KunstBildungVermitltung
the cue sound: cicada ^ cvrčak
the cue sound: breath
Imagine a Future Landscape as a Linguistic Landscape ...
What can you hear, see, smell. .. ?
Which languages, words, signs, sounds, images, fragrances, ... are appearing in your imaginative linguistic landscape?
Now imagine only one word , sign , sound, image, fragrance, ...
that appears as an alert before speaking,
before sending a message, commenting, responding, claiming, ...
Which word , image, sign, sound , fragrance,
would it be?
Now, see or imagine one Orange Feather on a coffie black silky backgeound in a such role,
brushing across your mind and neural network,
while experiencing a fury attempt
What happens?
Just for a mili second, you hold on
and prevent acting with fiury ...
dveling deeper
The image of the Orange Feather invites us to imagine future linguistic landscapes
Hier, the Future Linguistic Landscape
is centered
on a single image,
combined with acoustic mood-creating tools:
an
Orange Feather
on a silky, coffee-black background, accompanied by a sound cue,
such as recorded breath, the chirping of cicadas, and the Croatian word cvrčak (cicada; pronounced: tsvr-chak) functioning in an estranged manner
to help re-imagine and act otherwise,
by a fury attempt
Inspired by deep learning techniques for Large language models (LLMs), the Orange Feather-led practices were designed to support preventing violence in communication proactively through self-regulation.
This is achieved by applying the principles of self-supervised learning to behavioral changes with simple exercises for enhancing emotional control, thus enable more comprehensive understanding of meaning and it´s symbolic forms of expression in interaction.
Since 2004 working wioth only one term in a multilingual setting: "rain". Metaphoric experience in symbolic interaction enables endless forms for inquiry, reflection, metacognitive engagement and creative play with mind & memory, for understanding embodiment of emotional and cognitive patterns and fmore ...
A comprehensive approach to non-violent communication must navigate the intersection of individual autonomy and societal responsibility. This requires understanding freedom of expression not only as the absence of restrictions but as a dynamic interplay of rights and responsibilities.
Situating backdrop
Globally, one in three women experience physical or sexual violence in their lifetime. Among young people, online spaces are increasingly dangerous: one in five youth has experienced cyberbullying, and girls and LGBTQ+ youth are disproportionate targets of hate speech and harassment.
Violation starts in communication, and is mostly followed by physical violence.
These statistics underscore an urgent need for safer, respectful communication.
How may we learn to practice more assertive, meek and empathic communication?
How might art practices help foster more assertive, empathetic, and mindful communication?
How can freedom of speech become more responsible?
Is it possible to train our minds, similar to how large
language models (LLMs) are trained, to develop competencies for practicing non-violent and harm-free communication?
The Orange Feather image represents the Orange Feather initiative, which is aligned with UN Women’s Orange the World campaign. The UN campaign “Orange the World” takes place annually between November 25th, the “International Day for the Elimination of Violence against Women”, and December 10th, “International Human Rights Day”. During these 16 action days against violence, buildings around the world will be lit orange to send a visible signal against violence against women. These statistics underscore an urgent need for safer, respectful communication.
Violation mostly starts in communication and is mostly followed by physical violence.
Awarded the Austrian SDG Award 2021 in the “Youth & Media” category by the Economy Senate Austria, the Orange Feather initiative mobilizes diverse actors and collaborators. These include the prominent representatives who are engaged as Ambassadors of the Orange Feather Initiative, project partners and participants in art-based educational workshops, to shift narratives, foster empathy, and enhance communication literacy through engagement in art-based practices, such as embodied expression and narrative, thought experiments, language plays and similar activities in a multilingual setting, including screen reading tools and assistive technologies and presentational forms such as Focus group meetings, Conferences, Exhibitions and Performance Lectures.
p
parlare con piume
is a serious, playful practice
by taking flight & flying with ...
attempts, translations, assemblage, investigations in process
multimedia artworks on interface with applied linguistics, cognitive humanities and sociology
in response to one of the currently most urgent societal challenges:
hate speech_ physical violence
an therapeutic, art-based approach to prevention of violence,
leaning on
Ludwig Wittgenstein's analyses about imagination
(Philosophische Untersuchungen ^Language Games, Blue & Brown Notebooks, Zettel), Ludwig Wittgenstein - Lecture on Ethics
J. P. Lederach notions on Moral Imagination,
and the B. Brecht´s Radio theory, M. Foucault´s parrhesia_body of practices
embodiment and speech aligned with Hannah Arendt's idea of vita activa, where speech and action are evaluated in the context of their capacity to enrich the shared human world.as a moral practice of freedom,
dreaming and finding ´true words´ (I. Bachmann)
#stayinlove
How can conditions be re-imagined, and transformed,
What if the moral imagination (Vorstellung) can serve as a mental (reason) and emotional (sensorial state, in the practice of embodied play within a web of relations,? How to transcend violence starting from the capacity to generate, mobilise, and build a moral imagination?
(Lederach, 1995; 2005)
Imagination fulfills also a methodical role, because we can visualise imaginary cases similar to Gedankenexperimente
(L.W. in PU, §312)
with
Orange Feather as a
tertium comparationis:
"One knows the position of one's limbs and their movements... [with] no local sign about the sensation. (...) such attention to one's movements and feelings can hinder the smooth execution of willed action (L.W. Zettel, 483).: "self-observation makes my action, my movements uncertain" (L.W. Zettel, 592).
Investigations within diverse Playgrounds,
playing with diverse actors, technologies, senses, bricks and pillars
Concept, artistic and theoretical basis:
Tatjana Christelbauer MA
in collaboration with blind teachers and students at the Vienna Institute for Blind BBI and Prof. Alice Siu, Deliberation. Platform Stanford University
inTalk on linguistic technologies with Prof. dr. Cvetana Krstev &
Prof. dr. Ranka Stankovic Head of the RO RGF Computer Center
University of Belgrade, Faculty of Mining and Geology
"If fear is frightful and if while it goes on I am conscious of my breathing and of a tension in my face, is that to say I feel these feelings frightful ?
Might they not even be a mitigation ?"
(L.W. Zettel, 484-499)
^The result of the imaginative experiment will be so clear that there will be no need to conduct a physical experiment at all ^
associated pillars, helpers, builders, bricks, feathers and aspects
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