This chapter deals with the study of how deaf and hearing signers, and others, understand sign languages by themselves and in relationship to other languages and modalities. By doing linguistic ethnography, it is possible to investigate these language attitudes and ideologies as they unfold in everyday practice, towards ideas such as the status of sign languages and particular varieties; discourses surrounding linguistic authority, authenticity and ownership; and the emergence (or development) of new sign languages and new subject-specific vocabulary. The methods discussed in this chapter are ethnographic research methods and visual methods: participant observation, ethnographic filmmaking, and language portraits. The main points of the chapter are illustrated by means of three case studies: (1) participant observation in multilingual tourist spaces in Bali, in which Indonesian Sign Language, International Sign, and American Sign Language are used; (2) ethnographic filmmaking within an international multi-sited research project focusing on International Sign; and (3) the use of language portraits with new signers and heritage signers in Flanders, who mostly use Flemish Sign Language and Dutch
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The eleven Universities forming the KreativEU consortium agreed to the common goal of establishing a fully European University, that places the creative potential derived from Europe’s cultural heritage at the heart of its teaching, research and knowledge transfer activities. Committing to a long-term institutional, structural and strategic cooperation the partners will jointly implement an ambitious yet inclusive vision for transforming the study of culture, identity, memory and heritage for the benefit of society. Building upon this strong foundation, KreativEU will provide innovative concepts, methods, and solutions to address both current and future challenges, contributing to a sustainable and harmonious future for communities and the environment alike. KreativEU recognizes the inseparable interconnection of tangible and intangible cultural heritage, as well as the interwoven nature of local and national traditions, crafts, cultural practices, and folklore. The alliance is dedicated to formulating cutting-edge educational and research programmes that reevaluate these elements and their associated ecological surroundings, the lived environment, especially in the context of the digital age. This ecocultural vision serves as the foundational principle guiding KreativEU's efforts, ensuring that a new generation of EU citizens working together across cultures, borders, languages, sectors and disciplines will be educated. Students from the KreativEU are expected to be leaders of change and enablers of societal transformation.To reach this vision, the KreativEU Alliance will work towards the completion of 8 work packages (WP1 - Governance and Management; WP2 - KreativEU Education; WP3 - KreativEU Research; WP4 - KreativEU Culture with and for society; WP5 - KreativEU Knowledge-creation and design network on Smart Sustainability WP6 - KreativEU Heritage European campus; WP7 - KreativEU Mobility; WP8 - Communication and Dissemination).Collaborative partners:Instituto Politécnico de Tomar, Escola Superior de Gestão de Tomar, D.A. Tsenov Academy of Economics, Johoceska Univerzita V Ceskych Budejovicich, Universita Degli Studi di Camerino, Universitaet Greifswald, Pilitechnika Opolska, Universitatae Valahia Targoviste, Trnavska Univerzita V Trnave, Sodestorns Hogskola, Adana Alparslan Turkes Bilim VE Teknoloji University
phōnē – Giving Minority Languages a Voice is a project application to safeguards and promotes cultural and linguistic diversity in Europe. We will connect people who belong to a language minority in their countries with European values across language and cultural borders. 10 institutions will cooperate for the first time, breaking new ground for the RML theatre sector and improving their standing nationallyand internationally. phōnē will be the first ever major international collaboration between theatres working for minority languages.“Languages are vehicles of our cultures, collective memory and values. They are an essential component of our identities, and a building block of our diversity and living heritage.”The loss of a language means not only the loss of a basic element of communication, but also of a complete system of knowledge developed over time. The disappearance of a language also means the loss of a unique, unrecoverable universe associated with a particular environment. It means the loss of diversity.Phōnē wants to make an active contribution to the vitalisation of endangered minority languages. In order to keep endangered languages alive, theatre is one of the most suitable media because it provides a space for language, but also because it uses non-language-based forms of communication. In this way, theatre in particular makes it easier for people who do not yet have a confident knowledge of theminority language to get started. This will safeguard cultural and linguistic diversity in Europe. Strengthening the cultures and their languages will also strengthen the economic basis of the theatres working in these minority languages.phōnē is aiming for three main objectives to strengthen theatre in its role of vitalising endangered minority languages.A – Giving Minority Languages a voiceTogether we will search for narratives that tell about the people in their minority language region. Thestories are about and from people who live and work in remote regions of Europe and are written anddeveloped in the respective minority language.B – Giving Minority Languages a European stageThe developed texts need a stage to reach the widest possible audience. As different as the expectednarratives will be, so different will be the stages (outreach / site-specific / digital) on which they are presented.Different formats support the goal of addressing the broadest possible audience in the communitiesand involving them both passively and actively in the use of their minority language.
Digital technologies in public spaces have become more prescient, capable, and invisible. As a result, the need to explain and mediate these technologies has become more urgent. Current processes for designing digital trust interaction protocols, visual languages, and interfaces for the urban environment have been dominated by governing actors: policing, government, and tech-companies. When communities are involved in the design process, their participation is limited to formats these organisations prescribe. By default, these designs exclude the lived technological experiences of communities that use the built environment. The outcome is a lopsided appraisal of digital trust, and designs that are insufficiently transparent and equitable– and as a result, not understood and embraced by the communities who must use them. This design-research aims to develop prototypes that include how urban interactive technologies are ‘lived’ in the spaces where they are implemented. These experiences will be teased-out through site-specific aesthetic and performative actions, which in turn inform the design process. The envisioned contribution includes ways of ’doing’ to the field of situated design, and concrete prototypes for alternative digital trust protocols, visual languages, and interfaces. By flipping the current approach on its head, this research argues that the practical and ethical departure points for addressing digital ‘trust deficits’ are already within the diverse communities who use the built environment.
