Page 23 - Studia Universitatis Hereditati, vol 10(2) (2022)
P. 23
ia universitatisshe wants them to see. However, the illusion is media supported digital narrative is encouraging inter-
applying the inter pr etive equation to facilitating cultur al exper iences ... 23 only reality in the moment, a voluntary act, in action, allows the audience to familiarize with novelties,
which they themselves become tangible proof and varies the visual, auditory and narrative content to
of the truthfulness of the tale. As in the theatre, support immersion and reflection.
where everything is fictitious but nothing is fake.
Povzetek
Summary
Projekt ERASMUS + AD HOC (2019-1-MK01-KA-
The ERASMUS + AD HOC (2019-1-MK01-KA203- 203-060269) je eksperiment, ki je namenjen iskanju re-
060269) is an experiment towards solutions for audi- šitev za občinstvo s posebnimi potrebami na področju
ences with special needs in the cultural domain. AD kulture. AD HOC predlaga, da slušne, vidne, gibalne in
HOC suggests that auditory, visual, mobility and oth- druge ovire ne bi smele ovirati posameznikov pri odkri-
er impairments should not impede individuals discov- vanju krajev kulturne dediščine in zgodb, ki jih ti pripo-
er the heritage places and the stories these have to tell. vedujejo. AD HOC je tako zavezan prispevati k izbolj-
Thus, AD HOC is committed to make a contribu- šanju dostopa do kulturne dediščine za ljudi s posebnimi
tion to enhance access to cultural heritage for people potrebami z ustvarjanjem ugodnega okolja za digitalna
with special needs by creating the enabling environ- in fizična doživetja na krajih, ki so pomembni za kulturo.
ment for digital and physical experiences at places of AD HOC uvaja novo infrastrukturo kulturne dedišči-
cultural significance. AD HOC introduces a new cul- ne ob upoštevanju potreb obiskovalcev z okvarami vida,
tural heritage infrastructure, taking into account the sluha in duševnega zdravja. Interpretacijska enačba, npr.
needs of visitors with visual, auditory and mental im- poznavanje vira, poznavanje občinstva in ustrezne teh-
pairments. The interpretive equation, e.g., knowledge nike posredovanja, zagotavljajo interpretativne prilož-
of the resource, knowledge of the audience and appro- nosti za povezovanje občinstva s pomeni in vrednota-
priate mediation techniques provide for interpretive op- mi dediščine. Stalni premislek, ki usmerja načrtovanje
portunities to connect the audience to the meanings infrastrukture kulturne dediščine, je, kako ljudje, zlasti
and values of heritage. A constant consideration that is tisti s posebnimi potrebami, pridobivajo in ohranjajo in-
guiding the design of the cultural heritage infrastruc- formacije ter kako človeški spomin obdeluje podatke. V
ture, is how humans and in particular those with spe- prizadevanju za vzpostavitev interakcij med obiskovalci,
cial needs acquire and retain information and how the snovnimi in nesnovnimi viri dediščine je bil uporabljen
human memory processes data. In an effort to estab- hermenevtični postopek, ki opisuje “bistvo” umetniške-
lish interactions between visitors, phenomena, and tan- ga dela ter njegove snovne in nesnovne vrednosti, hkrati
gible and intangible heritage resources, a hermeneutical pa obvladuje kognitivne obremenitve, saj omogoča laž-
process has been utilized which describes “the essence” je ohranjanje informacij s pomočjo zgodb, ki zadržujejo
of the work of art and its tangible and intangible values, pozornost obiskovalcev in krepijo verigo asociacij. Di-
while at the same time it manages cognitive loads by fa- gitalne izkušnje, prilagojene vizualnim, slušnim in inte-
cilitating information retention through storylines that lektualnim potrebam ciljnega občinstva, ne uresničuje-
holds the visitors’ attention, reinforcing the association jo le kulturnih odkritij na mestih, v muzejih in zbirkah,
chain. The digital experiences adapted to the visual, au- temveč izpolnjujejo tudi izobraževalne cilje in mentalno
ditory and intellectual needs of the target audiences not usposabljanje. Takšna digitalna doživetja niso predava-
only realize cultural discoveries at sites, museums and nja, temveč kognitivno-čustvene priložnosti, ki obisko-
collections but also satisfy educational goals and men- valcem s posebnimi potrebami omogočajo interakcijo
tal training. Such digital experiences are not lectures, s (ponovno) predstavljeno dediščino. Oblikovanje do-
but cognitive-emotional opportunities they allow visi- živetja si prizadeva zagotoviti zabavo in radovednost,
tors with special needs to interact with the heritage (re) spoznanja in pomene, sodelovanje in razvedrilo za za-
presented. The experience design strives to provide for postavljeno občinstvo. Multimedijsko podprta digital-
fun and curiosity, insights and meanings, participation na pripoved spodbuja interakcijo, občinstvu omogoča,
and entertainment for a neglected audience. The multi- da se seznani z novostmi, ter spreminja vizualne, zvoč-
applying the inter pr etive equation to facilitating cultur al exper iences ... 23 only reality in the moment, a voluntary act, in action, allows the audience to familiarize with novelties,
which they themselves become tangible proof and varies the visual, auditory and narrative content to
of the truthfulness of the tale. As in the theatre, support immersion and reflection.
where everything is fictitious but nothing is fake.
Povzetek
Summary
Projekt ERASMUS + AD HOC (2019-1-MK01-KA-
The ERASMUS + AD HOC (2019-1-MK01-KA203- 203-060269) je eksperiment, ki je namenjen iskanju re-
060269) is an experiment towards solutions for audi- šitev za občinstvo s posebnimi potrebami na področju
ences with special needs in the cultural domain. AD kulture. AD HOC predlaga, da slušne, vidne, gibalne in
HOC suggests that auditory, visual, mobility and oth- druge ovire ne bi smele ovirati posameznikov pri odkri-
er impairments should not impede individuals discov- vanju krajev kulturne dediščine in zgodb, ki jih ti pripo-
er the heritage places and the stories these have to tell. vedujejo. AD HOC je tako zavezan prispevati k izbolj-
Thus, AD HOC is committed to make a contribu- šanju dostopa do kulturne dediščine za ljudi s posebnimi
tion to enhance access to cultural heritage for people potrebami z ustvarjanjem ugodnega okolja za digitalna
with special needs by creating the enabling environ- in fizična doživetja na krajih, ki so pomembni za kulturo.
ment for digital and physical experiences at places of AD HOC uvaja novo infrastrukturo kulturne dedišči-
cultural significance. AD HOC introduces a new cul- ne ob upoštevanju potreb obiskovalcev z okvarami vida,
tural heritage infrastructure, taking into account the sluha in duševnega zdravja. Interpretacijska enačba, npr.
needs of visitors with visual, auditory and mental im- poznavanje vira, poznavanje občinstva in ustrezne teh-
pairments. The interpretive equation, e.g., knowledge nike posredovanja, zagotavljajo interpretativne prilož-
of the resource, knowledge of the audience and appro- nosti za povezovanje občinstva s pomeni in vrednota-
priate mediation techniques provide for interpretive op- mi dediščine. Stalni premislek, ki usmerja načrtovanje
portunities to connect the audience to the meanings infrastrukture kulturne dediščine, je, kako ljudje, zlasti
and values of heritage. A constant consideration that is tisti s posebnimi potrebami, pridobivajo in ohranjajo in-
guiding the design of the cultural heritage infrastruc- formacije ter kako človeški spomin obdeluje podatke. V
ture, is how humans and in particular those with spe- prizadevanju za vzpostavitev interakcij med obiskovalci,
cial needs acquire and retain information and how the snovnimi in nesnovnimi viri dediščine je bil uporabljen
human memory processes data. In an effort to estab- hermenevtični postopek, ki opisuje “bistvo” umetniške-
lish interactions between visitors, phenomena, and tan- ga dela ter njegove snovne in nesnovne vrednosti, hkrati
gible and intangible heritage resources, a hermeneutical pa obvladuje kognitivne obremenitve, saj omogoča laž-
process has been utilized which describes “the essence” je ohranjanje informacij s pomočjo zgodb, ki zadržujejo
of the work of art and its tangible and intangible values, pozornost obiskovalcev in krepijo verigo asociacij. Di-
while at the same time it manages cognitive loads by fa- gitalne izkušnje, prilagojene vizualnim, slušnim in inte-
cilitating information retention through storylines that lektualnim potrebam ciljnega občinstva, ne uresničuje-
holds the visitors’ attention, reinforcing the association jo le kulturnih odkritij na mestih, v muzejih in zbirkah,
chain. The digital experiences adapted to the visual, au- temveč izpolnjujejo tudi izobraževalne cilje in mentalno
ditory and intellectual needs of the target audiences not usposabljanje. Takšna digitalna doživetja niso predava-
only realize cultural discoveries at sites, museums and nja, temveč kognitivno-čustvene priložnosti, ki obisko-
collections but also satisfy educational goals and men- valcem s posebnimi potrebami omogočajo interakcijo
tal training. Such digital experiences are not lectures, s (ponovno) predstavljeno dediščino. Oblikovanje do-
but cognitive-emotional opportunities they allow visi- živetja si prizadeva zagotoviti zabavo in radovednost,
tors with special needs to interact with the heritage (re) spoznanja in pomene, sodelovanje in razvedrilo za za-
presented. The experience design strives to provide for postavljeno občinstvo. Multimedijsko podprta digital-
fun and curiosity, insights and meanings, participation na pripoved spodbuja interakcijo, občinstvu omogoča,
and entertainment for a neglected audience. The multi- da se seznani z novostmi, ter spreminja vizualne, zvoč-
