When defining the new world, where knowledge is not independent of the one who possesses knowledge, it is considered imperative to develop new models for learning and science communication processes that are not simply confined to dichotomies such as tangible and intangible, or measurable and immeasurable. In the age of transhumanism, the concepts of production and consumption are freed from the shackles of absolute conceptualization and are defined instead with the concepts of producing consumer or consuming producer. In the science communication process, the new learner must be defined without being confined to absolute definitions on the new road map that is defined for the subject. The new learner is the actor, observer, adventurer, creative nomadic individual who cannot be trapped with absolutes in the post-modern era. This study seeks an answer to the question of whether or not a new content design is possible for the actor, observer, adventurer, creative nomadic individual in the face of the formlessness, ambiguity, and continuity of postmodernism.
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In the age of transhumanism, the first steps of a new learning design that produces problems and improves creativity will be taken by determining the definition and scope of design problems. Within the framework of theories of creativity, the three main components of creativity are fluidity, flexibility and originality. The digital natives of the age of transhumanism are fluid and flexible individuals with their multiple screen components. At this point, the issue at the forefront seems to be originality. Analyzing the design schools of the 21st century in terms of theory, methodology and ethics, Alain Findeli classifies the constraints of the designer as; the impact of the product, economic factors, a narrow philosophical anthropology, and a disregard for human and cognitive processes in an ergonomic environment. In the logical structure of the design process, the object of production is not the only way to transform the state of A into the state of B. Since the designer and the user are parts of the system, the design process is not static, but dynamic, and everchanging (Findeli, 2001). For this reason, it is seen that, in defining the new learner and developing the creative processes of this new learner, processes based on scenarios and narrative structures provide effective results for the student-designers to define previously undefined problems and transform abstract ideas into concrete codes. (Xu, Park, & Baek, 2011).
According to Kellogg (2008), the scenario and writing process utilizes three of our basic cognitive systems: memory, thinking and language. The individual who breaks free during the scenario process combines the problem with their own experiences and contextualizes the problem within their personal understanding. With writing, individuals discover what they really want to tell in their stories and what they really think (Miller, 2010). Writing is one of the most complex cognitive activities and involves numerous cognitive processes. The working memory, which supports cognitive processes may be reached when composing a text. The working memory is the cognitive field in which writing operations are performed. Working memory has attentional mechanisms for regulating when to activate and process knowledge necessary to compose a text. (Olive, 2012). For example, in the process of planning an article, ideas are taken from the long-term memory and reorganized if necessary. In addition, it is reported in studies that there is a relationship between memory and writing skills, that memory is an important determinant in the writing process, and that this is due to the memory capacities and individual differences in individuals (Bourke et al., 2014). Since creativity involves divergent thinking, the presentation of multi-faceted perspectives to learners will encourage learners to see relationships beyond their own ideas and discover new things. Thus, the learner will avoid being restricted to a certain thought, while at the same time being able to understand the relationships between different perspectives and ideas. Avoiding to structure the content in a strict way provides flexibility for tasks in the learning environment. Flexibility is an important factor in the development of creative thinking. Unstructured content will enable learners to discover new and different relationships. (as cited in Tezci & Gürol; 2003) In this context, providing answers to questions such as “What is a scenario?” “What is the role of the scenario in the science communication process?” is considered important in the transformation of practitioner-learners to designer-learners. As Wolfgang Jones puts it, the scenario itself is a design. It offers an advanced discipline for design, practice and conceptual framework. (Jones; 2001) Today, a scenario is used to describe processes that are structured in many different fields. In the context of this study, the use of the term scenario and the conceptualization of this term is a special form of writing that includes the events and dramatic moments of a story, waiting to be expressed in a visual form (Rea & Irving, 2004). Scenarios are tangible and flexible at the same time; they help developers manage the fluidity of their design states. Scenarios help developers manage many of the consequences of a particular design action, taking into account multiple views of the interaction, their variations, and the amount of details given. Finally, scenarios encourage communication about a problem among learners and include different socio-cultural and socio-economic indicators that will contribute to the design activity.