilities have considerable weight in the exper- to ensure access to cultural heritage also to au-
imentation of processes, to create abstractions diences with special needs. If the aim is to pres-
and propose new skills, and are of crucial inter- ent the ways of telling a story which stimulates
est for those who wish to narrate art. The artic- the curiosity and interest of the audience and, at
ulation of these languages could be a solution to the same time, leaves a tangible trace in the con-
engaging the audience. Conveying enthusiasm sciousness, then it is not necessary to describe
attracts, produces identification; this is how the the forms and rules of the story but to act on
encounter between the public and art in a mu- it and overturn the rules of traditional histori-
seum should work. The digital revolution offers, cal and scientific narration by reconstructing a
produces and researches tools that cannot but be path in the opposite direction. Respecting scien-
based on considerations such as this one to ad- tific accuracy, the material evidence of the past
dress and solve the problem of its full inclusion is not used to document historical facts, but his-
in cultural production. The forms created by torical facts are used to affirm the function that
the language of audio-visuals are the best basis these elements have had, exploring, where neces-
for constructing sense and meaning in the con- sary, the social and anthropological context that
text that the non-expert visitor lacks for under- generated them. In this way, objects (stories, ide-
standing a work of art. There is a widespread idea as) become instruments of a narrative that trans-
that ‘digital’ is a technology and not a way of in- fers to the observer the set of values on which the
vestigating and celebrating the relationships be- civil society of which he is a member is based. In
tween things and ideas, this aspect is addressed a word: it educates and contributes to generat-
by AD HOC as much from the point of view of ing the chain reaction that the art public needs
the philosophy of approach as from the opportu- to expand its catchment area. In this sense, the
nities that such an environment brings, without audio-visually supported storytelling becomes
excluding the dangers and pitfalls. the best example to design in order to build to-
gether “Le Rendez-Vous des Arts” where know-
When seeking to promote the inclusion of ing how to hide in order to reveal is the illusion-
audiences with special needs, a visitor-cantered istic ability of each artist. The audience sees what
interpretation model, able to transform the tan-
door to the narrative, to a structure of its com- experience is needed. Without suitable presenta-
hereditatiponents in an increasingly specific language at tion and appreciation of what is being valued,
the service of culture and articulated, to sparkle cultural heritage remains meaningless and the
a cognitive-emotional experience without fossil- understanding is lost. The basic idea is that so-
izing in the search for suggestive effect, devoid cial cohesion takes place around the intrinsic
of internal logic. These are unmissable opportu- values that culture carries with it, such as tradi-
nities for the development of knowledge, of the tions, myths, legends are the source of much of
audience’s cultural capital. Today we risk being our behaviour. We need to be aware that there
in the presence of a spontaneous literacy offered are different readings and prejudices, and to
by the possibilities of technology, disordered in avoid the simplification of the so-called ‘cancel
its methods, rhapsodic and still tied to the de- culture movement’, which in the name of a sup-
fault procedures offered by the seller. We still posed ‘fairness for inclusiveness’ risks eliminat-
do not know where this process will take us, so ing the legacy of history. The ability to transform
precarious is the balance between constructing every contradiction into a matter for discussion
new procedures for the elaboration of meaning, and research that will provide the inclusive ma-
and remaining anchored to the babble and rep- terials, meaning to remove the obstacles that
etition of low-profile models that are essentially prevent dialogue instead of reducing everything
self-referential. What is certain is that these pos- to the “common denominator” and that means
sibilities have considerable weight in the exper- to ensure access to cultural heritage also to au-
imentation of processes, to create abstractions diences with special needs. If the aim is to pres-
and propose new skills, and are of crucial inter- ent the ways of telling a story which stimulates
est for those who wish to narrate art. The artic- the curiosity and interest of the audience and, at
ulation of these languages could be a solution to the same time, leaves a tangible trace in the con-
engaging the audience. Conveying enthusiasm sciousness, then it is not necessary to describe
attracts, produces identification; this is how the the forms and rules of the story but to act on
encounter between the public and art in a mu- it and overturn the rules of traditional histori-
seum should work. The digital revolution offers, cal and scientific narration by reconstructing a
produces and researches tools that cannot but be path in the opposite direction. Respecting scien-
based on considerations such as this one to ad- tific accuracy, the material evidence of the past
dress and solve the problem of its full inclusion is not used to document historical facts, but his-
in cultural production. The forms created by torical facts are used to affirm the function that
the language of audio-visuals are the best basis these elements have had, exploring, where neces-
for constructing sense and meaning in the con- sary, the social and anthropological context that
text that the non-expert visitor lacks for under- generated them. In this way, objects (stories, ide-
standing a work of art. There is a widespread idea as) become instruments of a narrative that trans-
that ‘digital’ is a technology and not a way of in- fers to the observer the set of values on which the
vestigating and celebrating the relationships be- civil society of which he is a member is based. In
tween things and ideas, this aspect is addressed a word: it educates and contributes to generat-
by AD HOC as much from the point of view of ing the chain reaction that the art public needs
the philosophy of approach as from the opportu- to expand its catchment area. In this sense, the
nities that such an environment brings, without audio-visually supported storytelling becomes
excluding the dangers and pitfalls. the best example to design in order to build to-
gether “Le Rendez-Vous des Arts” where know-
When seeking to promote the inclusion of ing how to hide in order to reveal is the illusion-
audiences with special needs, a visitor-cantered istic ability of each artist. The audience sees what
interpretation model, able to transform the tan-
