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âSpanish Language Dayâ commemoration event in room XX. Casilda Regueiro and the Lancy-Genève Orchestra. Geneva, Switzerland, October 13, 2016. UN Photo/Pierre Albouy
Perhaps the signature structure of the Syracuse University campus, the Hall of Languages has stood here on University Hill since 1871. Its Second Empire architecture is the design of Horatio Nelson White. It was added to the National Register of Historic Places in 1973 and has even been featured on some of the men's basketball team uniforms.
Syracuse University. Syracuse, New York.
Finnish, Swedish and English translation of the New Testament and the Psalms.
Philippians chapter 3:.
Irish language daily La is stashed away between Spain's El Pais and the Italian la Repubblica in Eason's in Dun Laoghaire. Ironically it's one of the few towns in old Co Dublin not to have an official name in English. Yet, it seems Irish is casually considered a foreign language here.
I had strok August 2013 and hav Aphasia. I had a strok January 2014 and Aphasia wors. I not talk gud, not rite/spell gud and I forgot names of famly and frends. Aphasia not nown bout bi peple they think I stupid cus not talk gud and not rite gud, I rite lik here. It hard not no names husbnd, children and granchildren. I cri lots.
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.
PRESIDIO OF MONTEREY, Calif. -- Defense Language Institute Foreign Language Center students and staff marked Patriot Day with a Fall Resiliency Day event held at the Price Fitness Center field Sept. 11. Presidio of Monterey Garrison Commander, Col. Paul Fellinger and DLIFLC Commandant, Col. Phillip Deppert kicked off the event by signing a joint proclamation declaring September suicide prevention month. Resiliency Day combined athletic competitions with a variety of additional recreational activities, food vendors and informational booths to improve the well-being of the body, mind and soul.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
This postcard is written in French. Salut, Renae!
Here is a Rockford landmark - the Woodward Governor Water Power machine Shop/Mill House. A very peaceful view.
PRESIDIO OF MONTEREY, Calif. - The 229th Military Intelligence Battalion celebrated the 237th birthday of the Army at the Monterey Hyatt on June 9. The theme for this year’s ball was ‘Army Linguist: Everywhere, Every Day, Every Language.'
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
The Dongducheon Foreign Language High School invited U.S. Army Garrison
Casey Commander Lt. Col. Steven G. Finley, as a keynote speaker on May 14.
Finley spoke to 113 students and faculty members starting with a brief
biography and he explained why he had joined the U.S. Army. Students asked
questions about his career, family, hobbies, and the daily life of a
Soldier.
Throughout his speech, Finley charged the young Korean students to start
thinking about their future and establish a twenty-year plan, or "road map"
for their life.
Near the end of his speech Finley cheered, "readers are leaders" as way to
motivate the future leaders to develop positive and healthy habits.
Red Cloud Indian School's Lakota Language Project takes the classroom to the badlands. Read about the trip and watch the video by Keloland Television here: www.keloland.com/newsdetail.cfm/red-cloud-students-find-l...
For media use or inquires please email: info@redcloudschool.org.
© 2015 Red Cloud Indian School, Inc.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©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
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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.
The great comedian Sid Caesar does not endorse the following method of improving at foreign languages.
I teach English in Japan, lately with I like to think increasing success, and I speak & write Japanese. My trick for learning foreign languages is....
The Sid Caesar method: If you learn to impersonate languages, no matter how badly, you will also learn how to speak them. Please give this time, and try the experiment.
Gradually it seemed to me that the biggest difficulty with learning a foreign language is not making meaning but the fear of the lack of it.
What do I mean?! The story goes like this.
When I learnt to speak Japanese after studying it for about 4 years I also found myself able to speak and read French. I had never been good at French at school, but something in my head, my psychological attitude to language had changed. I am not saying I am good at French but suddenly I had no problem with blabbing in my bad French. For a long time I did not work out what had changed.
Then two things happened:
1) I came across some research by Steven Heine, extending "terror management theory" arguing that there is not thing more scary than the absence of meaning. You can download his paper here Page on Psych
2) I came across some comedians that "impersonate languages" such as the late great Sid Caesar, and I thought "That's it. That is what changed."
Here is Sid Caesar impersonating French and other languages.
When I was young I had a black friend who (though he is as English as I am) when treated with prejudice in a public place used to reply in his impersonation of an African language. At the time even the thought of impersonating a language filled me with dread. But now I hardly break into a sweat. I am not as good as Sid Caesar in the above video but speaking in gobbledygook no longer hurts. I will append my video at the end.
Many people (especially in Japan) think that foreign languages are very difficult, and that you need to know a lot of grammar and vocabulary. At the same time, many native speakers (especially children) use a small vocabulary and the grammar they use could be written on a postcard. In other words the intellectual, structural, and factual information required of being able to speak like a child in a foreign language is the sort of thing you can learn in a couple of days.
This fact has been known in the language teaching community for some time, and leads to an emphasis upon "acquisition" of language through practice, rather than learning of language (e.g. rote memorisation of grammar and vocab).
But even using Krashen or other acquisition / communication centred techniques, progress is slow. What is the reason for this? One reason is that practice is required, just as it is required in another other skill, such as tennis. You don't become a good tennis player just by learning tennis theory.
But there is another aspect that is peculiar to language. To an extent we live in language, we narrative our selves in it, and when the language lacks meaning it results in a loss of self that is almost as scary as death (see Heine's research above). When we go to speak a foreign language, and let roll with a sentence that may well be all wrong, and may meet with a complete lack of comprehension, we enter that world of unmeaning and experience something akin to death. And this is terrifying.
However, of course, we do not die and we gradually learn not to be scared.
There is quicker route. If you practice impersonating languages, such as by watching a YouTube video of an Italian interview and then practice speaking in fake Italian mimicry (like Sid Caesar above) then you can, gradually, overcome this fear of flying into unmeaning. I am not saying that you will suddenly become a polyglot, but it will make foreign languages easier.
At the least you will become aware of one of the biggest, I would say the biggest, obstacles to foreign language proficiency.
The experiment.
1) Time yourself for a minute. Try and say as much as you can in the foreign language of you are trying to learn.
2) Then watch a video on YouTube of a language that you know nothing about and try impersonating that language for one minute. Do not worry about the quality of your impersonation, just try and make various word like sounds. (You can find some Chinese by searching for "發明" or some Italian, I think, by searching for "intervista")
In which case did you make more sound? I am guessing that you made more sounds in case (1) even though you had to use correct grammar, correct vocabulary. In case (2) you could have made any old noise.
In other words, it is not the words, the meaning, the grammar that is difficult, but the un-meaning that is the biggest, terrifying obstacle to foreign language acquisition.
If you can already "do a Sid Caesar" then I predict you will be quick at learning foreign languages or already can speak one.
Here is me impersonating Chinese. It is not good and makes me cringe a bit still but in times past the mere thought was quite beyond the pale (i.e. s*** scary). Here is a link to my video of me Impersonating Three Languages.
Image of Sid Caesar in 1959 above adapted from this image which is apparently in the public domain
Addendum (Big Mistake)
"My head" is inside my narrative and field of view, not the other way around! This is a very important point and the danger of the scientific worldview. The scientific world is a product of our narration as even some scientists a vow (Wheeler, Mach). Our head is also something we see in our field of view in mirrors, or our nose and brow directly. Our perceptions (including of our whispers) are not inside "me" or my body. To think so would be double death.
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.
Other than learning Spanish in school, a Spanish language software can be purchased either online or in computer stores so you can learn from home instead.
What types of Spanish language software should you download? Find out: www.learn-spanish-software.info/spanish-language-software...
Lacan famously said that the unconscious is structured like a language. I have not the foggiest what he meant but he may have meant the way in which, as demonstrated by Asch and Rosenberg, Westerners understand the world, and make evaluations based upon how language understands the world.
The above shows a two dimensional model of personality from Rosenberg 1968, showing that some character traits are considered close to each other in four groupings (1 skilful, industrious, important, practical, trustworthy, honest, serious, decisive, scrupulous, 2 Fun, popular, sociable, warm, good natured, humorous, 3. frivolous, insignificant, untrustworthy, dishonest, not fun, 4. Irritable, Humourless, unpopular, cold, unsociable). These are groupings of the meanings of words, but Westerners tend to make evaluations based upon such groupings. Hence, as demonstrated by Asch (1946), if someone is described as being A.intelligent skilful industrious warm determined practical cautious, as opposed to B. intelligent skilful industrious cold determined practical cautious with only the central warm changed to cold - then they are far more likely to be judged to be good natured with the ratio of people judging them to be so dropping from 94% to 17%.
Doing this in Japan however, we find that people are far less likely to change their opinion based on the change of only one adjective. Peng and Nisbett (1999) analysed for instance evaluations of contradictory Yiddhish proverbs (which are common in both China and Japan) and found that Chinese are far more likely to positively evaluate contradictory proverbs. Peng and Nisbett, call this tendency of Asians not to require that evaluations conform to the dictionary dialectical thinking. In my own view it is rather more just that Chinese and Japanese are far less likely to be thinking in language (as demonstrated by Kim) and are probably imagining the situation. If you do imagine the situation then the platitudes that Westerners are fond of such as "cold people are not good natured" "Warm people are good natured" do not always play out. If you imagine people you know, you will find there are people who are cold in the presentation of their emotions, but who are also good natured in their acts.
Asch, S. E. (1946). Forming impressions of personality. The Journal of Abnormal and Social Psychology, 41(3), 258. Retrieved from psycnet.apa.org/journals/abn/41/3/258/
Heine, S. J. (2001). Self as cultural product: An examination of East Asian and North American selves. Journal of personality, 69(6), 881–905. Retrieved from onlinelibrary.wiley.com/doi/10.1111/1467-6494.696168/full
Peng, K., & Nisbett, R. E. (1999). Culture, dialectics, and reasoning about contradiction. American Psychologist, 54(9), 741. Retrieved from psycnet.apa.org/journals/amp/54/9/741/
Rosenberg, S., Nelson, C., & Vivekananthan, P. S. (1968). A multidimensional approach to the structure of personality impressions. Journal of personality and social psychology, 9(4), 283. Retrieved from psycnet.apa.org/journals/psp/9/4/283/
奥田秀字. (1997). 人をひきつける心: 対人魅力の社会心理学. 東京: サイエンス社.
El duet musical Za! va ser l'encarregat d’una visita peculiar a l'exposició sobre l’obra del col·lectiu Art & Language, que es podrà visitar fins al 12 d'abril. Amb la seva música i les performances, van fer participar al públic de noves maneres de gaudir de l'espai expositiu.
Foto: Miquel Coll
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.
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.
The 2nd K-Pop Academy students enjoying a lecture on 'Everything about Korean Language' on Saturday, 6th October 2012.
Now in its 2nd Term, the Kpop Academy is a course that encourages K-pop fans to learn more about the culture of Korea.
This course aims to give K-pop fans a firm grounding in the history of the development of the K-pop phenomenon – including an understanding of Korea’s history, culture, language, food, etc.
It will also allow K-pop fans to develop an understanding of the dynamic relationship between K-pop music and Korean cultural determinants. Moreover, the ‘K-pop Academy’ will help students understand K-pop as both a Korean and a global phenomenon. It will also encourage a more hands-on approach, where students will participate in various activities – for example, cooking a Korean meal. Finally, this course will give students an understanding of the interconnectedness of K-pop as a form of mass entertainment.
PRESIDIO OF MONTEREY, Calif. -- The U.S. Army Garrison, Presidio of Monterey, in conjunction with the Fort Ord Area Retiree Council and the Defense Language Institute Foreign Language Center, hosted its annual Retiree Appreciation Day at the General Stilwell Community Center, Ord Military Community, June 6.
Retiree Appreciation Days are held to provide retired service members and their families the latest information regarding changes to retirement benefits and to foster goodwill between the retired and active-duty communities. The program included talks on veterans’ issues, a congressional update on veterans’ benefits and entitlements and other issues impacting the national military retiree scene including Space-Available travel. Following the formal program, a free lunch was served by active-duty service member volunteers from the Defense Language Institute Foreign Language Center.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, California -- The Defense Language Institute Foreign Language Center Joint Service Color Guard and marching units representing the four military branches led the April 8 parade in "America's Last Hometown" that officially kicked off Pacific Grove's 60th Annual Good Old Days festival. The two-day event, which featured carnival rides, 220 arts and crafts vendors, 35 food vendors, and 60 musical acts spread across five stages, is the largest of its kind in Monterey County. Active duty service members were treated to complimentary meals at the Pacific Grove Chamber of Commerce tent courtesy of Steve Gorman and the PG Police Officer's Association.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, California -- The 2017 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 12. Language Day is open to the public and attended by schools throughout the region to promote an understanding of diverse customs and cultures from around the world. Approximately 5,000 people attended the annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors on Presidio’s Soldier Field.
The event featured a Vietnam War veterans recognition ceremony. Vietnam War lapel pins authorized by Congress were individually presented by POM Garrison Commander Col. Lawrence Brown and Garrison Command Sgt. Maj. Roberto Marshall to approximately 75 Vietnam War veterans in attendance.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
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.
PRESIDIO OF MONTEREY, California -- The Defense Language Institute Foreign Language Center celebrated the upcoming Memorial Day with a ceremony on Presidio’s Soldier Field May 25. The ceremony included a solemn invocation by the Chaplain, a 21-gun salute rendered to fallen service members, firing of the ceremonial cannon, performances by the DLIFLC Joint Service Student Choir, and three names added to the plaque in honor of DLIFLC graduates killed in action during the Vietnam War. Guest speaker for the event was City of Salinas Mayor Joe Gunter, who is also a Marine Corps veteran.
Following the ceremony, the Presidio Garrison hosted a special reception event for Gold Star Families who were in attendance.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Has a slightly sci-fi - cum - Shangrila look, doesn't it? Beautifully maintained and commanding terrific views over the local countryside dominated by groves of vines and haze-topped mountains. Well worth a visit.
For some strange reason, there was a scotsman dressed up in tartan kilt, sporran, the full works, playing the bagpipes to a family gathering, inside the monument walkway, itself. His skill was such it was rather charming, but an odd moment and more than a tad surreal ...