Software Applications for Cultural Diversity
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A Sociolinguistic Profile of the Kyoli (Cori) [Cry] Language of Kaduna State, Nigeria
DigitalResources Electronic Survey Report 2020-012 A Sociolinguistic Profile of the Kyoli (Cori) [cry] Language of Kaduna State, Nigeria Ken Decker, John Muniru, Julius Dabet, Benard Abraham, Jonah Innocent A Sociolinguistic Profile of the Kyoli (Cori) [cry] Language of Kaduna State, Nigeria Ken Decker, John Muniru, Julius Dabet, Benard Abraham, Jonah Innocent SIL International® 2020 SIL Electronic Survey Report 2020-012, October 2020 © 2020 SIL International® All rights reserved Data and materials collected by researchers in an era before documentation of permission was standardized may be included in this publication. SIL makes diligent efforts to identify and acknowledge sources and to obtain appropriate permissions wherever possible, acting in good faith and on the best information available at the time of publication. Abstract This report describes a sociolinguistic survey conducted among the Kyoli-speaking communities in Jaba Local Government Area (LGA), Kaduna State, in central Nigeria. The Ethnologue (Eberhard et al. 2020a) classifies Kyoli [cry] as a Niger-Congo, Atlantic Congo, Volta-Congo, Benue-Congo, Plateau, Western, Northwestern, Hyamic language. During the survey, it was learned that the speakers of the language prefer to spell the name of their language <Kyoli>, which is pronounced as [kjoli] or [çjoli]. They refer to speakers of the language as Kwoli. We estimate that there may be about 7,000 to 8,000 speakers of Kyoli, which is most if not all the ethnic group. The goals of this research included gaining a better understanding of the role of Kyoli and other languages in the lives of the Kwoli people. Our data indicate that Kyoli is used at a sustainable level of orality, EGIDS 6a. -
Phonetic Characters, Fonts, and Editors Data and Other Documents Here
Phonetic characters, fonts, and editors Data and other documents here are composed using Times New Roman version 5.01, which includes the major unicode phonetic symbols. If you have problems displaying those characters (some appear as boxes), that probably means that you do not have a current version of TNR. A current version of TNR should be part of your operating system at least since Windows Vista, but an upgrade can be purchased. There are free unicode fonts with phonetic characters which can substitute for this version of TNR. The procedure is to download and install the font, then within your editor (such as Word), select the whole document and change the font to whichever font you just installed. The best choices are (in descending order of design preference): Titus Cyberbit Basic (http://titus.fkidg1.uni-frankfurt.de/unicode/tituut.asp) Doulos SIL (http://scripts.sil.org/cms/scripts/page.php?item_id=DoulosSIL_download#FontsDownload) Charis SIL (http://scripts.sil.org/cms/scripts/page.php?item_id=CharisSIL_download#FontsDownload) Gentium (http://scripts.sil.org/cms/scripts/page.php?item_id=Gentium_basic) Cardo (http://scholarsfonts.net/cardofnt.html) Sporadic problems have been reported using Open Office, in cases where text is cut and pasted from another document and the text contains overstrike diacritics (e.g. [æ ̃]), that some of the text is “double-printed”. This apparently can be overcome by pasting into a new (OO) document, saving, closing, re-opening, and then copying to the intended document. You will have to experiment; if it happens, at least you’ll know that you’re not alone.. -
FONT GUIDE Workbook to Help You Find the Right One for Your Brand
FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read. -
The Fontspec Package Font Selection for XƎLATEX and Lualatex
The fontspec package Font selection for XƎLATEX and LuaLATEX Will Robertson and Khaled Hosny [email protected] 2013/05/12 v2.3b Contents 7.5 Different features for dif- ferent font sizes . 14 1 History 3 8 Font independent options 15 2 Introduction 3 8.1 Colour . 15 2.1 About this manual . 3 8.2 Scale . 16 2.2 Acknowledgements . 3 8.3 Interword space . 17 8.4 Post-punctuation space . 17 3 Package loading and options 4 8.5 The hyphenation character 18 3.1 Maths fonts adjustments . 4 8.6 Optical font sizes . 18 3.2 Configuration . 5 3.3 Warnings .......... 5 II OpenType 19 I General font selection 5 9 Introduction 19 9.1 How to select font features 19 4 Font selection 5 4.1 By font name . 5 10 Complete listing of OpenType 4.2 By file name . 6 font features 20 10.1 Ligatures . 20 5 Default font families 7 10.2 Letters . 20 6 New commands to select font 10.3 Numbers . 21 families 7 10.4 Contextuals . 22 6.1 More control over font 10.5 Vertical Position . 22 shape selection . 8 10.6 Fractions . 24 6.2 Math(s) fonts . 10 10.7 Stylistic Set variations . 25 6.3 Miscellaneous font select- 10.8 Character Variants . 25 ing details . 11 10.9 Alternates . 25 10.10 Style . 27 7 Selecting font features 11 10.11 Diacritics . 29 7.1 Default settings . 11 10.12 Kerning . 29 7.2 Changing the currently se- 10.13 Font transformations . 30 lected features . -
Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights. -
Annex H. Summary of the Early Grade Reading Materials Survey in Senegal
Annex H. Summary of the Early Grade Reading Materials Survey in Senegal Geography and Demographics 196,722 square Size: kilometers (km2) Population: 14 million (2015) Capital: Dakar Urban: 44% (2015) Administrative 14 regions Divisions: Religion: 95% Muslim 4% Christian 1% Traditional Source: Central Intelligence Agency (2015). Note: Population and percentages are rounded. Literacy Projected 2013 Primary School 2015 Age Population (aged 2.2 million Literacy a a 7–12 years): Rates: Overall Male Female Adult (aged 2013 Primary School 56% 68% 44% 84%, up from 65% in 1999 >15 years) GER:a Youth (aged 2013 Pre-primary School 70% 76% 64% 15%,up from 3% in 1999 15–24 years) GER:a Language: French Mean: 18.4 correct words per minute When: 2009 Oral Reading Fluency: Standard deviation: 20.6 Sample EGRA Where: 11 regions 18% zero scores Resultsb 11% reading with ≥60% Reading comprehension Who: 687 P3 students Comprehension: 52% zero scores Note: EGRA = Early Grade Reading Assessment; GER = Gross Enrollment Rate; P3 = Primary Grade 3. Percentages are rounded. a Source: UNESCO (2015). b Source: Pouezevara et al. (2010). Language Number of Living Languages:a 210 Major Languagesb Estimated Populationc Government Recognized Statusd 202 DERP in Africa—Reading Materials Survey Final Report 47,000 (L1) (2015) French “Official” language 3.9 million (L2) (2013) “National” language Wolof 5.2 million (L1) (2015) de facto largest LWC Pulaar 3.5 million (L1) (2015) “National” language Serer-Sine 1.4 million (L1) (2015) “National” language Maninkakan (i.e., Malinké) 1.3 million (L1) (2015) “National” language Soninke 281,000 (L1) (2015) “National” language Jola-Fonyi (i.e., Diola) 340,000 (L1) “National” language Balant, Bayot, Guñuun, Hassanya, Jalunga, Kanjaad, Laalaa, Mandinka, Manjaaku, “National” languages Mankaañ, Mënik, Ndut, Noon, __ Oniyan, Paloor, and Saafi- Saafi Note: L1 = first language; L2 = second language; LWC = language of wider communication. -
Language Classification in the Ethnologue and Its Consequences (Paper)
Sarah E. Cornwell The University of Western Ontario, London, Ontario, Canada Language Classification in The Ethnologue and its Consequences (Paper) Abstract: The Ethnologue is a widely used classificatory standard for the world’s 7000+ natural languages. However, the motives and processes used by The Ethnologue’s governing body, SIL International, have come under criticism by linguists. This paper investigates how The Ethnologue answers the question “What is a language?” through the theoretical lens presented by Bowker and Star in Sorting Things Out (1999) and presents some consequences of those classificatory decisions. 1. Introduction Language is central to human culture and experience. It is the central core of our communicative capacity, running through all media of communication. Due to this essential role, there is a need to classify and count languages and their speakers1. Governments need to communicate with citizens, libraries need to catalogue books by language, and search engines need to return webpages in the appropriate language for each searcher. For these reasons among others, there is a strong institutional need for a standardized classification structure and labelling system for languages. The most widespread current classificatory infrastructure for languages is based on The Ethnologue. This essay will critically evaluate The Ethnologue using the Foucauldian theory developed for investigating classification structures by Bowker and Star (1999) in Sorting Things Out: Classification and its Consequences. 2. The Ethnologue The Ethnologue is a catalogue of all the world’s languages. First compiled in 1951, The Ethnologue is currently in its 20th edition and contains descriptions of 7099 living languages (2017). Since 1997, The Ethnologue has been available freely online and widely accessible (Simons & Fennig, 2017). -
Iso/Iec Jtc1 Sc2 Wg2 N3984
ISO/IEC JTC1 SC2 WG2 N3984 Notes on the naming of some characters proposed in the FCD of ISO/IEC 10646:2012 (3rd ed.) (JTC1/SC2/WG2 N3945, JTC1/SC2 N4168) Karl Pentzlin — 2011-02-02 This paper addresses the naming of the following characters proposed for inclusion: U+2E33 RAISED DOT U+2E34 RAISED COMMA (both proposed in JTC1/SC2/WG2 N3912) U+A78F LATIN LETTER GLOTTAL DOT (proposed in JTC1/SC2/WG2 N3567 as LATIN LETTER MIDDLE DOT) shown by the following excerpts from N3945: 1. Dots, Points, and "middle" and "raised" characters encoded in Unicode 6.0 (without script-specific ones and fullwidth/small forms; of similar characters within a block, a single character is selected as representative): Dots and Points: U+002E FULL STOP U+00B7 MIDDLE DOT U+02D9 DOT ABOVE U+0387 GREEK ANO TELEIA U+2024 ONE DOT LEADER U+2027 HYPHENATION POINT U+22C5 DOT OPERATOR U+2E31 WORD SEPARATOR MIDDLE DOT U+02D9 has the property Sk (Symbol, modifier), U+22C5 has Sm (Symbol, math), while all others have Po (Punctuation, other). U+A78F is proposed to have Lo (Letter, other). "Middle" and "raised" characters: U+02F4 MODIFIER LETTER MIDDLE GRAVE ACCENT U+2E0C LEFT RAISED OMISSION BRACKET (representing several similar characters in the same block) U+02F8 MODIFIER LETTER RAISED COLON U+A71B MODIFIER LETTER RAISED UP ARROW The following table will show these characters using some different widespread fonts. Font 002E 00B7 02D9 0387 2024 2027 22C5 2E31 02F4 2E0C 02F8 A71B Andron Mega Corpus x.E x·E x˙E α·Ε x․E x‧E x⋅E --- x˴E x⸌E x˸E --- Arial x.E x·E x˙E α·Ε x․E x‧E -
Applications and Innovations in Typeface Design for North American Indigenous Languages Julia Schillo, Mark Turin
Applications and innovations in typeface design for North American Indigenous languages Julia Schillo, Mark Turin To cite this version: Julia Schillo, Mark Turin. Applications and innovations in typeface design for North American Indige- nous languages. Book 2.0, Intellect Ltd, 2020, 10 (1), pp.71-98. 10.1386/btwo_00021_1. halshs- 03083476 HAL Id: halshs-03083476 https://halshs.archives-ouvertes.fr/halshs-03083476 Submitted on 22 Jan 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. BTWO 10 (1) pp. 71–98 Intellect Limited 2020 Book 2.0 Volume 10 Number 1 btwo © 2020 Intellect Ltd Article. English language. https://doi.org/10.1386/btwo_00021_1 Received 15 September 2019; Accepted 7 February 2020 Book 2.0 Intellect https://doi.org/10.1386/btwo_00021_1 10 JULIA SCHILLO AND MARK TURIN University of British Columbia 1 71 Applications and 98 innovations in typeface © 2020 Intellect Ltd design for North American 2020 Indigenous languages ARTICLES ABSTRACT KEYWORDS In this contribution, we draw attention to prevailing issues that many speakers orthography of Indigenous North American languages face when typing their languages, and typeface design identify examples of typefaces that have been developed and harnessed by histor- Indigenous ically marginalized language communities. -
Mapping India's Language and Mother Tongue Diversity and Its
Mapping India’s Language and Mother Tongue Diversity and its Exclusion in the Indian Census Dr. Shivakumar Jolad1 and Aayush Agarwal2 1FLAME University, Lavale, Pune, India 2Centre for Social and Behavioural Change, Ashoka University, New Delhi, India Abstract In this article, we critique the process of linguistic data enumeration and classification by the Census of India. We map out inclusion and exclusion under Scheduled and non-Scheduled languages and their mother tongues and their representation in state bureaucracies, the judiciary, and education. We highlight that Census classification leads to delegitimization of ‘mother tongues’ that deserve the status of language and official recognition by the state. We argue that the blanket exclusion of languages and mother tongues based on numerical thresholds disregards the languages of about 18.7 million speakers in India. We compute and map the Linguistic Diversity Index of India at the national and state levels and show that the exclusion of mother tongues undermines the linguistic diversity of states. We show that the Hindi belt shows the maximum divergence in Language and Mother Tongue Diversity. We stress the need for India to officially acknowledge the linguistic diversity of states and make the Census classification and enumeration to reflect the true Linguistic diversity. Introduction India and the Indian subcontinent have long been known for their rich diversity in languages and cultures which had baffled travelers, invaders, and colonizers. Amir Khusru, Sufi poet and scholar of the 13th century, wrote about the diversity of languages in Northern India from Sindhi, Punjabi, and Gujarati to Telugu and Bengali (Grierson, 1903-27, vol. -
The Components of Sustainable Multilingual Education Programs
A Two-Way Bridge The Components of Sustainable Multilingual Education Programs Studies demonstrate that learning is most effective when the instruction is received in the language the learner knows best. This simple truth extends from basic reading and writing skills in the first language to second language acquisition. In multilingual education programs (MLE) that start with the mother tongue, learners use their own language for learning in the early grades, while also learning the official language as a classroom subject. As learners gain competence in understanding, speaking, reading and writing the language of education, teachers begin using it for instruction. This instructional bridge between the community language and the language of wider communication enables learners—children and adults alike—to meet their broader multilingual goals while retaining their local language and culture. This booklet addresses several important aspects of MLE: ■ The voices of ethnolinguistic minority communities are often not heard. Therefore, advocacy is appropriate for these communities to meet their MLE needs. ■ Conventional instructional methods are not adequate for MLE programs. Educators at both community and national levels need to develop their capacity to design and implement MLE programs. ■ Developing a writing system for a non-dominant language is a challenging but essential early step in developing an MLE program. ■ MLE not only requires the commitment and resources of the local community, but also the resources and expertise available from government agencies, NGOs or others. Resource linking brings the partners together so that each one contributes its own particular resources. ■ MLE gives children and adults a firm foundation for continuing to learn throughout their lives. -
African Fonts and Open Source
African fonts and Open Source Denis Moyogo Jacquerye September 17th 2008 ATypI ‘o8 Conference St. Petersburg, Russia, September 2008 1 African fonts and Open Source Denis Moyogo Jacquerye African fonts and Open Source This talk is about: ● African Orthographies (relevance, groups, requirements) ● Technologies for them (Unicode, OpenType) ● Implementation ● Raise awareness and interest ● Case for Open Source ATypI ‘o8 Conference St. Petersburg, Russia, September 2008 2 African fonts and Open Source Denis Moyogo Jacquerye Speaker Denis Moyogo Jacquerye ● Computer Scientist and Linguist ● Africanization consultant ● DejaVu Fonts co-leader ● African Network for Localization (ANLoc) ATypI ‘o8 Conference St. Petersburg, Russia, September 2008 3 African fonts and Open Source Denis Moyogo Jacquerye ANLoc African fonts work part of ANLoc project ● Facilitate localization ● Empowering through ICT ● Network of experts ● Sub-projects: Locales, Keyboards, Fonts, Spell checkers, Terminology, Training, Localization software, Policy. ATypI ‘o8 Conference St. Petersburg, Russia, September 2008 4 African fonts and Open Source Denis Moyogo Jacquerye African languages ● Lots of African languages (over 2000) ● 25 spoken by about half ● 80% don't have orthographies ● 20% do! ● Can emulate! ATypI ‘o8 Conference St. Petersburg, Russia, September 2008 5 African fonts and Open Source Denis Moyogo Jacquerye African languages ● Used every day by most ● Education is mostly in European language ● Used in spoken media ● Interest is rising ATypI ‘o8 Conference St. Petersburg,