Sign languages have been recognized as indigenous to Europe by the key European institutions. The European Parliament has passed resolutions on sign languages on three occasions (1988, 1998, 2016a). The Council of Europe’s (CoE) Parliamentary Assembly supported a resolution on sign languages in 2003 (Council of Europe, 2005), and the European Centre for Modern Languages (ECML; an organization established under the auspices of the CoE) has supported work on sign language teaching, learning and assessment (Leeson, Van den Bogaerde, Rathmann, & Haug, 2016
This resource establishes European standards for sign languages for professional purposes in line with the Common European Framework of Reference for Languages (CEFR) and provides an overview of assessment descriptors and approaches. Drawing on preliminary work undertaken in adapting the CEFR to sign languages, the project Signed languages for professional purposes (PRO-Sign) is the first to specify proficiency levels for sign languages establishing European standards for use in Deaf Studies and interpreting programmes offered at tertiary level across Europe and beyond. This website seeks to act as a point of reference for teachers, teacher trainers and curriculum developers of sign languages in tertiary educational environments. It may also support the work of international non-governmental organisations such as the European Union of the Deaf (EUD), the World Federation of the Deaf (WFD), the European Forum of Sign Language Interpreters (efsli) and other relevant international organisations. This website provides ‘Can Do’ descriptors for reception, interaction and production from A1 all the way up to C2 level. The descriptions also include ‘plus levels’ (e.g. A2+).
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Live programming is a style of development characterized by incremental change and immediate feedback. Instead of long edit-compile cycles, developers modify a running program by changing its source code, receiving immediate feedback as it instantly adapts in response. In this paper, we propose an approach to bridge the gap between running programs and textual domain-specific languages (DSLs). The first step of our approach consists of applying a novel model differencing algorithm, tmdiff, to the textual DSL code. By leveraging ordinary text differencing and origin tracking, tmdiff produces deltas defined in terms of the metamodel of a language. In the second step of our approach, the model deltas are applied at run time to update a running system, without having to restart it. Since the model deltas are derived from the static source code of the program, they are unaware of any run-time state maintained during model execution. We therefore propose a generic, dynamic patch architecture, rmpatch, which can be customized to cater for domain-specific state migration. We illustrate rmpatch in a case study of a live programming environment for a simple DSL implemented in Rascal for simultaneously defining and executing state machines.
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.
