Durch alleiniges Zuhören oder Lesen können nur gewisse Prozentanteile eines Unterrichtstoffes aufgenommen und verarbeitet werden. Diese traditionelle Lernmethode ist jedoch nicht für alle Menschen geeignet und dennoch stark in unserem Schulsystem verankert. Viele Menschen eignen sich ihr Wissen jedoch eher durch eine Kombination verschiedener Lernmethoden (z.B. visuell, auditiv oder durch physische Bewegungen) am besten an. Die Frage steht im Raum, ob man nicht die neuste Technologie der Augmented bzw. Virtual Reality im Unterricht verwenden könnte
Nowadays multilingualism is playing an important role in communication media, as a result of globalisation and the increasing interaction of different cultures around the world. Designers are facing new typographic challenges, when working with not only different languages but also with multiple scripts and language systems, each of them with distinct visual precepts and habits.
Taking the European context as starting point of this research and also, a good example of multilingualism, it is interesting to consider that there are currently 23 officially recognised languages within the European Union, as well as over 60 regional minority languages spoken by approximately 40 million of people. Half of Europeans are able to handle a conversation in at least one additional language, besides their mother tongue, which for most would be English, as the undoubtedly lingua franca of today’s society. Moreover, a quarter of Europeans are able to speak a third language, and a few are fluent even in a forth.
This multilingual scenario is really common in countries like Spain, Belgium or Croatia, in which the coexistence of several official languages, influence not only the daily life of their citizens but also the urban landscape through city signs or printed media.
Comparison of Spanish and Catalan texts.
In the field of design, these language requirements will affect typographic aspects of digital and printed media, when combining two or even three languages. The particularities of each language include the use special glyphs or the variation orthographic rules. This will often mean a different use of form and space while working with text and will need several typographic adjustments. For example, in German based designs, the length of the words is really significant in comparison with English or French. Non-German speakers would have a tough time if they try to use the same type and paragraph parameters they would use in their own languages. A similar phenomenon occurs with Spanish and Catalan words. Although the two languages are really similar and come from Latin roots, Catalan happens to be longer than Spanish, and also includes different glyphs and word structures which will influence the final design.
But to consider multilingualism in Europe, it is really important to have a look on the Balkan countries as a significant example of language coexistence. Within Croatia, Bosnia and Montenegro, there are up to four official languages which are used simultaneously in public communications. Nevertheless, while Bosnian, Croatian and Montenegrin are written in Latin script, Serbian (which is featured as one of the official languages in these countries) is traditionally written in Cyrillic script. Indeed, Cyrillic is broadly used in Europe far from the Russian borders and is not only owned by the Russian language. The confusion is understandable considering that Russia includes the biggest number of Cyrillic users, but this script is actually used to write over 50 languages, including Serbian and Ukrainian.
Three scripts were historically used in the former Yugoslavia: Cyrillic, Latin and Glagolitic, also agents of cultural, religious and political identities. The parallel development and coexistence of the Yugoslavian languages resulted in shared features which make western Balkan languages really similar to each other, although written in different scripts.
The concurrence of this languages across countries often leads to political misunderstandings at a time of separation and division. With a multilingual background, the designers Marija Juza and Nikola Djurek developed in 2012 Balkan, a bi-scriptural typeface meant to create unity and reconciliation in favour of education, tolerance and communication. The typeface is designed to combine both Latin and Cyrillic scripts for the transliteration of Croatian and Serbian, inspired in a phenomenon known as “The Balkan Sprachbund”, based on the linguistic features shared between different languages because of proximity. It uses single, shared glyphs to represent the sounds of both languages and allow users who don’t know Cyrillic to read texts in both scripts at the same time. Undoubtedly, a good tool for learning about different scripts and bring languages together.
Balkan Type Specimen by Nikola Djurek and Marija Juza
The combination of different scripts would be a struggle for those designers who were Latin based. Although several characters may seem familiar, they include its own orthographic rules and variations, which should be considered before starting to work with typography and layout. Cyrillic looks really beautiful and appealing, especially considering its geometric and regular shape, really different from Latin ascendant and descendant letters. Considering the vast number of languages in Europe, it may be a good moment for designers to explore their orthographic and script requirements as a challenge for their typographic knowledge.
FS Sally Pro Specimens in Latin, Cyrillic and Greek
„Understand how people think is crucial if you’re going to design for them.“ (Weinschenk Susan)
Um Emotionen und ihren Zusammenhang mit Design verstehen zu können, muss man sich zunächst mit den drei verschiedenen Aspekten unseres emotionalen Systems auseinandersetzen. Don Norman unterscheidet in seinem Buch, „Emotional Design: Why we love (or hate) everyday things“, zwischen drei verschiedenen Formen: visceral (instinktiv), behavioral (verhaltensbezogen) und reflective (reflektierend).
Wenn Unternehmen nach etwas Neuem und Kreativen gefragt werden, neigen die Mitarbeiterinnen und Mitarbeiter meist dazu, das bereits Erreichte zu optimieren. Es bleibt wenig Zeit über neue Ideen oder Lösungen nachzudenken. Der derzeitige Fokus auf Effizienz ist der Gegensatz zur Kultivierung einer kreativen Umgebung. Doch um innerhalb der Komplexität des 21. Jahrhunderts relevant bleiben zu können, müssen wir kreativ sein. Um diesen kreativen Arbeitsplatz zu entwickeln, müssen wir umdenken – quasi einen Schritt verlangsamen um schneller zu werden.
Jeder hört gerne spannende Geschichten oder liest ein packendes Buch. Doch selbst die spannendste Geschichte wird mir persönlich bei zu vielen Details und unrelevanten Beschreibungen zu anstrengend. In der heutigen, sehr schnelllebigen Zeit gilt bei der Kommunikation meist das Motto „Komm zum Punkt“
Instagram wird als Social Media-Plattform jährlich größer und bedeutender und hat Facebook als wichtigstes Netzwerk unter jungen Leuten längst abgelöst, obwohl Instagram 2012 von Facebook aufgekauft wurde. Von einer einfachen Image-Plattform mit klaren Einschränkungen (1:1-Seitenverhältnis für Fotos, statische Filter) wurde die App um zahlreiche z.T. trendweisende Features erweitert (Stories, Insta-TV, animierte Filter) und wird aktuell von etwa einer Milliarde Usern regelmäßig genutzt.
Was treibt Menschen dazu an Bilder und Geschichten in sozialen Netzwerken mit Freunden und zum Großteil uneingeschränkt mit fremden Personen zu teilen? Entspricht die digitale Darstellung des Selbst dem „echten“ Selbst, welches im Alltag zum Ausdruck kommt?
Livestreams bieten im Gegensatz zu Videos, Content Creator eine direktere Form der Interaktion mit ihren Zuschauern. Interaktionen können beispielsweise über einen Chat erfolgen oder über verschiedenen Erweiterungen erfolgen.
Streamer können in Echtzeit mit ihren Zuschauern interagieren und auf verschiedene Events die durch Zuschauern ausgelöst werden reagieren. Aufgrund der schnellen Entwicklung der verschiedenen Dienste wie Twitch, YouTube und co. und der immer größeren Verfügbarkeit von High-Speed-Internet, können Interaktionen nahezu in Echtzeit geschehen.
This idea is inspired by MarI/O, an AI that uses a neural network and evolutionary computation to learn to play the Game Boy game ‘Super Mario World’ on an emulator; solely by interacting with the game.
In my research, I aim to build a similar AI. In the first step, the AI should be able to access controls and to make inputs by itself. In the next step, the AI should learn to play a game – Super Mario World seems to be very fitting. After the AI manages to clear a few levels, the AI should also be applied to other emulated Game Boy games.
This will be achieved by doing research on the topic, using both online sources and primary literature. The AI will be developed using the IntelliJ IDE and the Python programming language.
Electoral turnout has been in steady decline over the past several decades. Neither the numerous motivational incentives, nor the lowering of the voting age, nor the pandering to electoral fringe groups could spur voters to take their voices to the ballots. While here in Austria there were 500.000 more voters eligible for the general election (Nationalratswahl) in 2018 than 13 years ago, the percentage of voter participation dropped more than 7% – from 86% in 1995 to 78.8% in 2018. The same pattern can be witnessed in the Austrian presidential elections. From a “high water mark” of 95% back in the 70s, the turnout declined continuously to reach the lowest ever value of 70% in 2016. This pattern emerges throughout all elections. But why?
Angesicht unseres Habitus schreiben wir Sound bestimmte Emotionen zu. Zudem spielt Musik in der Menschheitsgeschichte eine entscheidende Rolle, denn es gibt kaum eine Kultur ohne musikalische Aufzeichnungen. Bei dem Selbstversuch der Beschreibung und der Beschäftigung von Klang, Musik und im speziellen Sound, spielt Subjektivität eine dominierende Komponente. Denn gerne wird behauptet, Klang und Musik ist die Sprache der Gefühle. Wenn ich dieser Annahme vertraue- müsste dann nicht Emotion selbst im Sound vorhanden sein? Viele Annahmen gehen davon aus, das Klang an Raum und Zeit gebunden ist. Denn Klang ist etwas Flüchtiges und entsteht erst durch die Produktion einer Interaktivität.
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