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Learning experience design

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Inspiration from out-of-the-box (Part I)
I am one of the people going through the metamorphosis from information design (from wild- wild web days!) to learning design. The fact is always haunting me is the mindset of all learning designer working towards “I teach you learn” process. ADDIE or CISCO RLO seems more like a software development life cycle to me too. There must be some better way(s) to do the things here.

Here what I planned to do – First doing a research on “Things what we can learn from out of the box in learning design”. For example from online storytelling and info-graphics designers, advertising/product designing world (how they analyze the user and work towards creating an experience), information architectures (over web and other places). Taking couple of interviews of –
A) Some of the advertising world
B) Some of information designer
C) Some of Learning designer, who doesn’t speak about SCORM or ADDIE when it comes to learning content design, and come up with some better method for design learning content or at least start the discussion.

Of-course I am going to blog every steps of my journey. Here is the first part –

Inspirations from online interactive storytellers -
Second Story creates informative and entertaining interactive experiences including media-rich storytelling presentations, online collections, interpretive installations and database-driven applications.
Since its founding in 1994, the Second Story team of creative artists, producers, writers, animators and programmers has developed over 60 award-winning interactive projects. The studio takes pride in providing clear and intuitive access to archives, artifacts and information as well as staging compelling storytelling features for the Web, kiosks and other digital media.

Here is the quote from Brad Johnson, Creative Director of Second Story –
“The evolution of interactive media means the story no longer flows in one direction, from the one to the many. We provide the characters, the stage, music, information, imagery and atmosphere that visitors use to weave their own story. The narrative is only visible in hindsight, when we piece together the visitor’s path through our work—the path that was their history, their story. This is the second story.”

“We begin each project by immersing ourselves in the content and identifying the most effective and compelling way to stage the story. Then we select the technology and media that best feature the content, heighten usability, and enrich the user experience. Only later in the process is the overall visual treatment established. This approach results in an experience where viewers build an emotional and intellectual connection to the content through their intuitive interaction with the story.” —Julie Beeler, Studio Director

I blogged their works before, catch them on – America on the move, Anne Frank the writer, The Valley of the Kings. But this time I got hold of one of papers on their process, philosophy and product at work kind of behind the stage story.

Beyond On-line Collections: Putting Objects to Work

There are two case studies of visual online museum collection display – The Smithsonian National Museum of American History’s exhibition America on the Move and the Peabody Essex Museum’s ARTscape – that go beyond the inquiry-retrieval model of an on-line collection as an end in itself, to one that provides the foundation for dynamic, extensible and diverse interactive offerings.

On-line collections offer an unmediated alternative to exhibitions and interpreted interactive presentations staged by museums. On-line visitors can directly access what they want, how they want, when they want. Visitors can select from a multitude of different pathways and a variety of perspectives; every image that appears in the site itself becomes a hub linking to every other instance (and hence context, story and perspective) of an object. Individuals can forge new, personalized paths through the site, finding new connections and meaning in the objects to reflect their own interests, experiences and curiosities This interconnected, cross-pollinated approach provides many intersections for interactive exploration to any subject matter.

The first step in extending the utility and value and of an on-line collection is to help audiences discover what they weren’t looking for. Interfaces that go beyond traditional inquiry-retrieval paradigms facilitating unsolicited discovery and meaningful browsing serve wider audiences and more diverse user experiences. When vague curiosities are rewarded as effectively as focused inquiries, an on-line collection can migrate beyond the mere ‘tool’ and start to be thought of as an experience.

ape – the fruits of every journey (online!) through the collection can be saved, shared and connected with visits to the physical museum. Across the top of the ARTscape interface is a persistent zone where visitors can ‘bookmark’ objects that they want to include in their personal collections. Results are selected and records are bookmarked, thumbnails of which are visible in the Bookmarks. If visitors are logged in, their sets of bookmarks can be saved for later retrieval, or e-mailed to friends, students or colleagues. This feature helps curators assemble exhibitions, teachers gather artwork for lessons, and visitors revisit their trips to the museum.

It’s interesting to call it a journey and being able to “breadcrumb” the journey is awesome. Here “breadcrumb” doesn’t mean only a usability paradigm, the context and experience is much deeper.

This record screen provides interpretive information and links to additional media for the object, including a narrated audio segment from the audio tour.

Here comes the best part. For long time we are buzzing around “blended learning”, but not quite able to establish the flow between online, offline and informal learning. These guys did it! I’ve never seen such a seamless flow before.

Bridging the Onsite and On-line Experience
As part of their admission to the museum, every visitor receives an Acoustiguide audio wand to use throughout the galleries. In addition to the traditional audio segments available for some works on view, these modified wands have an additional ARTscape button. Every single object on view has a five-digit ARTscape number clearly visible on its respective interpretive panel. Throughout a visit, audiences can enter the ARTscape number of any object of interest to them – hence bookmarking them – and their entries are recorded in the wand. When the wands are docked in any of the kiosks deployed throughout the galleries, visitors can interact with ARTscape where every object they bookmarked in the museum will be represented. Before leaving the museum, visitors can enter their e-mail address in a kiosk and an e-mail is sent to them with a link to ARTscape. When this link is retrieved on the home computer, the visitor can log into ARTscape and see a personal bookmarked path through the museum!

A visitor “bookmarks” a painting by entering its ARTscape number into the modified Acoustiguide wand.

At one of the kiosks deployed throughout the museum a visitor places the wand in a docking port and can learn more about the works earlier bookmarked.

Before leaving the museum, the visitor can enter an e-mail address in the kiosk with the wand docked and the bookmarks of the visit will be e-mailed to them.

At home, the visitors can retrace their steps, revisit their bookmarks, share their visit or find new connections to related objects in the ARTscape on-line collection.

These features transform an on-line collection into a powerful tool enabling museum visitors to revisit, extend and enhance their experiences on-line. A ‘breadcrumb trail’ is saved of their physical tour so more in-depth information about bookmarked objects can be accessed at any time. Through the Show connections fuzzy logic functionality, visitors can discover other objects that are similar or related to their bookmarks, such that each bookmarked object on view becomes a launching point for new journeys through the collection. As more records are added to the database over time, visitors figuratively weave between the exhibition walls and the storage stacks where every work of art – on-view or off-view – is an equal stepping stone in a unique personalized pathway.

Written by anol

April 14th, 2004 at 11:50 am

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