posted by ben at 8:06 PM
0 comments
Wednesday, October 25, 2006
Tuesday, October 24, 2006
content as is
I'm heading over to gabi's today to film a video, and after that has been edited, i will complete this text, and put it into a 'beautiful book'. any comments more than welcome.
Mission:
To produce media which raises awareness of deaf people in the city, represent the deaf experience, and include them in city networks.
Proposal:
I propose an installation which displays the ‘deaf experience’ in the city. Content is gathered from deaf people and formed into a piece of poetry both in Auslan and English simultaneously. It is displayed publicly through a video, in both languages. Several media projects need to be implemented beforehand to get the support, trust and interest of the deaf community.
One idea is to place large graffiti-like posters in the city, with Auslan diagrams challenging people’s perception of deaf people and publicising deaf awareness. Another is to create an open source Auslan video ‘street magazine’, which would be displayed at a monthly release at an existing deaf community gathering, and then available online and possibly on the street somewhere.
These proposals have potential to raise the hearing public’s knowledge of deaf people in the city, and provide a connection between deaf people.
Background:
I have been looking at silence in the city from the perspective of a deaf person. I believe that deaf people are largely ignored and left un-catered for in our cultural landscape. My perception of language has changed, along with my cultural sensitivity, and awareness. I believe Auslan (Australian Sign Language) has an important part to play in communication, and as a true language. I also believe that there needs to be more publicity to raise awareness of the deaf experience and of deaf people. I may not be the best person to carry this project through, as I cannot sign, and this creates communication barriers. Someone who is hearing but can sign, and has an interest in this project – would be the best candidate to follow it through.
Deaf culture, community, support
The deaf community in Melbourne (and Victoria) is tight knit in connection and physically dispersed. For instance, 300,000 of the Victorian population are deaf or have partial hearing loss, but there are only 5000 Auslan users (VicDeaf). Deaf schools, deaf classes at Kangan Batman TAFE and deaf community events are physical places for deaf people to meet.
There is an increasing trend towards using online chat, SMSing, and email. This trend worries some in the deaf community who believe that online communication diminishes signing popularity, and replaces Auslan with English. Online Video chat a compromise, combining the ease of technology with the use of Auslan. It is not the technology which some dislike, but rather the push towards assimilation of deaf people into hearing people’s culture, particularly the use of English instead of Auslan.
Capital D Deaf Culture is recognised as the active involvement in the Deaf community, usually stemming from Deaf families, where some have been born deaf. Deaf culture embraces being deaf, typically uses technology as an aid rather than dependence (hearing aids, cochlear implants etc) and maintains the use of Auslan. Little d deaf people tend to try and fit more into hearing culture. They fully embrace technology, make more of an effort to communicate in English, and are typically from families who do not have a deaf history. The difference between big D Deaf and little d deaf culture is shown vividly in the video, ‘In the land of the Deaf’. This video relates specifically to education, but shows the strengths and weaknesses of both sides of the deaf culture coin.
In Melbourne, there are many organisations which foster Deaf culture, give advice to hearing disabled people and petition for deaf rights. VicDeaf seems to be a more administrative organisation, with deaf and hearing people as employees. The Victorian Council of Deaf People relates more to community events, debate, deaf arts and awareness. Kangan Batman TAFE is a hothouse for Auslan education. I viewed an Auslan Play which brought the deaf community together and for me, brought to light the strength of the deaf community. La Trobe University also has Auslan classes. Transport Bar hosts deaf drinks on certain nights.
There is a definite disparity between the hearing and deaf communities. Deaf culture, similarly to other minority cultures, has generally been oppressed by hearing people. Alexander Graham Bell (hearing, but mother and wife were deaf) is known as the ‘father of the deaf’, but also wanted to abolish hereditary deafness, and is widely acknowledged as an Audist (one who believes that hearing people are superior to deaf people, comparable to racism or sexism etc). The AG Bell foundation ‘promotes the use of spoken language and hearing technology’ (AG Bell). In other words, AG Bell is part of the little d deaf culture, and pushes for assimilation of deaf people into hearing community. From this example of just one international organisation, it is not surprising that big D Deaf culture shies away from building bridges between deaf and hearing communities.
The current situation in Victoria is one of largely exclusive multiculturalism, whereby deaf and hearing communities do not generally mix. Consider that there is less movement by the dominant hearing population to cater for deaf people than there is for deaf culture to join hearing culture. That’s not to say that there is nothing being done. Tertiary Education of Auslan is in higher demand than there is supply, and basic awareness and education in primary schools is in current curriculum. Disability Liason services such as at RMIT help to educate deaf people in a hearing environment.
Debates exist as how to include hearing people into deaf culture and vice versa. My opinion is that awareness is one of the first steps which need to be made. Bridging the gap of acknowledging the deaf community is one of main priorities.
Video, technology and language
One of the basic misconceptions of Auslan is that it is purely signed or mimed English. The syntax is different to English and there are 4000 basic signs, though these can be altered to describe slightly different words. Auslan is a visual/manual language rather than oral/aural, and so video is the equivalent to recording an English voice or writing English. Signing diagrams (glosses) do not fully represent the actual signs, and so are not suitable for communicating between signers. However, diagrams can be used to learn signs, or to interpret into English – though it is a primitive method.
Consider: ‘that Sign is kinetic and three dimensional, and so enables the simultaneous representation of, for example, more than one noun, or a noun and a verb, in space. This aspect of Auslan, which lends to its concision, necessarily makes literal translation into English impossible.’ (http://members.ozemail.com.au/~gamgee/writing_handtalk.html#sign_auslan) Also, signs do not translate at all. In fact, interpreting is even a loose term. When I was interpreted myself, I used the word ‘naïve’. The sign that it was used to interpret was very representational and consisted of four fingers outstretched on the left hand and one in the right close to the body. I asked about this sign, and was told that it also relates to ignorance and abandonment. ‘Translating’ from one language into another is never easy, but signing is even more complicated. Ask hearing people to mime a scene or read a line, and they will all act differently. Similarly, signing people add their own characteristics, slang and take on the content differently.
Technology such as cochlear impants have already been mentioned as helping deaf people. Also video chat, chat rooms, email and texting are helpful. An example of new technology are PowerGloves, which are gloves that contain sensors which translate finger position and angle etc, into data which is translated into English. Simple sentences can be processed, but the language still remains in Auslan syntax, and so only the general idea can be communicated. (http://www.cse.unsw.edu.au/~waleed/thesis.html) Still, with more research, this technology could help to further bridge the gap between deaf and hearing communities.
Personal Agenda
My personal agenda started when I talked with my friend Gabi about the hearing project and she expressed what its like to be partially deaf. I found it intriguing that I couldn’t empathise with how it is to be deaf – what I call the deaf experience. I set about designing a traditional product which could translate sound tactilely. However, I felt this didn’t bring out the issues and experiences which I wanted to. I realised the best way to express how it is to be deaf is through deaf language – Auslan. I learnt a lot about how it is to be deaf; especially concerning communication, community and culture. Through this learning I recognised the need for deaf awareness and publicity and created a framework to produce a video.
Process
Pre-Projects
Firstly, support must be gained from the deaf community. It is hard for a hearing-non-signing person to get support because of understandable prejudice towards the hearing community. It wouldn’t hurt for the project manager to learn sign, or have a translator at hand. So, two major pre-projects are suggested to raise interest and trust from the deaf community:
1. A poster run which communicates deaf sentiments through glosses of Auslan. This would raise awareness of both Auslan and deaf people through its visual appeal and also content. For instance a interpretation of ‘not silent’ could be posted around walls in Melbourne, with a link to a website (possibly option 2’s website)
2. An open source ‘street video magazine’, produced monthly with articles in Auslan. The articles wouldn’t necessarily be about being deaf, or raising deaf awareness, but for the deaf community by the deaf community. The design would be purely in the technological set up, giving the opportunity to record articles, or have production of videos with Auslan narration. Below is an example of how a preliminary set up could be achieved, before a serious website is developed.
Develop 3 free tools: email, storage and a vlog. These could be done through gmail, google-video/zippy videos/you tube/our media/blip.tv and blogger/wordpress respectively.
Auslan contributors could record their own footage and upload it to the storage, or to their own storage and email the link. Or, a recording session could be set up to record an article. The magazine would be distributed once a month, launching on the first Friday of each month at transport bar (already an unofficial deaf community get-together). And then be available online (possibly with the help of Adrian Miles, RMIT). This would suit people who want to get away from relying on technology and create more of a crowd at transport. It could also be made into a DVD or video for those without internet.
If it becomes successful, a domain name would be purchased (i.e www.deafstreetmag.com.au) and then forwarded onto the vlog address. This would save time by not having to design a website. Initial advertising can be through email, word of mouth (figuratively), and the first project posters. Later, an RSS feed could be set up to be posted on the websites of VCOD, VicDeaf etc. to alert them to new instalments.
The website could also be used to publicise the major project, and to publish it (and an English transcript) after it has been completed.
Major Project
The Major Project will follow the framework outlined in Fig1.
(Where the Project Manager is myself, and the poet: Kate Middleton)
In explaining the steps which should be followed, I may describe actions I have already taken, and the shortfalls I have found. As mentioned, support from the community has been a major setback, but I believe the pre-project actions will stir more interest.
The first step is to gather a group of deaf people, to relate their experience of being deaf in the city. To make this easier I posed several questions:
Can you describe broad or common experiences in the city?
Are there any specific examples of experiences you have? (i.e There was this one time….)
What emotions do you feel in the city? Are any of these emotions more characteristic of a deaf person?
How do you believe being deaf (in the city) affects you?
What is being done/needs to be done for deaf people in the city?
How does a deaf person experience what a hearing person experiences as sound? (etc, vibrations of trams) And how could this translate into something a hearing person experiences? (i.e getting a hearing person to empathise more with deaf people.)
Is the city dangerous, likeable, intriguing etc?
How can hearing people accommodate better for deaf people?
What do you think your experiences in the city have in common with other deaf people’s?
Can you think of metaphors or similes which describe your experience or emotion (in English or Auslan)?
From my experience in receiving response from these questions, I felt like the person responding was treating the questions like a census or survey. I think it is important to build vivid emotions, romantic ideals and bring together common ‘magic’ experiences to make a special poem – not just a list of complaints. To solicit this, I wrote an abstract of the kind of responses I would write, if these questions were posed to me (as a hearing person):
‘like a little ant farm or rabbit warren, with people coming and going. Riding through the city with the wind rushing past, dodging trams, the blip blip of the green walking man buzzer, street sellers, hawkers, music from cafes, dank alleys, exploring new things, finding cafes and galleries never seen before, stealing a smoko on an upturned milk crate, sifting through dumpsters for gold.’
A discussion group would provide for the best content. If a group could be formed, and posed discussion questions, then the results of the process would be verified by the fact that there were lots of people discussing it. It would verify whether what is said is shared by the wider community. This discussion should be videoed. Along with this discussion, interviews could be filmed.
These Auslan described experiences should be coupled with responses from email, letters, forums and chat, in an English form. This content is then reviewed by a team of a deaf representative, interpreter, and an English Poet as the poem should be written simultaneously in English and Auslan.
If the poem were to be produced in English only, it would be completely inappropriate, as English is not necessarily the first language of deaf people. It would be better expressed in Auslan, but then would have no impact on hearing viewers. This is why the one poem should be written at the same time it two languages. A small blurb could accompany the video installation and the English version never published. A better solution would be for the English poem to be performed on video in a similar format, and displayed at a different time or place.
Kate Middleton is a poet who I approached to take the position of an English speaking poet. She has a background in music, and writes with spoken word and timing in mind. Her experience is essential in combining the subtleties of a new language (Auslan) with her knowledge of English. She also seemed keen on the project and had some ideas straight away.
This is the point where I got with my project. I didn’t get any feedback from the deaf community, which stopped me from going further. Therefore, everything from here on is an idea, and is flexible in the way it comes together.
Following the diagram outlined previously (fig 1), the content would be shaped into a piece of language in English and Auslan simultaneously. Issues of length, exact content, tone etc, are negotiable. The most effective content would be one rich in emotion and intrigue. A basic level of experience does not justify an intriguing poem. For example, simple ‘I did’ statements are not useful.
This poetry should be videoed and written down, and reviewed with consultation from both sides. The poetry should accurately reflect the feelings of the deaf community. Finally, the poetry should be placed in-situ and reviews taken, and fed back into the content.
Alternative Outcome
An alternative, easier, but less desirable outcome is to write a piece from the perspective of one deaf person. Perhaps this should take the form of one piece within a framework of many personal videos produced by deaf people. The most difficult part of the original project is imposing an idea on a community and vying for their support. With this method, a more accurate idea of an individual’s viewpoint can be ascertained, as one gained from a community will never reflect the views of all. This individual video also effectively raises awareness of the deaf community and Auslan. However, it is not as powerful as a group voice.
With this idea in mind, I set up a meeting with my partially deaf friend Gabi (who is learning to sign, and can sign well), Scarlette (a hearing friend of Gabi’s who has deaf friends and can sign fluently) and myself.
Content here
Production and Site placement
The production and placement of the video are some of the most important aspects of the project. Depending on the final content of both the Auslan and the English, it may be appropriate to do one of the following options:
1. Create a video of the Auslan, with an English blurb describing the project at the site and an online interpretation. This is one of the favoured options as it makes the poem mysterious to non-signers. However, the content could be lost by those not bothering to find it online.
2. A method similar to the first option, but create a video of the poem in English instead of displaying it online. The poem should not be shown in the same vicinity and time as the Auslan version, because hearing people will divert attention to the one they can instantly recognise. It could be put on the same reel and played after the Auslan version. Preferably, it would be displayed somewhere else, and directions would be published in the blurb.
3. Perhaps the reel could contain several versions of the poem: one in Auslan, one in English, one simultaneously read/performed, scrolling text, Auslan with subtitles and English with Auslan interpretation. This option would not be as hard hitting, but would be more educational. One could observe the video and compare the languages, and the content would be more up front.
As mentioned earlier, the video(s) should be installed publicly and available online on the pre-project website. It may also be launched at a deaf awareness week or at a regular deaf event. As with the online magazine event, it would be available on DVD or video for people with no internet access. However, by far the most exposure should be through a public installation.
When installing publicly, issues of vandalism and theft come into play. Equipment used to play a video (screens, media player etc) are valuable, and would need to be protected or installed out of reach. To overcome this problem, existing media players and video screens could be used to play the video. Building a new housing or position for a screen would add considerable cost to the project, and would not attract more attention than existing screens which already have an audience and prime position. The video needs to fit in with the current framework of the city. Business people bustle along king street, students scurry around RMIT and shoppers clog Bourke Street. It would be inappropriate to dump this sensitive material on the NIKE store screen, but would find its niche on a retro TV in a café in Degraves Street. The video must be placed to appeal to appropriate people; otherwise this project is without an audience.
With this in mind, the following sights would be suitable for the spectators which visit them:
1. ACMI – could be entered into an exhibition or permanent collection. ACMI tends to like ‘Melbourne’ oriented projects.
2. Federation Square video tower – excellent coverage, large visiting audience, attracts people visiting for the first time, admiring the architecture, would enhance the experience of the space, would not be hindered by the poor sound quality.
3. Small exhibition – placed tastefully and intriguingly in a popular café (Degraves), bookshop (Readings) or gallery (McCulloch, first site) to attract a small targeted audience.
4. In an existing media friendly environment such as Loop Bar or Horse Bazaar. Both have infrastructure which allows for the showing of the video. However, would be treated more as video art, not a poem with a message.
5. Transport bar initially (perhaps coupled with fed square), as this is already a deaf hangout at regular times.
6. Shop window – may not relate to the content of the store, but provides a piece of art for the window, which is safe. Could be part of Retail Art Walk (fashion week).
7. A public booth available during a festival. Funding could be sought to hire infrastructure to show the video within. May require more work, but would advertise to and bring in an interested audience.
Sites will need to be reviewed at the time of installation. If the original brief of sites of respite is relevant, then this will also need to be taken into account. In this case, perhaps a personal booth is more appropriate; moving into a permanent installation after the festival has ended.
Conclusion
This project has a lot of potential to bridge between hearing and deaf communities. I think this should be its main aim, together with raising awareness of deafness and Auslan. It is imperative though, that it still remain an art-form, not a preaching video, or a complaint. When both hearing and deaf people can recognise the major project (and its pre-project or alternative project phases) as important for both communities, the bridges in individuals’ minds will be built.
Mission:
To produce media which raises awareness of deaf people in the city, represent the deaf experience, and include them in city networks.
Proposal:
I propose an installation which displays the ‘deaf experience’ in the city. Content is gathered from deaf people and formed into a piece of poetry both in Auslan and English simultaneously. It is displayed publicly through a video, in both languages. Several media projects need to be implemented beforehand to get the support, trust and interest of the deaf community.
One idea is to place large graffiti-like posters in the city, with Auslan diagrams challenging people’s perception of deaf people and publicising deaf awareness. Another is to create an open source Auslan video ‘street magazine’, which would be displayed at a monthly release at an existing deaf community gathering, and then available online and possibly on the street somewhere.
These proposals have potential to raise the hearing public’s knowledge of deaf people in the city, and provide a connection between deaf people.
Background:
I have been looking at silence in the city from the perspective of a deaf person. I believe that deaf people are largely ignored and left un-catered for in our cultural landscape. My perception of language has changed, along with my cultural sensitivity, and awareness. I believe Auslan (Australian Sign Language) has an important part to play in communication, and as a true language. I also believe that there needs to be more publicity to raise awareness of the deaf experience and of deaf people. I may not be the best person to carry this project through, as I cannot sign, and this creates communication barriers. Someone who is hearing but can sign, and has an interest in this project – would be the best candidate to follow it through.
Deaf culture, community, support
The deaf community in Melbourne (and Victoria) is tight knit in connection and physically dispersed. For instance, 300,000 of the Victorian population are deaf or have partial hearing loss, but there are only 5000 Auslan users (VicDeaf). Deaf schools, deaf classes at Kangan Batman TAFE and deaf community events are physical places for deaf people to meet.
There is an increasing trend towards using online chat, SMSing, and email. This trend worries some in the deaf community who believe that online communication diminishes signing popularity, and replaces Auslan with English. Online Video chat a compromise, combining the ease of technology with the use of Auslan. It is not the technology which some dislike, but rather the push towards assimilation of deaf people into hearing people’s culture, particularly the use of English instead of Auslan.
Capital D Deaf Culture is recognised as the active involvement in the Deaf community, usually stemming from Deaf families, where some have been born deaf. Deaf culture embraces being deaf, typically uses technology as an aid rather than dependence (hearing aids, cochlear implants etc) and maintains the use of Auslan. Little d deaf people tend to try and fit more into hearing culture. They fully embrace technology, make more of an effort to communicate in English, and are typically from families who do not have a deaf history. The difference between big D Deaf and little d deaf culture is shown vividly in the video, ‘In the land of the Deaf’. This video relates specifically to education, but shows the strengths and weaknesses of both sides of the deaf culture coin.
In Melbourne, there are many organisations which foster Deaf culture, give advice to hearing disabled people and petition for deaf rights. VicDeaf seems to be a more administrative organisation, with deaf and hearing people as employees. The Victorian Council of Deaf People relates more to community events, debate, deaf arts and awareness. Kangan Batman TAFE is a hothouse for Auslan education. I viewed an Auslan Play which brought the deaf community together and for me, brought to light the strength of the deaf community. La Trobe University also has Auslan classes. Transport Bar hosts deaf drinks on certain nights.
There is a definite disparity between the hearing and deaf communities. Deaf culture, similarly to other minority cultures, has generally been oppressed by hearing people. Alexander Graham Bell (hearing, but mother and wife were deaf) is known as the ‘father of the deaf’, but also wanted to abolish hereditary deafness, and is widely acknowledged as an Audist (one who believes that hearing people are superior to deaf people, comparable to racism or sexism etc). The AG Bell foundation ‘promotes the use of spoken language and hearing technology’ (AG Bell). In other words, AG Bell is part of the little d deaf culture, and pushes for assimilation of deaf people into hearing community. From this example of just one international organisation, it is not surprising that big D Deaf culture shies away from building bridges between deaf and hearing communities.
The current situation in Victoria is one of largely exclusive multiculturalism, whereby deaf and hearing communities do not generally mix. Consider that there is less movement by the dominant hearing population to cater for deaf people than there is for deaf culture to join hearing culture. That’s not to say that there is nothing being done. Tertiary Education of Auslan is in higher demand than there is supply, and basic awareness and education in primary schools is in current curriculum. Disability Liason services such as at RMIT help to educate deaf people in a hearing environment.
Debates exist as how to include hearing people into deaf culture and vice versa. My opinion is that awareness is one of the first steps which need to be made. Bridging the gap of acknowledging the deaf community is one of main priorities.
Video, technology and language
One of the basic misconceptions of Auslan is that it is purely signed or mimed English. The syntax is different to English and there are 4000 basic signs, though these can be altered to describe slightly different words. Auslan is a visual/manual language rather than oral/aural, and so video is the equivalent to recording an English voice or writing English. Signing diagrams (glosses) do not fully represent the actual signs, and so are not suitable for communicating between signers. However, diagrams can be used to learn signs, or to interpret into English – though it is a primitive method.
Consider: ‘that Sign is kinetic and three dimensional, and so enables the simultaneous representation of, for example, more than one noun, or a noun and a verb, in space. This aspect of Auslan, which lends to its concision, necessarily makes literal translation into English impossible.’ (http://members.ozemail.com.au/~gamgee/writing_handtalk.html#sign_auslan) Also, signs do not translate at all. In fact, interpreting is even a loose term. When I was interpreted myself, I used the word ‘naïve’. The sign that it was used to interpret was very representational and consisted of four fingers outstretched on the left hand and one in the right close to the body. I asked about this sign, and was told that it also relates to ignorance and abandonment. ‘Translating’ from one language into another is never easy, but signing is even more complicated. Ask hearing people to mime a scene or read a line, and they will all act differently. Similarly, signing people add their own characteristics, slang and take on the content differently.
Technology such as cochlear impants have already been mentioned as helping deaf people. Also video chat, chat rooms, email and texting are helpful. An example of new technology are PowerGloves, which are gloves that contain sensors which translate finger position and angle etc, into data which is translated into English. Simple sentences can be processed, but the language still remains in Auslan syntax, and so only the general idea can be communicated. (http://www.cse.unsw.edu.au/~waleed/thesis.html) Still, with more research, this technology could help to further bridge the gap between deaf and hearing communities.
Personal Agenda
My personal agenda started when I talked with my friend Gabi about the hearing project and she expressed what its like to be partially deaf. I found it intriguing that I couldn’t empathise with how it is to be deaf – what I call the deaf experience. I set about designing a traditional product which could translate sound tactilely. However, I felt this didn’t bring out the issues and experiences which I wanted to. I realised the best way to express how it is to be deaf is through deaf language – Auslan. I learnt a lot about how it is to be deaf; especially concerning communication, community and culture. Through this learning I recognised the need for deaf awareness and publicity and created a framework to produce a video.
Process
Pre-Projects
Firstly, support must be gained from the deaf community. It is hard for a hearing-non-signing person to get support because of understandable prejudice towards the hearing community. It wouldn’t hurt for the project manager to learn sign, or have a translator at hand. So, two major pre-projects are suggested to raise interest and trust from the deaf community:
1. A poster run which communicates deaf sentiments through glosses of Auslan. This would raise awareness of both Auslan and deaf people through its visual appeal and also content. For instance a interpretation of ‘not silent’ could be posted around walls in Melbourne, with a link to a website (possibly option 2’s website)
2. An open source ‘street video magazine’, produced monthly with articles in Auslan. The articles wouldn’t necessarily be about being deaf, or raising deaf awareness, but for the deaf community by the deaf community. The design would be purely in the technological set up, giving the opportunity to record articles, or have production of videos with Auslan narration. Below is an example of how a preliminary set up could be achieved, before a serious website is developed.
Develop 3 free tools: email, storage and a vlog. These could be done through gmail, google-video/zippy videos/you tube/our media/blip.tv and blogger/wordpress respectively.
Auslan contributors could record their own footage and upload it to the storage, or to their own storage and email the link. Or, a recording session could be set up to record an article. The magazine would be distributed once a month, launching on the first Friday of each month at transport bar (already an unofficial deaf community get-together). And then be available online (possibly with the help of Adrian Miles, RMIT). This would suit people who want to get away from relying on technology and create more of a crowd at transport. It could also be made into a DVD or video for those without internet.
If it becomes successful, a domain name would be purchased (i.e www.deafstreetmag.com.au) and then forwarded onto the vlog address. This would save time by not having to design a website. Initial advertising can be through email, word of mouth (figuratively), and the first project posters. Later, an RSS feed could be set up to be posted on the websites of VCOD, VicDeaf etc. to alert them to new instalments.
The website could also be used to publicise the major project, and to publish it (and an English transcript) after it has been completed.
Major Project
The Major Project will follow the framework outlined in Fig1.
(Where the Project Manager is myself, and the poet: Kate Middleton)
In explaining the steps which should be followed, I may describe actions I have already taken, and the shortfalls I have found. As mentioned, support from the community has been a major setback, but I believe the pre-project actions will stir more interest.
The first step is to gather a group of deaf people, to relate their experience of being deaf in the city. To make this easier I posed several questions:
Can you describe broad or common experiences in the city?
Are there any specific examples of experiences you have? (i.e There was this one time….)
What emotions do you feel in the city? Are any of these emotions more characteristic of a deaf person?
How do you believe being deaf (in the city) affects you?
What is being done/needs to be done for deaf people in the city?
How does a deaf person experience what a hearing person experiences as sound? (etc, vibrations of trams) And how could this translate into something a hearing person experiences? (i.e getting a hearing person to empathise more with deaf people.)
Is the city dangerous, likeable, intriguing etc?
How can hearing people accommodate better for deaf people?
What do you think your experiences in the city have in common with other deaf people’s?
Can you think of metaphors or similes which describe your experience or emotion (in English or Auslan)?
From my experience in receiving response from these questions, I felt like the person responding was treating the questions like a census or survey. I think it is important to build vivid emotions, romantic ideals and bring together common ‘magic’ experiences to make a special poem – not just a list of complaints. To solicit this, I wrote an abstract of the kind of responses I would write, if these questions were posed to me (as a hearing person):
‘like a little ant farm or rabbit warren, with people coming and going. Riding through the city with the wind rushing past, dodging trams, the blip blip of the green walking man buzzer, street sellers, hawkers, music from cafes, dank alleys, exploring new things, finding cafes and galleries never seen before, stealing a smoko on an upturned milk crate, sifting through dumpsters for gold.’
A discussion group would provide for the best content. If a group could be formed, and posed discussion questions, then the results of the process would be verified by the fact that there were lots of people discussing it. It would verify whether what is said is shared by the wider community. This discussion should be videoed. Along with this discussion, interviews could be filmed.
These Auslan described experiences should be coupled with responses from email, letters, forums and chat, in an English form. This content is then reviewed by a team of a deaf representative, interpreter, and an English Poet as the poem should be written simultaneously in English and Auslan.
If the poem were to be produced in English only, it would be completely inappropriate, as English is not necessarily the first language of deaf people. It would be better expressed in Auslan, but then would have no impact on hearing viewers. This is why the one poem should be written at the same time it two languages. A small blurb could accompany the video installation and the English version never published. A better solution would be for the English poem to be performed on video in a similar format, and displayed at a different time or place.
Kate Middleton is a poet who I approached to take the position of an English speaking poet. She has a background in music, and writes with spoken word and timing in mind. Her experience is essential in combining the subtleties of a new language (Auslan) with her knowledge of English. She also seemed keen on the project and had some ideas straight away.
This is the point where I got with my project. I didn’t get any feedback from the deaf community, which stopped me from going further. Therefore, everything from here on is an idea, and is flexible in the way it comes together.
Following the diagram outlined previously (fig 1), the content would be shaped into a piece of language in English and Auslan simultaneously. Issues of length, exact content, tone etc, are negotiable. The most effective content would be one rich in emotion and intrigue. A basic level of experience does not justify an intriguing poem. For example, simple ‘I did’ statements are not useful.
This poetry should be videoed and written down, and reviewed with consultation from both sides. The poetry should accurately reflect the feelings of the deaf community. Finally, the poetry should be placed in-situ and reviews taken, and fed back into the content.
Alternative Outcome
An alternative, easier, but less desirable outcome is to write a piece from the perspective of one deaf person. Perhaps this should take the form of one piece within a framework of many personal videos produced by deaf people. The most difficult part of the original project is imposing an idea on a community and vying for their support. With this method, a more accurate idea of an individual’s viewpoint can be ascertained, as one gained from a community will never reflect the views of all. This individual video also effectively raises awareness of the deaf community and Auslan. However, it is not as powerful as a group voice.
With this idea in mind, I set up a meeting with my partially deaf friend Gabi (who is learning to sign, and can sign well), Scarlette (a hearing friend of Gabi’s who has deaf friends and can sign fluently) and myself.
Content here
Production and Site placement
The production and placement of the video are some of the most important aspects of the project. Depending on the final content of both the Auslan and the English, it may be appropriate to do one of the following options:
1. Create a video of the Auslan, with an English blurb describing the project at the site and an online interpretation. This is one of the favoured options as it makes the poem mysterious to non-signers. However, the content could be lost by those not bothering to find it online.
2. A method similar to the first option, but create a video of the poem in English instead of displaying it online. The poem should not be shown in the same vicinity and time as the Auslan version, because hearing people will divert attention to the one they can instantly recognise. It could be put on the same reel and played after the Auslan version. Preferably, it would be displayed somewhere else, and directions would be published in the blurb.
3. Perhaps the reel could contain several versions of the poem: one in Auslan, one in English, one simultaneously read/performed, scrolling text, Auslan with subtitles and English with Auslan interpretation. This option would not be as hard hitting, but would be more educational. One could observe the video and compare the languages, and the content would be more up front.
As mentioned earlier, the video(s) should be installed publicly and available online on the pre-project website. It may also be launched at a deaf awareness week or at a regular deaf event. As with the online magazine event, it would be available on DVD or video for people with no internet access. However, by far the most exposure should be through a public installation.
When installing publicly, issues of vandalism and theft come into play. Equipment used to play a video (screens, media player etc) are valuable, and would need to be protected or installed out of reach. To overcome this problem, existing media players and video screens could be used to play the video. Building a new housing or position for a screen would add considerable cost to the project, and would not attract more attention than existing screens which already have an audience and prime position. The video needs to fit in with the current framework of the city. Business people bustle along king street, students scurry around RMIT and shoppers clog Bourke Street. It would be inappropriate to dump this sensitive material on the NIKE store screen, but would find its niche on a retro TV in a café in Degraves Street. The video must be placed to appeal to appropriate people; otherwise this project is without an audience.
With this in mind, the following sights would be suitable for the spectators which visit them:
1. ACMI – could be entered into an exhibition or permanent collection. ACMI tends to like ‘Melbourne’ oriented projects.
2. Federation Square video tower – excellent coverage, large visiting audience, attracts people visiting for the first time, admiring the architecture, would enhance the experience of the space, would not be hindered by the poor sound quality.
3. Small exhibition – placed tastefully and intriguingly in a popular café (Degraves), bookshop (Readings) or gallery (McCulloch, first site) to attract a small targeted audience.
4. In an existing media friendly environment such as Loop Bar or Horse Bazaar. Both have infrastructure which allows for the showing of the video. However, would be treated more as video art, not a poem with a message.
5. Transport bar initially (perhaps coupled with fed square), as this is already a deaf hangout at regular times.
6. Shop window – may not relate to the content of the store, but provides a piece of art for the window, which is safe. Could be part of Retail Art Walk (fashion week).
7. A public booth available during a festival. Funding could be sought to hire infrastructure to show the video within. May require more work, but would advertise to and bring in an interested audience.
Sites will need to be reviewed at the time of installation. If the original brief of sites of respite is relevant, then this will also need to be taken into account. In this case, perhaps a personal booth is more appropriate; moving into a permanent installation after the festival has ended.
Conclusion
This project has a lot of potential to bridge between hearing and deaf communities. I think this should be its main aim, together with raising awareness of deafness and Auslan. It is imperative though, that it still remain an art-form, not a preaching video, or a complaint. When both hearing and deaf people can recognise the major project (and its pre-project or alternative project phases) as important for both communities, the bridges in individuals’ minds will be built.
posted by ben at 8:34 AM
0 comments
Monday, October 16, 2006
I think the way I’m going at the moment is aiming too high. That’s not to say that I've lost faith in the project – I’m being completely naïve and idealistic in terms of hoping that it will come together. But, I am reconsidering the time frame in which I can get something out there. I am even thinking of a scheme which promotes awareness of deaf people in the city, and also advertises for deaf people to come forward to help me with the video project. I want something which goes along the same lines as the key to my current project, but which involves less content, people and complications. Just to produce something will be a feat.
I like the idea of graffiti or postering around the city. I think it’s a very Melbourne medium, as proven by magazines like IsNot, and stencil art everywhere! I’m still working on the content, but I think it should reflect nothing too sinister or deep, just making more people aware of the project, and making mostly hearing people think.
These ideas can be used as a springboard to the video project and others like it.
I like the idea of graffiti or postering around the city. I think it’s a very Melbourne medium, as proven by magazines like IsNot, and stencil art everywhere! I’m still working on the content, but I think it should reflect nothing too sinister or deep, just making more people aware of the project, and making mostly hearing people think.
These ideas can be used as a springboard to the video project and others like it.
posted by ben at 5:49 PM
0 comments
Wednesday, October 11, 2006
new
here is my new letter and questions to deaf contacts:
G’day,
I am a hearing student examining a deaf persons experience within the Melbourne CBD. I’m looking not just into troubles one might have, but experiences, language, emotions, hang-ups, and feedback on the landscape of the city. My personal experience would include excitement riding through the city, a sense of exploration, of finding the newest places, the funkiest alleys, checking out what people have thrown out, basking in the sun in front of the state library, the differences between the atmosphere in King and Swanston streets, riding on trams, watching buskers etc. I guess what I’m saying is that they don’t need to be exclusively ‘deaf’ experiences.
Hearing people have many misconceptions about deaf people and culture, and perhaps this installation might be an opportunity to debunk some of these. If you could help me out by writing about your experience in the city, perhaps with some response to the following questions. However, if you feel something is important that’s not covered, write about it!
Can you describe broad or common experiences in the city?
Are there any specific examples of experiences you have? (i.e There was this one time….)
What emotions do you feel in the city? Are any of these emotions more characteristic of a deaf person?
How do you believe being deaf (in the city) affects you?
What is being done/needs to be done for deaf people in the city?
How does a deaf person experience what a hearing person experiences as sound? (etc, vibrations of trams) And how could this translate into something a hearing person experiences? (i.e getting a hearing person to empathise more with deaf people.)
Is the city dangerous, likeable, intriguing etc?
How can hearing people accommodate better for deaf people?
What do you think your experiences in the city have in common with other deaf people’s?
Can you think of metaphors or similes which describe your experience or emotion (in English or Auslan)?
Thankyou.
My current plans are to develop responses into a video of an Auslan ‘poem’, and an English poem with an interpretation in English. Any assistance you give can be credited or not if you wish.
I think this is a valuable project for hearing and deaf people. It’s a chance to learn a lot about each other and the city.
Thanks again,
Ben Landau
landau_ben@hotmail.com
G’day,
I am a hearing student examining a deaf persons experience within the Melbourne CBD. I’m looking not just into troubles one might have, but experiences, language, emotions, hang-ups, and feedback on the landscape of the city. My personal experience would include excitement riding through the city, a sense of exploration, of finding the newest places, the funkiest alleys, checking out what people have thrown out, basking in the sun in front of the state library, the differences between the atmosphere in King and Swanston streets, riding on trams, watching buskers etc. I guess what I’m saying is that they don’t need to be exclusively ‘deaf’ experiences.
Hearing people have many misconceptions about deaf people and culture, and perhaps this installation might be an opportunity to debunk some of these. If you could help me out by writing about your experience in the city, perhaps with some response to the following questions. However, if you feel something is important that’s not covered, write about it!
Can you describe broad or common experiences in the city?
Are there any specific examples of experiences you have? (i.e There was this one time….)
What emotions do you feel in the city? Are any of these emotions more characteristic of a deaf person?
How do you believe being deaf (in the city) affects you?
What is being done/needs to be done for deaf people in the city?
How does a deaf person experience what a hearing person experiences as sound? (etc, vibrations of trams) And how could this translate into something a hearing person experiences? (i.e getting a hearing person to empathise more with deaf people.)
Is the city dangerous, likeable, intriguing etc?
How can hearing people accommodate better for deaf people?
What do you think your experiences in the city have in common with other deaf people’s?
Can you think of metaphors or similes which describe your experience or emotion (in English or Auslan)?
Thankyou.
My current plans are to develop responses into a video of an Auslan ‘poem’, and an English poem with an interpretation in English. Any assistance you give can be credited or not if you wish.
I think this is a valuable project for hearing and deaf people. It’s a chance to learn a lot about each other and the city.
Thanks again,
Ben Landau
landau_ben@hotmail.com
posted by ben at 10:57 AM
0 comments
Monday, October 09, 2006
unsure
This time last year Soumitri asked me if I was doing the right amount of work for a subject worth 24 credit points? So I got off my arse and did some work.
I hope that this semester I’m doing the right amount of work. I struggled with some of the exhibition deadlines and the book concept got a bit overworked. But now that I’m on this new project, I have ideas and I’m really keen, but I have no way of facilitating them because I cant complete the project by myself. Is it enough that it is just a concept? I really do believe that it has merit, but how can I ever know if it will never come to fruition. I can keep prodding the deaf community, getting emails forwarded on etc, but if no one responds then I have nothing.
I hope that this semester I’m doing the right amount of work. I struggled with some of the exhibition deadlines and the book concept got a bit overworked. But now that I’m on this new project, I have ideas and I’m really keen, but I have no way of facilitating them because I cant complete the project by myself. Is it enough that it is just a concept? I really do believe that it has merit, but how can I ever know if it will never come to fruition. I can keep prodding the deaf community, getting emails forwarded on etc, but if no one responds then I have nothing.
posted by ben at 9:50 AM
0 comments
Sunday, October 08, 2006
Saturday, October 07, 2006
(Sign language) is, in the hands of its masters, a most beautiful and expressive language… It is impossible for those who do not understand it to comprehend its possibilities with the deaf, its powerful influence on the moral and social happiness of those deprived of hearing, and its wonderful power of carrying thought to intellects which would otherwise be in perpetual darkness. Not can they appreciate the hold it has upon the deaf. So long as there are two people upon the face of the earth and they get together, so long will signs be used.
j. Schuyler Long
j. Schuyler Long
posted by ben at 12:09 AM
0 comments
Friday, October 06, 2006
idea sheet
Here is the letter i wrote to try and get people interested. i think this is about the 6th version.
G’day!
I am a second year industrial design hearing student, whose task in a studio subject is to respond to a call by the City of Melbourne to investigate sound in the city. I need your help to develop an ‘intervention’ or installation detailing the role and sound experience of deaf and hearing impaired people in the city (i.e no sound cues, vibrations, colours etc). I would like to turn this information into a visual instalment.
So far I have been exploring sound and space within the city with regards to ‘feeling’ sound. I have used a speaker system to amplify vibrations in order to be able to feel them tactilely. For this I have used sound recorded in the city. I feel like I need to move forward to describe sound as experienced by deaf people. As a hearing person, I can’t fully empathise with someone who is deaf or partially deaf, and so I am asking you to be part of this project.
I have already spoken to a partially deaf friend (she studies Linguistics and Auslan at Latrobe) and gained some insight into how she perceives sound. I also talked to her about interpreting an Auslan version of a deaf person’s city experience into English and the some of the subtleties of the language.
Still, I feel like an outsider looking in on a world that I don’t understand. I wish to at least understand a little what it is like to be deaf in the city, and to rework these emotions, senses, and beliefs in order to display something which not only publicises the deaf person’s experience but is also a piece of art. From my work so far I feel I would like to more accurately describe city sound experience according to emotion etc. I have made contact with Melbourne poet, Kate Middleton, to take this description and turn it into an poem. My current aim (though I will wait to see where this goes) is to develop a piece simultaneously in English and Auslan to produce a similar poem in each language, and display it as a video feed of an Auslan poem on the streets of Melbourne. It could help to branch the gap between hearing and Deaf culture and community.
I have done some brief research into deaf community and culture, technology, attitudes towards it, problems with design regarding unintentional disregard of deaf needs, Auslan and growing up with deafness.
My early thoughts of a display are guided by ideas of naïve bravery, so I hope I don’t seem arrogant or ignorant, I’m interested, open and eager to learn. I would truly like to create something important. But first I need some insight. The work I have done so far is noted on my blog (see below) but it is mainly tactile sound work.
If you are interested in helping me out (or know someone who is), being part of this exciting and different project, drop me a line at s3078511@student.rmit.edu.au . Please also note your email on my table so that I can contact you. We will have a discussion or forum session in the near future (probably in a week or two) to better understand the deaf experience of sound in the city, and hopefully bring that to light in the city of Melbourne.
Regards,
Ben Landau
Attached:
My blog:
http://www.lagomdesign.blogspot.com
Project brief
http://silenceandotherways.wordpress.com/files/2006/07/silence-and-other-ways.pdf
Project Abstract (as given to me by the lecturers)
This studio is a collaboration between Sial, Industrial Design and Landscape Architecture. The City of Melbourne has invited a project to focus on sound and the space in central city. They invite exploration and possibility rather than concrete outcomes. This exploration is entitled “fermata” and your work will set the scene for a larger project that will evolve over time.
The collaboration will expose students to a range of disciplines, ways of thinking, techniques, technologies and workspaces in the belief that working outside of ones discipline exposes assumptions and opens up unknown possibilities. It also requires one to navigate through different ideas and ways of approaching problems.
The studio environment will focus on design as a way of learning and rather than privilege product, the studio will be set up as a laboratory for investigation into sound and the city. The studio will be highly structured through a series of events, whereby intense periods of production will occur (rather than set up the learning as an even linear process) and these will define the non-contact periods whereby students will be self-directed.
Our approach considers the possibility of inverse effects, silence as a way of knowing sound, doing though not doing, knowing when not to design and the potential of the mistake. This approach is carried through to assessment whereby lecturers no longer play the role of assessors but become facilitators to student learning, students are required to self assess. (See assessment)
The studio will focus on four mediums only for communication: the event, the book, the blog and the model. Landscape/sound is physical, but more importantly, it is a cultural construct.
i hope people think that its a worthwhile project. if i cant get the content together then theres no point. i think the part of the brief which i am best answering is the last bit 'Landscape/sound is physical, but more importantly, it is a cultural construct. '
G’day!
I am a second year industrial design hearing student, whose task in a studio subject is to respond to a call by the City of Melbourne to investigate sound in the city. I need your help to develop an ‘intervention’ or installation detailing the role and sound experience of deaf and hearing impaired people in the city (i.e no sound cues, vibrations, colours etc). I would like to turn this information into a visual instalment.
So far I have been exploring sound and space within the city with regards to ‘feeling’ sound. I have used a speaker system to amplify vibrations in order to be able to feel them tactilely. For this I have used sound recorded in the city. I feel like I need to move forward to describe sound as experienced by deaf people. As a hearing person, I can’t fully empathise with someone who is deaf or partially deaf, and so I am asking you to be part of this project.
I have already spoken to a partially deaf friend (she studies Linguistics and Auslan at Latrobe) and gained some insight into how she perceives sound. I also talked to her about interpreting an Auslan version of a deaf person’s city experience into English and the some of the subtleties of the language.
Still, I feel like an outsider looking in on a world that I don’t understand. I wish to at least understand a little what it is like to be deaf in the city, and to rework these emotions, senses, and beliefs in order to display something which not only publicises the deaf person’s experience but is also a piece of art. From my work so far I feel I would like to more accurately describe city sound experience according to emotion etc. I have made contact with Melbourne poet, Kate Middleton, to take this description and turn it into an poem. My current aim (though I will wait to see where this goes) is to develop a piece simultaneously in English and Auslan to produce a similar poem in each language, and display it as a video feed of an Auslan poem on the streets of Melbourne. It could help to branch the gap between hearing and Deaf culture and community.
I have done some brief research into deaf community and culture, technology, attitudes towards it, problems with design regarding unintentional disregard of deaf needs, Auslan and growing up with deafness.
My early thoughts of a display are guided by ideas of naïve bravery, so I hope I don’t seem arrogant or ignorant, I’m interested, open and eager to learn. I would truly like to create something important. But first I need some insight. The work I have done so far is noted on my blog (see below) but it is mainly tactile sound work.
If you are interested in helping me out (or know someone who is), being part of this exciting and different project, drop me a line at s3078511@student.rmit.edu.au . Please also note your email on my table so that I can contact you. We will have a discussion or forum session in the near future (probably in a week or two) to better understand the deaf experience of sound in the city, and hopefully bring that to light in the city of Melbourne.
Regards,
Ben Landau
Attached:
My blog:
http://www.lagomdesign.blogspot.com
Project brief
http://silenceandotherways.wordpress.com/files/2006/07/silence-and-other-ways.pdf
Project Abstract (as given to me by the lecturers)
This studio is a collaboration between Sial, Industrial Design and Landscape Architecture. The City of Melbourne has invited a project to focus on sound and the space in central city. They invite exploration and possibility rather than concrete outcomes. This exploration is entitled “fermata” and your work will set the scene for a larger project that will evolve over time.
The collaboration will expose students to a range of disciplines, ways of thinking, techniques, technologies and workspaces in the belief that working outside of ones discipline exposes assumptions and opens up unknown possibilities. It also requires one to navigate through different ideas and ways of approaching problems.
The studio environment will focus on design as a way of learning and rather than privilege product, the studio will be set up as a laboratory for investigation into sound and the city. The studio will be highly structured through a series of events, whereby intense periods of production will occur (rather than set up the learning as an even linear process) and these will define the non-contact periods whereby students will be self-directed.
Our approach considers the possibility of inverse effects, silence as a way of knowing sound, doing though not doing, knowing when not to design and the potential of the mistake. This approach is carried through to assessment whereby lecturers no longer play the role of assessors but become facilitators to student learning, students are required to self assess. (See assessment)
The studio will focus on four mediums only for communication: the event, the book, the blog and the model. Landscape/sound is physical, but more importantly, it is a cultural construct.
i hope people think that its a worthwhile project. if i cant get the content together then theres no point. i think the part of the brief which i am best answering is the last bit 'Landscape/sound is physical, but more importantly, it is a cultural construct. '
posted by ben at 11:57 PM
0 comments
vent
I have spent the last 24 hours immersed in the silence project, and it is really becoming something else. Soumitri asked me today how its going, and I couldn’t really describe the acceleration I have felt in ideas and concepts, mainly fuelled by discussions with my friend Gabi.
Yesterday I emailed Jenny Shaw from disabilities liaison unit at RMIT, with the hope that she could pass on the information to deaf students. At night I had dinner with Gabi, and we talked for about an hour on what it’s like to be deaf. I learnt so much, and she opened a lot of doors for me. We emailed later that night, Gabi sending me more information on deaf culture, including an interview by Philip Adams. From that information, I found some books which I hired out this morning from the library. I also read a proposal for a documentary on deaf kids – it’s called Welcome to my deaf world and details deaf life for year 12 kids.
In the afternoon I met with Kate Middleton, the Melbourne poet I have invited to collaborate on the project. She was open to the ideas I presented to her, and mentioned a lot of interesting concepts of music in poetry and spoken word: timing, pitch etc. I think some of these music concepts translate better into Auslan than alliteration or other traditional poetic devices. Later, Gabi and I visited Vic Deaf in Albert Street and got some more information. Gabi was a great help. We found out about some deaf theatre happening that night, and attended at 7.30. It was one of the strangest experiences I have been in, and I’ll talk about it later. I gave my idea sheet to Chris Dunn, who is an Auslan teacher and prominent figure in the deaf community. Afterwards Gabi and I spoke over pho ga and now I feel mentally exhausted.
Jenny Shaw has just written back to say she will pass on the information to deaf students in the community.
Dinner with Gab last night (I can’t believe it was last night!) was amazing. It was great to see her again, as we had not met up for nearly 2 months or more. We had originally talked about the sound project, and she inspired me to look into the deaf aspect further. I hadn’t realised the intricacies and complications within the deaf community and disparities with hearing people. I was unaware of the strong deaf culture which is less publicised than cultures of other minority groups (to use that term broadly). All this discussion made me feel stronger about needing to make this installation.
I talked with Gabi about my idea of secrets. That sound is the hearing persons secret from the deaf, and (generally) Auslan the deaf secret from the hearing. I talked about displaying the video in the street as an Auslan poem, with no translation in English. But then deaf people would not know that there was no sound, and hearing people would not know what it was about! So, I realised I need some sort of description of the content of the poem, and reasons for doing it. I need an agenda. I also need to have the poem written in both English and performed in Auslan, perhaps in two separate locations, but definitely discrete, so that they remain two languages talking about the same thing.
Language was another thing we talked about, and we came to the conclusion that any early revisions of poems in Auslan would need to be videoed in order to be reviewed. An English poem can be written and performed, whereas Auslan cannot be written effectively as to communicate the content. We need to develop the two poems at the same time. Therefore we need concepts to move between, to branch from idea to idea at the same time in both poems. It may be an atypical way of poetry writing Kate!
From my brief research this morning, I found out about how it is to be little d deaf and big D Deaf. Big D Deaf refers to deaf people who embrace a deaf way of life, communicating in Auslan in action and English when written. Big D Deaf people are typically deaf from birth, but don’t consider that they have hearing loss, rather than they never had any to begin with. It is these people who keep deaf culture.
Little d deaf people speak and write English, though may sign English. They use technology to keep in the midst of the hearing world, and do not typically participate as strongly in Deaf culture. I guess I see little d deaf as more like integration into a hearing world and big D Deaf as more multicultural.
The meeting with Kate went well. As mentioned she had a lot to say about her background in music, and poetry, as well as other experiences, and how we thought that could help translate into co-authoring this poem. The meeting was mainly to meet, and for me to get my ideas out there. Gabi was there as well, which was great (it’s fantastic to spend time with her) and we talked more about deafness, particularly about interpreting Auslan.
It’s hard to know how traditional poetry will be interpreted in Auslan. Though, I think I am beginning to build a strong framework for the poetry’s creation, and it is the content that I need to work harder to get.
Gabi and I walked to Vic Deaf from animal orchestra (a fair way), and spoke to Chris at the front desk who gave us the contact for the deaf theatre, a contact at VCOD and a venue we could meet deaf people at (we later decided not to go). Chris also suggested that staff at Vic Deaf (to whom my information had been passed on to) may be reluctant to reply as there are a lot of calls for help from the deaf community.
Arriving at the performance was intimidating, and I started to strongly empathise with deaf people. I have been in a room full of German speakers, when I am the only English speaker. But to enter a room which is bustling with arms waving in all directions, and the only real sound is occasional laughter, is an amazing experience. Suddenly I was mesmerised with old friends catching up with fingers flying. I felt completely ignorant and naïve. Gabi was signing away to someone (it was beautiful to see her engaging so effectively) and for the first time I felt strangely illiterate. I was immersed in the deaf’s secret (Auslan) as they are immersed in my secret (sound - the hearing person’s world) every day. I was confronted with not being able to understand their language, and in a way I was momentarily and metaphorically deaf. It was a profound experience
It didn’t last long though. I was grateful to an interpreter when the prologue to the show started, and some signs were explained in English. The main dialogue in the play was in mime and sign, but I could understand all that was happening. It was pretty simple, but impressive and exciting to witness.
Gabi signed afterwards with people, and found out some more information for me. I was a bit overwhelmed and unused to speaking through a translator so I stayed silent. I also met up with Renee, who is learning sign at the Kangan Batman TAFE. Her signing was incredible after nearly a years work, and she answered a lot of my questions. She was excellent at signing and talking at the same time (not really Auslan as it has a different sentence structure, so really speaking English while doing the corresponding signs). That helped me out, and made me realise the complexity of some of the compound words. There is also a lot of symbolism (not mime) in some of the actions.
At dinner, I formed a diagram with Gabi, in order to design the framework (stake holders and players) in order to make it happen.
I need to write an agenda as well, including a description of the project, reasons for doing it, and most importantly a location/site. I haven’t really thought about it yet, though something from the content may come to mind.
I am exhausted and exhilarated by the project. I feel like I am really challenging myself. Though I am a little worried about getting it finished in time, I will be happy to have gone through what I have dome so far. I just wish I recorded more of it!
Yesterday I emailed Jenny Shaw from disabilities liaison unit at RMIT, with the hope that she could pass on the information to deaf students. At night I had dinner with Gabi, and we talked for about an hour on what it’s like to be deaf. I learnt so much, and she opened a lot of doors for me. We emailed later that night, Gabi sending me more information on deaf culture, including an interview by Philip Adams. From that information, I found some books which I hired out this morning from the library. I also read a proposal for a documentary on deaf kids – it’s called Welcome to my deaf world and details deaf life for year 12 kids.
In the afternoon I met with Kate Middleton, the Melbourne poet I have invited to collaborate on the project. She was open to the ideas I presented to her, and mentioned a lot of interesting concepts of music in poetry and spoken word: timing, pitch etc. I think some of these music concepts translate better into Auslan than alliteration or other traditional poetic devices. Later, Gabi and I visited Vic Deaf in Albert Street and got some more information. Gabi was a great help. We found out about some deaf theatre happening that night, and attended at 7.30. It was one of the strangest experiences I have been in, and I’ll talk about it later. I gave my idea sheet to Chris Dunn, who is an Auslan teacher and prominent figure in the deaf community. Afterwards Gabi and I spoke over pho ga and now I feel mentally exhausted.
Jenny Shaw has just written back to say she will pass on the information to deaf students in the community.
Dinner with Gab last night (I can’t believe it was last night!) was amazing. It was great to see her again, as we had not met up for nearly 2 months or more. We had originally talked about the sound project, and she inspired me to look into the deaf aspect further. I hadn’t realised the intricacies and complications within the deaf community and disparities with hearing people. I was unaware of the strong deaf culture which is less publicised than cultures of other minority groups (to use that term broadly). All this discussion made me feel stronger about needing to make this installation.
I talked with Gabi about my idea of secrets. That sound is the hearing persons secret from the deaf, and (generally) Auslan the deaf secret from the hearing. I talked about displaying the video in the street as an Auslan poem, with no translation in English. But then deaf people would not know that there was no sound, and hearing people would not know what it was about! So, I realised I need some sort of description of the content of the poem, and reasons for doing it. I need an agenda. I also need to have the poem written in both English and performed in Auslan, perhaps in two separate locations, but definitely discrete, so that they remain two languages talking about the same thing.
Language was another thing we talked about, and we came to the conclusion that any early revisions of poems in Auslan would need to be videoed in order to be reviewed. An English poem can be written and performed, whereas Auslan cannot be written effectively as to communicate the content. We need to develop the two poems at the same time. Therefore we need concepts to move between, to branch from idea to idea at the same time in both poems. It may be an atypical way of poetry writing Kate!
From my brief research this morning, I found out about how it is to be little d deaf and big D Deaf. Big D Deaf refers to deaf people who embrace a deaf way of life, communicating in Auslan in action and English when written. Big D Deaf people are typically deaf from birth, but don’t consider that they have hearing loss, rather than they never had any to begin with. It is these people who keep deaf culture.
Little d deaf people speak and write English, though may sign English. They use technology to keep in the midst of the hearing world, and do not typically participate as strongly in Deaf culture. I guess I see little d deaf as more like integration into a hearing world and big D Deaf as more multicultural.
The meeting with Kate went well. As mentioned she had a lot to say about her background in music, and poetry, as well as other experiences, and how we thought that could help translate into co-authoring this poem. The meeting was mainly to meet, and for me to get my ideas out there. Gabi was there as well, which was great (it’s fantastic to spend time with her) and we talked more about deafness, particularly about interpreting Auslan.
It’s hard to know how traditional poetry will be interpreted in Auslan. Though, I think I am beginning to build a strong framework for the poetry’s creation, and it is the content that I need to work harder to get.
Gabi and I walked to Vic Deaf from animal orchestra (a fair way), and spoke to Chris at the front desk who gave us the contact for the deaf theatre, a contact at VCOD and a venue we could meet deaf people at (we later decided not to go). Chris also suggested that staff at Vic Deaf (to whom my information had been passed on to) may be reluctant to reply as there are a lot of calls for help from the deaf community.
Arriving at the performance was intimidating, and I started to strongly empathise with deaf people. I have been in a room full of German speakers, when I am the only English speaker. But to enter a room which is bustling with arms waving in all directions, and the only real sound is occasional laughter, is an amazing experience. Suddenly I was mesmerised with old friends catching up with fingers flying. I felt completely ignorant and naïve. Gabi was signing away to someone (it was beautiful to see her engaging so effectively) and for the first time I felt strangely illiterate. I was immersed in the deaf’s secret (Auslan) as they are immersed in my secret (sound - the hearing person’s world) every day. I was confronted with not being able to understand their language, and in a way I was momentarily and metaphorically deaf. It was a profound experience
It didn’t last long though. I was grateful to an interpreter when the prologue to the show started, and some signs were explained in English. The main dialogue in the play was in mime and sign, but I could understand all that was happening. It was pretty simple, but impressive and exciting to witness.
Gabi signed afterwards with people, and found out some more information for me. I was a bit overwhelmed and unused to speaking through a translator so I stayed silent. I also met up with Renee, who is learning sign at the Kangan Batman TAFE. Her signing was incredible after nearly a years work, and she answered a lot of my questions. She was excellent at signing and talking at the same time (not really Auslan as it has a different sentence structure, so really speaking English while doing the corresponding signs). That helped me out, and made me realise the complexity of some of the compound words. There is also a lot of symbolism (not mime) in some of the actions.
At dinner, I formed a diagram with Gabi, in order to design the framework (stake holders and players) in order to make it happen.
I need to write an agenda as well, including a description of the project, reasons for doing it, and most importantly a location/site. I haven’t really thought about it yet, though something from the content may come to mind.
I am exhausted and exhilarated by the project. I feel like I am really challenging myself. Though I am a little worried about getting it finished in time, I will be happy to have gone through what I have dome so far. I just wish I recorded more of it!
posted by ben at 11:56 PM
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Tuesday, October 03, 2006
the story
Just got back from a magical week in Tasmania on the overland track, low impact tourism! After a day in Launceston mainly getting food ready (and a scrumptious dinner) we caught the bus on the Tuesday morning. Heading up through the mountains to cradle mountain, it got colder and there was more snow on the side of the road. When we arrive we got our gear on and caught the bus up to the start.
The first walking day was the hardest – skirting around the base of cradle mountain in sometimes waist deep powder, and a real blizzard. At the start it was steep, but towards the end, the pitch flattened out as well, and the weather calmed for a while. We spent that first night in a hot and crowded hut, warm comfort in comparison to the outside.
The second day was a short day, and we left after all the other groups who were skipping the hut we were to stay that night. It was beautiful in the morning and then quite miserable weather some of the time, but luckily didn’t close in completely until we arrived at the hut at about lunch time. Its funny how snow is beautiful when you can look out at it from a warm hut, but a bitch when you’re in it. We stopped briefly at lake will which was pretty. That night we also met matt and simon, guides to the group which were doing it at the same time as us. They were fun and we had great discussions with them. Matt was a wealth of natural knowledge.
The third day was longer and had some beautiful scenery including button grass, spectacular views of mt ossa and barn bluff as well as little glades of rainforest. The walk was generally easier, and there was much less snow by this stage, but lots of mud from melted snow, and rain.
The fourth day was a short hard hike from new pelion to kia ora, where again we arrived early. By now the weather was so pleasant, warm enough to hike in a thermal top, tshirt, shorts and overpants – no waterproof jacket or long johns required! This was quite a hard short walk, with spectacular views again. Halfway we reached the pelion pass, and tried to ascend ossa. There was a strong cross wind blowing through the first saddle, and deep snow up the other side. After a harrowing ascent up a narrow chasm (as seen in a photo with blue sky on the map) we were faced with ice and a blizzard we couldn’t get through. So, we slid down our bums. It was a fantastic experience though, and fun to be mountaineers.
On the fifth day we were greeted by perfect sunshine and a ‘hot day’. It was a shortish walk again, but with the most spectacular waterfalls I have ever seen. The snow had continued to melt, and it was as if a dam had burst its banks! It looked about 10 times as much water as there usually is (from looking at photos). At Fergusson falls we stayed about 40 minutes lying in the sun and bathing our feet, it was just so lovely. A lot of the day was through magnificent rainforest covered with moss.
The sixth day was also beautiful, but the walk out was through pretty standard aussie bush, we even spotted a snake! We arrived early to have lunch at the ferry platform in the hot sun and caught the ferry to the other side. They sent a boat which couldn’t fit everyone so they compensated us with a free beer! Yum. Funny to see civilisation, everyone was clamouring for hot showers and all I wanted to do was get back to the bush. I wish I could be there now! Things are so much simpler.
That night in Hobart we rushed out for some thai, and then to the republic, the cool place in Hobart. We were pretty tired though.
The next day we packed out of the hostel, and wandered around town, and had lunch. Spanna, Luke and I went to the cascade brewery and after an informative tour with bogans, we sat I the brilliant sun and drank beer. A perfect ending to the trip.
The first walking day was the hardest – skirting around the base of cradle mountain in sometimes waist deep powder, and a real blizzard. At the start it was steep, but towards the end, the pitch flattened out as well, and the weather calmed for a while. We spent that first night in a hot and crowded hut, warm comfort in comparison to the outside.
The second day was a short day, and we left after all the other groups who were skipping the hut we were to stay that night. It was beautiful in the morning and then quite miserable weather some of the time, but luckily didn’t close in completely until we arrived at the hut at about lunch time. Its funny how snow is beautiful when you can look out at it from a warm hut, but a bitch when you’re in it. We stopped briefly at lake will which was pretty. That night we also met matt and simon, guides to the group which were doing it at the same time as us. They were fun and we had great discussions with them. Matt was a wealth of natural knowledge.
The third day was longer and had some beautiful scenery including button grass, spectacular views of mt ossa and barn bluff as well as little glades of rainforest. The walk was generally easier, and there was much less snow by this stage, but lots of mud from melted snow, and rain.
The fourth day was a short hard hike from new pelion to kia ora, where again we arrived early. By now the weather was so pleasant, warm enough to hike in a thermal top, tshirt, shorts and overpants – no waterproof jacket or long johns required! This was quite a hard short walk, with spectacular views again. Halfway we reached the pelion pass, and tried to ascend ossa. There was a strong cross wind blowing through the first saddle, and deep snow up the other side. After a harrowing ascent up a narrow chasm (as seen in a photo with blue sky on the map) we were faced with ice and a blizzard we couldn’t get through. So, we slid down our bums. It was a fantastic experience though, and fun to be mountaineers.
On the fifth day we were greeted by perfect sunshine and a ‘hot day’. It was a shortish walk again, but with the most spectacular waterfalls I have ever seen. The snow had continued to melt, and it was as if a dam had burst its banks! It looked about 10 times as much water as there usually is (from looking at photos). At Fergusson falls we stayed about 40 minutes lying in the sun and bathing our feet, it was just so lovely. A lot of the day was through magnificent rainforest covered with moss.
The sixth day was also beautiful, but the walk out was through pretty standard aussie bush, we even spotted a snake! We arrived early to have lunch at the ferry platform in the hot sun and caught the ferry to the other side. They sent a boat which couldn’t fit everyone so they compensated us with a free beer! Yum. Funny to see civilisation, everyone was clamouring for hot showers and all I wanted to do was get back to the bush. I wish I could be there now! Things are so much simpler.
That night in Hobart we rushed out for some thai, and then to the republic, the cool place in Hobart. We were pretty tired though.
The next day we packed out of the hostel, and wandered around town, and had lunch. Spanna, Luke and I went to the cascade brewery and after an informative tour with bogans, we sat I the brilliant sun and drank beer. A perfect ending to the trip.
posted by ben at 10:20 AM
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