The digital breakthrough of the nineties has profoundly changed the way events are recognized. Starting from EST (Event Segmentation Theory) elaborated by J.M. Zacks and his collaborators, this contribution shows how the way we segment the experiential flow has been changed by the introduction of digital: while throughout modernity the perception of events was based on immediate segmentation processes, founded on five elements (agent, space, time, intention, purpose) and determined by an evident con-clusion, we currently see in the perceptive models of individuals and consequently also in aesthetic texts (films, television series, novels, graphic novels etc.) a weakening of the end. This determines not only a greater difficulty in perceiving an event, but also the need to introduce micro-caesuras between one event and another: it is space that con-stitutes the most salient category in differentiating one event from another, as is evident in the transmedia storytelling that characterizes contemporary aesthetics.

For achieving climate targets, public engagement is key. Climate communication can play an important role here. Telling regional stories of successful climate action seems a promising form of climate communication: It may convey a feeling of ‘So this is what climate action looks like – and it is people like you and me who are starting to take action.’ This transformative research project (1) formulates hypotheses on what could make such local climate stories effective, (2) then identifies, produces and disseminates stories in the region of Konstanz, Germany, following a rapid prototyping approach, and (3) analyzes the effect of the stories by using focus groups. So far, two prototyping series of filmic story production have been completed in 2022/2023 and some initial insights were derived: Potential protagonists seem willing to tell their stories, and the stories have a potential to inspire people. Technical film quality is relevant. The stories must be selected and told carefully (who is portrayed, which actions are interpreted as success, through which channels are the stories shared), in order to create resonance with different target groups. Next steps are continuation of film production prototyping, a broader sharing of stories, and thorough impact research by focus groups.

This paper introduces a groundbreaking approach to enriching the museum experience using GPT4, a state-of-the-art language model by OpenAI. By developing a museum guide powered by GPT4, we aim to address the challenges visitors face in navigating vast collections of artifacts and interpreting their significance. Leveraging the model’s natural language understanding and generation capabilities, our guide offers personalized, informative, and engaging experiences. However, caution must be exercised as the generated information may lack scientific integrity and accuracy. To mitigate this, we propose incorporating human oversight and validation mechanisms. The subsequent sections present our own case study, detailing the design, architecture, and experimental evaluation of the museum guide system, highlighting its practical implementation and insights into the benefits and limitations of employing GPT4 in the cultural heritage context.

Digital storytelling is a powerful tool for language learning that has gained popularity in recent years. By incorporating different modes of communication such as text, images, audio, and video, digital storytelling provides learners with engaging and interactive experiences that promote language acquisition and cultural awareness. Digital storytelling can also promote interaction among learners, which is crucial for language learning, and provide learners with opportunities to receive feedback and support from their peers. Additionally, digital storytelling can be used to promote cultural sensitivity and intercultural dialogue among language learners. Through storytelling, learners can gain insights into the customs, values, and beliefs of different communities, and create stories that reflect their own cultural backgrounds and experiences. This paper provides an overview of the benefits of digital storytelling for language learning and highlights the various ways in which it can be used to enhance language acquisition and cultural awareness. It concludes with recommendations on how to effectively incorporate digital storytelling into language teaching practices.

The article considers the peculiarities of practical implementation of the narrative-digital approach in the process of studying disciplines of literary cycle at philological faculties. The authors emphasize that the key to the effective transition to distance and combined forms of studying is creation of a productive national information and didactic space, with involvement of IT and appropriate level of training of all participants in the pedagogical process. Under these conditions, the application of the narrative-digital approach is promising, which in literary education of philologists is based on interdisciplinary interactive basis, which combines possibilities of narrative methods with computer technology. The integration of digital technologies into philological field causes a number of methodological difficulties, requires all subjects of educational activity to develop digital skills that are not related to professional humanities knowledge, but meet the requirements of trained competitive and highly qualified specialists. The authors conducted a sociological study on the readiness of students of philological specialties of pedagogical universities to implement the narrative-digital approach to educational practice. Research provides optimal software that allows you to implement this approach in practice, offers a selection of didactic tasks, substantiates feasibility of their use in classes of different types.