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PRESIDIO OF MONTEREY, California -- The 2018 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 11. Language Day is open to the public and attended by schools across the nation to promote an understanding of diverse customs and cultures from around the world. Approximately 6,000 people attended this annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
This is my language arts classroom, Room 1204, at . I didn't make it through the year. A girl accused me of hitting her, and even though I was found blameless, the administrators forced me to resign.
A book that I bought from the discarded stack of the library. Someone had torn out several pages and I got it for a euro.
= = = = =
Who am land where do I come from? And how
do people construct and transform their identity.
Igor Sevcuk's films try to answer these and similar
existential questions. Ten years ago he fled to the
Netherlands from Bosnia. He may be a stranger
here, but even in his homeland, Sevcuk feit alien.
His forebears we re from the Ukraine. Sevcuk's
grandmother was imbued in the culture of her
parents and although none of his family has even
been to the Ukraine, everyone knew what it
means to be Ukrainian.
During the period spent working for the Prix de
Rome, Sevcuk returned to his birthplace in Bosnia.
He filmed his parents' house and the environment
he grew up in. In the film, we meet his grandmother,
singing a song in an unknown language in the living
room. "Language is all to do with identity", says
Sevcuk. "My film is about a language that is almost
never used and that symbolises a distant, elusive
originality. The film shows how the language
gradually loses its meaning."
Igor Sevcuk's films are typified by an al most
documentary style. He lets the camera glide
through the interior of the flat, pausing at
interesting details. Dialogues are interspersed
with atmospheric impressions of the landscape.
His rough filming style leaves room for viewers'
own interpretations. Sevcuk takes you into his
world but deliberately avoids telling finished
stories. "Someone's memories have no clear
beginning or end. This film is about more than just
my own family history. I've also tried to touch on
universal issues surrounding identity."
In many ways, Igor Sevcuk is a painter. He only
started experimenting with moving images a few
years ago. But he never completely forgets his
background as apainter. Sevcuk has an eye for
balanced compositions and unusual perspectives.
Both in his films and his paintings, there is little
use of colour. Sevcuk: "I love the dramatic con-
trasts and raw aesthetic of black and white
images. Colours are anecdotal and, in my opinion,
unnecessary because they don't play an important
role in memories."
The probing and personal way in which Igor
Sevcuk portraits his family's everyday life is
reminiscent of the work of the English artist
Richard Billingham. His rudimentary filming style
closely parallels he style of Dogma films like Festen
and The ldiots. Sometimes the images are jolting
or poorly lit. "I deliberately choose a primitive
filming and editing style", explains Sevcuk. 'Tm
not interesting in making glossy images. The most
important thing is to communicate a feeling."
The poetic visuallanguage af Sevcuks' film is
much appreeiated by the jury. The ertist preîers bis
own pure, personet filming style io editing and
shooiinç conventlans. The members af the jury are
impressed by his exptoreiion af the theme af
identity in layered images. His work is sensiiive,
weil thouçht-oui, and demands etiention: the [ilm's
rich symbolism is camplex and nat easily deciphered.
The jury awards Igor Sevcuk the [irst prize af twenty
thausand euros.
Photo by Hiro Chang
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.
No idea why Dutch is featured on this sign - it's not one of Australia's officially recognised languages.
Here are a few of the Japanese language books I have in my collection. I do not speak or read Japanese, but I love the books I have.
Maybe some of my Japanese speaking Flickr friends can offer translations to these titles.
Photo by Hiro Chang, Presidio of Monterey Public Affairs
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.
UN Chinese Language Day opening ceremony held at the Vienna International Centre, Vienna, Austria. 2 May 2023.
Photo Credit: Dean Calma / IAEA
Jawa Barat is West Java, the province where Bandung is. The competition judges the language abilities of high school (SMA) students, who must speak and listen in Bahasa Indonesia, Sundanese (the local language around Bandung), and English.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Guido Baumann
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
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Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
FILE
FILE RIO 09
Festival Internacional de Linguagem Eletrônica
Electronic Language International Festival
Instalações / Installations – FILE RIO 09
Casilda Sánchez e Julio Obelleiro – The Viewer – Espanha / Spain
Clara Boj e Diego Diaz – AR_Magic System – Espanha / Spain
Daan Brinkmann – Skinstrument – Holanda
Giselle Beiguelman e Mauricio - Suíte para Mobile Tags - Movimento #1 – Brasil / Brazil
Hugues Bruyère - Presence [A.K.A Soft & Silky] – Canadá / Canada
Jarbas Jacome – Crepúsculo dos Ídolos – Brasil / Brazil
Julio Obelleiro & Alberto García - The Magic Torch – Espanha / Spain
Sheldon Brown – Scalable City – EUA / USA
Soraya Braz & Fábio Fon – Roaming – Brasil / Brazil
Symposium – Simpósio
FILE RIO 09
Giselle Beiguelman & Maurício Fleury [BRA] - Mobile Tagging e a Era da Inteligência Distribuída
Diego Diaz & Clara Boj [ESP] - Hybrid city: a selection of Lalalab's research projects
Jarbas Jácome [BRA] - Sistemas Interativos de Tempo Real para Processamento Audiovisual Integrado
Hugues Bruyère [CAN] - Presence [a.k.a Soft n’ Silky]
Casilda Sánchez e Julio Obelleiro [ESP] - "The Viewer" and other confronted gazes
Julio Obelleiro [ESP] - From The Magic Lantern to The Magic Torch
Jane de Almeida & Eunézio A. Souza [BRA] - Rede Kyatera: infraestrutura para transmissão online de cinema em super-alta definição
Daan Brinkmann [NLD] - skinstrument / Lines - an intermediary installation
Cinema Documenta FILE RIO 09
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE RIO 09
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE RIO 09
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
Half the world is composed of people who have something to say and can't, and the other half who have nothing to say and keep on saying it.
Metà del mondo è composto da persone che hanno qualcosa da dire e non può, e l'altra metà che non hanno niente da dire e continuare a dirlo.
Robert Frost (1875-1963) American Poet ~ Poeta statunitense ~
Name: JuliaTanquary
Class year: 2017
Trip title: Spanish Language Immersion: Salamanca
This is an ancient Roman aqueduct in Segovia.
Anthropology professor Victor Golla works with students to produce a manuscript of the Wailaki language.
Evangelist of Korean Culture in Cyber “Yu Hwang Wu Korean Language Classroom”
Efforts and activities of about 35,000 Vank members, having performed cyber diplomatic mission through internet for 10 years since its establishment in 1999, to inform people in the world of Korea in a proper way, are well-known through mass communication.
As Vank in online, Yu Hwang-Wu,CEO of Yu Hwang Wu Korean Language Classroom, who plays a role as a private envoy in silence by informing netizens in the world of Korean culture and history through famous overseas sites such as Wikipedia, Flickr and Social Actions, is at issue.
Mr. Yu is being introduced one after another to the overseas press, excellent websites and blogs by recording English columns related to Korean education such as admissions office system, university entrance examination and essay education in Flickr and International Business Times as well as by introducing about Korean culture and history through internet.
Data, made out on the basis of Mr. Yu’s field knowledge and long know-how, is checked in United States Yahoo, Google, CNN iReport, Social Actions, Mahalo, openPR NEWS, SPEEPLE NEWS and cnblogs (博客园新闻频道).
Mr. Yu, a representative of Yu Hwang Wu Korean Language Classroom, emphasized “It is a valuable social obligation of each netizen to set up Korean position in the world in a proper way by letting people in the world know about Korean assets such as Korean culture, history and education through internet, facing the 64th anniversary of Independence Day of Korea”
Source from
Photo by Hiro Chang, Presidio of Monterey Public Affairs
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.
(poster) Esperanto, Elvish, and Beyond: The World of Constructed Languages
What are Constructed Languages?
Many people are familiar with languages like English, French, Spanish, Chinese, Arabic, Japanese, Swahili, and German. Lesser-known languages include Basque, Georgian, Tibetan, Mohawk, Quechua, and Guguyimidjir. Some languages that are no longer spoken include Etruscan, Gothic, Gaulish, Tocharian, Hittite, Akkadian, and Ancient Egyptian. The one thing that all these languages share is that they all evolved naturally, arising organically within a group of people through various natural forces. No single person defined their vocabularies, designed their syntaxes, or deliberately decided to create them.
Of course, this is a continuum. Some languages (French, for example) are regulated by government bodies like l'Académie Française. Some (like Korean or Cherokee) have had writing systems created for them but otherwise have evolved naturally.
Constructed languages, or conlangs for short, stand at the other end of the spectrum: a single person (or a small group) defines the vocabulary, designs the syntax, and deliberately decides to create a language. Why would someone want to do this when there are so many "real" languages to learn? The reasons are legion: from the simple artistic desire to play with linguistic concepts to the obsession to provide the world with a universal language. Conlangers (those who construct languages) bring a myriad of skills, tastes, and goals to the art and craft of conlanging. Conlanging is a worldwide phenomenon practiced by people of all ages. It is hoped that this exhibit will provide a glimpse into the fascinating world of conlangs and those who take part in this art. As J.R.R. Tolkien may have said in Quenya: Á harya alassë! Enjoy!
(Top left) Invent a new language anyone can understand.
~ Lawrence Ferlinghetti, “Challenges to Young Poets” (excerpt)
(Top right) My language! heavens!
I am the best of them that speak this speech,
Were I but where 'tis spoken.
~ Shakespeare, The Tempest (Act I, Scene 2)
(middle left, quote only) La plus part des occasions des troubles du monde sont grammairiennes.
The greater part of the world’s troubles are due to disputes about grammar.
~ Michel de Montaigne, Essays, Book 2
(Middle, left w/photo) …language is not the frosting, it’s the cake.
~ Tom Robbins, “What is the Function of Metaphor?” Wild Ducks Flying Backward
(Middle, center) But language is wine upon his lips.
~ Virginia Woolf, Jacob’s Room
(Middle right) We shall never understand one another until we reduce the language to seven words.
~ Kahlil Gibran, Sand and Foam
(Middle left, quote only) ...und in irgend einer fernen Zukunft wird es eine neue Sprache, zuerst als Handelssprache, dann als Sprache des geistigen Verkehres überhaupt, für Alle geben, so gewiss, als es einmal Luft-Schifffahrt giebt.
...and in a future as far removed as one may wish, there will be a new language which will first serve as a means of business communication, later as a vehicle for intellectual relations, just as certainly as there will be some day travel by air.
~ Friedrich Nietzsche, “Anzeichen höherer und niederer Cultur,” Menschliches, Allzumenschliches (1876) (Nietzsche’s skeptical late-nineteenth-century prophecy of the possibility of both an international language and air travel.)
(Bottom) Language is a city to the building of which every human being brought a stone.
~ Ralph Waldo Emerson, Letters and Social Aims: Quotation and Originality
(Dr. Seuss) “In the places I go there are things that I see
“That I never could spell if I stopped with the Z.
“I’m telling you this ‘cause you’re one of my friends.
“My alphabet starts where your alphabet ends!
~Dr. Seuss, On Beyond Zebra!
(small rectangular disclaimer; place in one bottom corner of case please):
NOTE: Translations from The Bible (Genesis 11:1-9 (Tower of Babel text) and Genesis 6:6-7) should not be taken as an endorsement of any specific religion. The use of verses from The Bible for illustrative purposes is due to the prevalence of translations of this work across both time and languages.
Colorless green ideas sleep furiously.
~ Noam Chomsky, Syntactic Structures (Chomsky cites this sentence as one which makes no semantic sense but can make grammatical sense.)
I never realized how important words are... they can make you or break you. That's why I love photographing words. Language/communication is so important... words have the power to tell people you you are; they can represent or misrepresent. Lack of words can leave people in the dark or searching; too many words can leave people feeling overwhelmed. Words can be daggers to your heart or they can uplift your soul. It's important to tell people whom you care about how important they are in your lives and to effectively express to them specifically just what they mean to you.. always communicate to the fullest extent. Ask the important questions and also learn to listen and try not to hurt the ones you love with ugly words. Otherwise you might find that you lose the people who are most important in your life. I have learned this the hard way and it was not fun. Treat people the way you would want to be treated and at the end of the day --- hello, we are all only human, so forgive, forgive, forgive. Life is too short to do otherwise.
Brian Dettmer
Imagining Language,
2012,
Hardcover book, acrylic varnish, ink jet print, frame,
9-1/4” x 8-1/4” x 1-5/8” (book), 15-1/8” x 12-1/8” x 3/4" (framed print)
Image Courtesy of the Artist and Toomey Tourell Fine Art
