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Sam Prins (she/her/hers): All right. We are. We're live with the first edition of the Colin 2020 presents web series. And I just want to give everyone a minute to jump in here before we start with our, our introductions. So maybe a little, just wait like one or two minutes for people to jump in.

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Madeleine Shek: Raised

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Sam Prins (she/her/hers): Okay, I just promoted Andrea to a panelist.

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Sam Prins (she/her/hers): Alrighty.

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Andrea Berez-Kroeker (she/her/hers): Okay, I didn't know if you want me to sign in as a guest or a panelists.

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Sam Prins (she/her/hers): Panelists is great. And we're just gonna do a brief intro after everyone logs in, and then we'll, we'll have you jump back in for the to the tech part

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Sam Prins (she/her/hers): Hi john Luke.

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Sam Prins (she/her/hers): Okay, we're about two minutes past I think we can start, start things off, and we have some welcome.

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Sam Prins (she/her/hers): Messages for all of you. And then we also just have some logistics to go over before we get into everything. So I'm going to pass it over to zucchini Ashton Susan and field who are calling 2020 directors to start us off.

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Mizuki Miyashita: I

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Mizuki Miyashita: Welcome to day one of the special web series presented by the colon 2020 team and music me a star, director of linguistics program at the University of Montana and

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Coordinate

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Mizuki Miyashita: Of cola and 2020 this event is hosted by by Dr. It's organizing team at the University of Montana, which is located in Missoula, Montana in United States, we are on the traditional land of the Salish in Kalispell people

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Mizuki Miyashita: And we honor the past, they've shown us always in carrying this place for the generations to come. And we were also looking forward to coast host

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Mizuki Miyashita: Co host colon 2020 this summer with Richard Little Bear from me achieved on life college and he's, he's very busy right now, they decided to go on in space station so he may not be able to attend.

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Mizuki Miyashita: Now, um,

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Mizuki Miyashita: We we plan to cover 44 workshops and three practical in many, many additional exciting event registration started in January and people will call NGOs were signing up but in March.

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Mizuki Miyashita: The Quran virus pandemic was announced. Now after careful consideration we came to this very difficult this decision to cancel colon 2020 the situation with

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Mizuki Miyashita: In the United States and our own rapidly changing instill in. Now we all care about everybody who is working with the, the language research.

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Mizuki Miyashita: Speakers younger elderly members of our community, teachers, students, researchers linguist everybody language workers we believed that the risk was too high to continue with the institute as planned. So

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Mizuki Miyashita: That was the result, though we are meeting today. This is great things.

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Mizuki Miyashita: To happen.

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Mizuki Miyashita: And also there are so many organizations organizations and individuals collaborative collaborating with us toward this summer that I would like to acknowledge starting from local organizing committee Susan pin field.

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Mizuki Miyashita: Who's on the panelists today.

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Mizuki Miyashita: CO, CO director of colon 2020 Richard Little Bear president of the chief don't life college or also a co host of the Institute, and he said only Project Coordinator of American Indian Language Development Institute, also known as Aldi

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Mizuki Miyashita: And University of Montana has linguistics faculty members Irene Applebaum Mirabelle and tally table and our program coordinator Sam Prince, who is the the lead organizer of the web series.

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Mizuki Miyashita: And also to students. I like to major meditating check assisted us as our graduate student assistant posting lot of exciting a message using social media and asked in deca also posted messages of encouragement and wisdom in Montana State.

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Mizuki Miyashita: And

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Mizuki Miyashita: Also thank the following supporting organizations, starting with of course National Science Foundation Dell program, formerly known as Dale program. Now it's d Li

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Mizuki Miyashita: And tribal colleges and university program or teacup program American Indian Language Development Institute Smithsonian center for Folklife and cultural heritage.

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Mizuki Miyashita: fairing pharmaceuticals mother tongue festival Film Festival archive of the indigenous languages of Latin America light has been some Latin American Studies and collections.

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Mizuki Miyashita: Linguistic Society of America endanger language fund humanities Montana all nations health center, formerly known as

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Mizuki Miyashita: Missoula urban Indian Health Center and also a local unit in University of Montana College of Humanities sciences, College of Education American Indian student services.

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Mizuki Miyashita: Department of Native American Studies Department of Anthropology Department of Physics and Astronomy linguistics program and also a collaborative language planning projects liaisons from tribal colleges in Montana.

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Mizuki Miyashita: Including Sean Chandra from anjuna quarter college I've across from black feed Community College LM Parker and killing big knife from Stone child college

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Mizuki Miyashita: Reach a little bear tombstone life college Melanie Sandoval and Aspen Decker from city scrutiny college

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Mizuki Miyashita: Michael Turcotte from fourth pic Community College and participants of the clip meetings and workshop for sharing your

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Mizuki Miyashita: Valuable perspectives in developing this institute and we also extend our appreciation to workshop facilitators workshop assistance and planning speakers. We've been working hard to preparing for this.

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Mizuki Miyashita: Call on 2020 that unfortunately we had to cancel. Now despite this

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Mizuki Miyashita: Yesterday at the business meeting he announced that the Montana team will continue working toward hosting colon and 2022

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Mizuki Miyashita: And I'm going to have Susan Enfield talk about little bit of our plan to audit.

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Susan Penfield: Hi everybody, it's great to see all the participants here today.

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Susan Penfield: It's quite an interesting transition to think about going from 2020 where we had so much in place to rethinking what would it be like to host this institute. Now, two years later in 2022 I think our initial response was the disappointment of all the hard work that came with the

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Susan Penfield: Efforts, but we have a renewed energy and a new excitement about going forward to 2022 that I'll just share with you a couple of things.

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Susan Penfield: The plan right now is to carry perhaps some things over their standard workshops in co line that we would not want to change, but we realized that in two years time, a lot of things might change. And so we decided to really approach this as a whole new institute

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Susan Penfield: Rethinking it the extra time gives us a chance to build on a partnerships that we've been working with for the last couple of years, and just extend them with the

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Susan Penfield: Zoom.

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Susan Penfield: Through

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Susan Penfield: Thing and so forth. I think the workshop will reflect the times in 2022

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Susan Penfield: And you don't really know what that's going to be yet so we're still working towards that.

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Susan Penfield: As I as I say that I want to first of all personally thank Sam prints for all the work. She's put in in the 2020 efforts and certainly Suzuki, and then I want to introduce metal and check as a new coordinator for the

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Susan Penfield: coaching group.

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Susan Penfield: I think that's all I have to say, Madeline

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Susan Penfield: Hello.

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Madeleine Shek: Hi I'm mandolin I'll be filling that attempting to fill Sam's really big shoes as program coordinator at Colin and I look forward to

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Madeleine Shek: Meeting YOU ALL IN PERSON SOMEDAY, and continuing to work on this really fun and important.

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Madeleine Shek: Cops

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Sam Prins (she/her/hers): Hi everyone. I am Sam prince, I move to be emceeing the session. And I just wanted to briefly go over some logistics. Before we get started, so

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Sam Prins (she/her/hers): What were the first thing I need to say is that we are going to be recording these sessions and recording them for viewing at a later time. We're going to post them on our website for people

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Sam Prins (she/her/hers): Calling is an international conference or institute and we have a lot of Colin community members that are not in this time zone and can't attend. And so we want to make sure that this is accessible to those people

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Sam Prins (she/her/hers): And so just be, be aware. We're recording and we also have a chat feature and a Q AMP a feature.

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Sam Prins (she/her/hers): I think for attendees, you will only have access to the Q AMP a feature and panelists and hosts can do the chat feature, but I believe those also get recorded, even if you send a private message. So just so you know that

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Sam Prins (she/her/hers): And I just wanted to briefly go over our agenda and the plan for today. So we're going to start out with today's session is the workshop showcase and we're going to highlight some workshops that we

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Sam Prins (she/her/hers): Love that are always are typically offered a cooling, and so we're going to first start out with a presentation on blurring the lines with ever checkups can Higgins and Susan Guerre

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Sam Prins (she/her/hers): They're going to present for a little bit and then we're going to have a brief Q AMP. A and then we're going to go to project planning and grant writing with Margaret Flory and Susan pen field.

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Sam Prins (she/her/hers): Again, followed by a brief Q AMP. A and this is where you can use the Q AMP a feature to type your questions as they're presenting and

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Sam Prins (she/her/hers): I think there's an appt boat so you can if you agree or like have the same question, please upload it so that we can make sure we get to that question.

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Sam Prins (she/her/hers): And the last part of today as a showcase of our tech workshops and we usually offer a variety of workshops that polling and the, the three, we're talking about today are

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Sam Prins (she/her/hers): Ulan prod and flex and that's going to be with Carolyn O'Meara Andrew Burris croaker Sonia bird ran Claxton Rodwell again, followed by a Q AMP. A. So I just want to kick it over to our first session, which is going to be

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Sam Prins (she/her/hers): With Evan, Susan. So, Evan, Susan, would you please jump in with your videos.

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Sam Prins (she/her/hers): Hi, Evan, Susan.

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Sam Prins (she/her/hers): Hello, guys.

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Susan Gehr: Good to see you too. Good afternoon, everybody. I yuki

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Susan Gehr: Ever. Shall I just go ahead and introduce myself and start for a few minutes.

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Sam Prins (she/her/hers): With some introductions and then and then we'll talk about the workshop

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Susan Gehr: Okay I key none of Troy. I'm Susan Gare couldn't quite hear you need to pity.

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Susan Gehr: Many

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Susan Gehr: Others cannot MC Britt.

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Susan Gehr: Athletes to Fukushima.

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Susan Gehr: Curtain any coupon.

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Susan Gehr: Go violet super cut vinyl Smith, go to Julian laying

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Susan Gehr: To William break

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Susan Gehr: So my name is Susan gear. I always speaking kuru which is

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Susan Gehr: One of my languages, and I learned from violet super and Vine a Smith and Julian Lang, and William bright

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Susan Gehr: Yeah, that is that is my basic introduction there.

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Sam Prins (she/her/hers): Thank you, Susan.

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Ewa Czaykowska: Is great to see.

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Ewa Czaykowska: Good day, respected ones I'm speaking in San chaffin which is the language of the people who live on.

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Ewa Czaykowska: The beautiful and see the

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Ewa Czaykowska: territory that is at the southern end of Vancouver Island in British Columbia, Canada, and I just like to start by acknowledging the land that I'm on, and

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Ewa Czaykowska: how grateful I am to be here and also wanted to thank Sam and the coaching team for setting up the webinar series and for all the work that you've been doing so far, um,

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Ewa Czaykowska: I am also wanted to just say that I am somebody who teaches at the University of Victoria and I'm in linguistics and I'm also involved in the indigenous language revitalization programs here.

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Sam Prins (she/her/hers): Great, thank you both so much.

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Sam Prins (she/her/hers): Before we get into questions that I have. Is there anything you wanted to start out with, in terms of just describing the workshop or your relationship to the to the blurring lines workshop

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Sure.

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Susan Gehr: Yeah, I'll go ahead and go first. So I

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Susan Gehr: have participated in the blurring the lines workshops and and i think i also

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Susan Gehr: Sometimes, get them a little mixed up with the life and communities.

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Susan Gehr: Because I they bring up some of the same questions for me as a participant. I haven't facilitated either the workshops

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Susan Gehr: So I started out as a participant and

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Susan Gehr: Mainly because it was a terrific opportunity to reflect on

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Susan Gehr: How I had gotten to where I was with working on my language and with

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Susan Gehr: Thinking about the collaboration. I had built up without knowing that that's what they were.

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Susan Gehr: And realizing that as I talked to either both academic linguists and

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Susan Gehr: People in their communities, working on their own language.

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Susan Gehr: That

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Susan Gehr: And some of whom are academic linguists

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Susan Gehr: But that there

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Susan Gehr: Everybody comes to that kind of work with a different dynamic and with a different background and that maybe some of the things that I had learned on the way were really valuable.

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Susan Gehr: My first collaborations were sort of like with my language community.

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Susan Gehr: I'm going to briefly share a picture of some of my language community. Let's see if I can

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Susan Gehr: Bring up that picture.

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Susan Gehr: See if it's still up

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Susan Gehr: Yes.

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Susan Gehr: It's not the right one. That is not the right one.

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Susan Gehr: Window.

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Susan Gehr: There we go.

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Susan Gehr: There we go. Can everyone see that photograph there.

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Susan Gehr: OK, so the women and the friend.

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Susan Gehr: Was anti

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Susan Gehr: Everybody called her auntie but violet super auntie and her. Nice. They're kind of holding her right there jeanneret

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Susan Gehr: So they were kind of my first teachers.

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Susan Gehr: And then behind them is the linguist William bright and toward the end of, you know, later part of his life. He came and worked with us, but my first collaboration was with my community and where we decided what we were going to do about our language together.

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Susan Gehr: That was strong really first and then later on.

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Susan Gehr: As I started studying my language and spent three years in the master apprentice program with violet with not really a clear vision of, you know, what am I going to do with my language. I was just wanting to build

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Susan Gehr: fluency in it and understand it better.

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Susan Gehr: That the collaborations with and intersections with linguistics came later, and

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Susan Gehr: And then this blurring the lines workshop was kind of a chance to reflect on all that and see, you know,

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Susan Gehr: What

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Susan Gehr: What what's needed to collaborate well together and and and thinking about the relational things that come into collaborations with people doing linguistics.

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Susan Gehr: And that's kind of an introduction. And so I'm going to pass it to ever and and let her give some of her background and we'll go from there.

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Ewa Czaykowska: Thanks, Susan, so

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Ewa Czaykowska: Um, I

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Ewa Czaykowska: Think it's important to just sort of mentioned that I'm a child of people who were refugees from the Second World War, from Poland.

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Ewa Czaykowska: And that they ended up on homeschooling territory in Canada in the 1960s. So my upbringing and also my schooling, including in linguistics, we're in the euro American intellectual tradition.

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Ewa Czaykowska: And so I'm speaking today as an academic as somebody who was trained as a theoretical linguist and a person of settler Canadian background.

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Ewa Czaykowska: And I started out as a linguist almost 40 years ago as an undergrad I was sent into the field to do a solicitation with a fluent speaker for an undergraduate project on the language, which was then referred to as Colombian Salish and which today is called by it's

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Ewa Czaykowska: The name that the speakers use for it which is not working.

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Ewa Czaykowska: And the person that I was working with

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Ewa Czaykowska: The speaker had studied in the native Indian language Diploma Program at the University of Victoria and that was in the 1970s and

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Ewa Czaykowska: She knew a lot more about how to work with a linguistic researcher than I did. And so I really learned a lot from her, and my language work in

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Ewa Czaykowska: The indigenous communities that I've worked in began with what I would call a linguist centered approach to the research. So again, with me.

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Ewa Czaykowska: Being the academic linguist entering a community of speakers as the expert and asking questions, but over the 40 years that I've been involved in this work. It has evolved into a community based practice.

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Ewa Czaykowska: In which I work as part of the language team. And so my language work has been shaped by its historical context by the intellectual context that I grew up in, but also by the work that I've been doing

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Ewa Czaykowska: In community and by what I've learned from community goals and so

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Ewa Czaykowska: I've also been involved in

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Ewa Czaykowska: A large project, which involved many different partners and which was deeply collaborative that was starting in 2003

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Ewa Czaykowska: And I'm currently involved in projects where I'm working collaboratively on dictionary work.

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Ewa Czaykowska: And I've twice had the privilege of being one of the facilitators for blurring the lines once in 2014

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Ewa Czaykowska: And once again in 2018 and both times my co facilitator was Dr Lorna Williams, who is from the little white nation and as a professor emeritus at the University of Victoria.

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Ewa Czaykowska: And also a language activist and an educator and Dr. Williams has played a key role and working towards the colonizing education.

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Ewa Czaykowska: And also to developing indigenous language policies in Canada and around the world. So I think I'm just one thing that I just want to emphasize is the, is that

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Ewa Czaykowska: The reason that I sort of said a bit about myself is that I think when we do this kind of work when we work in collaboration. One of the first things that we need to do is we need to know who we are ourselves because that is one way to start building good relationships in collaboration

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Sam Prins (she/her/hers): Thank you. Evan, Susan. And so you've both talked about sort of your own backgrounds and now I want to pivot to the the content of the workshop itself. And I wanted to start by touching on the title of the workshop which is blurring the lines. And I wonder if both of you could just

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Sam Prins (she/her/hers): Say what, why, why, why it's called that what it means and what we're getting at with this type of workshop

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Susan Gehr: Jericho first ever since you facilitated it. Sure.

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Ewa Czaykowska: And I think

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Ewa Czaykowska: When, when we work together. When we work in collaboration. And one of the things that it's important to think about is different roles and responsibilities that people have, and also why would we collaborate

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Ewa Czaykowska: What is expertise and how do we acknowledge different forms and sources of expertise and knowledge.

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Ewa Czaykowska: And so I'm blurring the lines is a way of thinking about the fact that for many, many

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Ewa Czaykowska: Years, we've

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Ewa Czaykowska: Linked the linguistic community anyway has understood

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Ewa Czaykowska: Itself as being sort of separate from the communities within which it works. But that's not the way that

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Ewa Czaykowska: Collaboration is successful and so blurring the lines, his way of thinking about how to move beyond

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Ewa Czaykowska: Rigid and and

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I'm

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Ewa Czaykowska: Colonizing ways of thinking about language work and so

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Ewa Czaykowska: Some of the questions that we can ask is,

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Ewa Czaykowska: What does it mean to be useful in a collaborative community based project.

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Ewa Czaykowska: How are relationships built. What is community and also think about things like what is power and how does it play a role in how we work together.

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Ewa Czaykowska: Who are we responsible to when we work collaboratively and then also thinking about things like culturally appropriate behavior.

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Ewa Czaykowska: What kinds of emotions come up when we work on language, whoever we are, where wherever we're coming from, what are our roles and how are we shaped by our past in the roles that we participate in so that those are some of the things that come up

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Ewa Czaykowska: When we're doing a workshop of this kind, really gives us a chance to reflect on who we are and how to work together well.

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Susan Gehr: I think one of the things, for I mean the what the title brings to mind for me is to

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Susan Gehr: A chance to rethink what expertise is and especially the expertise of

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Susan Gehr: And and the the work of the fluent speakers, because they

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Susan Gehr: Come to stand in for like a whole

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Susan Gehr: The whole body of knowledge they managed to from a time that where it wasn't safe or

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Susan Gehr: A you know where it wasn't allowed to do so they managed to carry the whole a whole body of knowledge of the language for to a generation.

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Susan Gehr: And and so acknowledging that expertise. I mean, that could, you know, and practically acknowledging that expertise.

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Susan Gehr: In very practical ways like you know credit on publications or, you know, rates of pay.

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Susan Gehr: Other acknowledgments of that expertise.

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Madeleine Shek: You're on mute.

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Sam Prins (she/her/hers): About now.

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Susan Gehr: Very

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Sam Prins (she/her/hers): Great, thanks. Um, so the next question I have is about what your, what are your perceived

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Sam Prins (she/her/hers): goals and outcomes for this workshop. If you are participating in this workshop at Colin. What can you hope to come away with this or come away with from this experience of taking this workshop

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Sam Prins (she/her/hers): Maybe this is a question for, for I guess it's for both of you can Susan you've participated and so maybe you could talk about what you came away with it. And then if you want to talk about what your hope is as a as a facilitator.

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Susan Gehr: Sure. Um, so one of the things I came away with was, was an awareness that I had, you know, without meaning to spent several years sort of building up a relationship in my community.

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Susan Gehr: You know, both learning the language, but also

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Susan Gehr: You know, getting to getting to know the people getting to know both the language community and

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Susan Gehr: Sort of the tribal council. Which is it, which is the decision making body you know that the language community might say we want to do X, Y, and Z. And it's the it was the Tribal Council who, you know, approved the grant to go to the funding source and so

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Susan Gehr: You know, without really meaning to and I, I'm going to just give a lot of credit to

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Susan Gehr: To jeanneret Jacobs, Johnny, she made me go to like years of Council meetings with her and

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Susan Gehr: You know, showed me how she got to know everybody and, you know, made me go visit with people. And when I screwed up a relationship with auntie I ruined her blender and she's like, Nope, you

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Susan Gehr: You got to fix it and you got to quit making excuses about it. So I was right after my bachelor's degree I moved up there. So I was still not

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Susan Gehr: I grew up away from my community and came to learn my language and get acquainted with my culture as a young adult. So I had so yeah

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Susan Gehr: It made me reflect on that and then also think about

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Susan Gehr: More consciously about my relationships with academic linguistics, I did go for my masters in linguistics through the University of Oregon and I decided that I didn't want a PhD in linguistics.

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Susan Gehr: But I did want to be able to know enough, not only to read the existing work on my language, but to be able to continue partnering with academic linguistics.

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Susan Gehr: You know, since bills passing and getting to work with new collaborators.

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Susan Gehr: I'll turn it over to Ebbets point

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Ewa Czaykowska: Susan um I think from, from my perspective,

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Ewa Czaykowska: The blurring the lines workshop is a workshop in which

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Ewa Czaykowska: There, there's an opportunity to think about in question our assumptions about our work wherever we're coming from whether we're community linguists, whether we're trained in the academy and have settler background.

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Ewa Czaykowska: Also, what can we bring to the work

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Ewa Czaykowska: Our assumptions about why we are doing the work. And what do others bring to us, I think. Susan mentioning you know roles and expertise is really important because that's part of the work that we do.

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Ewa Czaykowska: Who has expertise. What kind of expertise. Do they have, how can we bring expertise together. I'm also thinking about

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Ewa Czaykowska: Not just about roles that we have in in the work that we do, but also our rights and our responsibilities and so for me it's really important to think about

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Ewa Czaykowska: What are called the Ares of indigenous research and some of the, the work of indigenous scholars here in Canada and that

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Ewa Czaykowska: Includes respect reciprocity relevance responsibility in research and also relationships and accountability to relationships. So this workshop is really to me a chance to think and and to question who we are and how we want to do our work in a good way. And what is that

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Sam Prins (she/her/hers): Thank you so much. And I think that's about our time and we're going to turn it over to questions from the attendees.

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Sam Prins (she/her/hers): But I just wanted to close by saying that I had the privilege of attending this workshop in 2018 and Florida.

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Sam Prins (she/her/hers): Whenever and Dr Lorna Williams co facilitated it and I just wanted to mention that it was an absolutely transformative experience for me and I just would urge everyone who can to come and take it and it's just it's a really, really.

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Sam Prins (she/her/hers): Essential workshop and I just think it's great.

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Sam Prins (she/her/hers): So, thank you. And thank you to Lorna.

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Sam Prins (she/her/hers): And I'm gonna, I'm going to go over to the Q AMP a box. So the question that I see in here. First is asking about the different types of students who might take the blurring the lines workshop, who's the workshop for if I could paraphrase.

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Ewa Czaykowska: Well, from my perspective, it's from everybody for everybody because

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Ewa Czaykowska: No matter who we are and what stage we are in our lives. We all can learn and we can also learn from each other. And so in that sense the workshop is really collaborative because everybody has

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Ewa Czaykowska: Their own story their own experience that they can bring. And so I think from, from my perspective as a as a co facilitator, we're really co constructing knowledge. So thank you for that question because I think that's a really important thing to be aware of.

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Sam Prins (she/her/hers): Any other questions now, now's a good time to drop those in the chat.

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Sam Prins (she/her/hers): Okay.

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Sam Prins (she/her/hers): Okay.

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Sam Prins (she/her/hers): I have a comment.

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Sam Prins (she/her/hers): That says ever mentioned community linguists versus academic linguist trained in colonial ideals and he wanted to clarify that community linguists are also trained in that same space. And it looks like that got cut off training the same institutions and colonial frameworks.

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Sam Prins (she/her/hers): Yeah, I wanted to make that comment.

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Ewa Czaykowska: Yeah, no, thank you. That's of course that's true. I, I, they're all people come from all kinds of different backgrounds with all kinds of different training and all kinds of different sets of knowledge. But yeah, that's definitely true. And I think

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Ewa Czaykowska: We need to think more about what language is and how to define language and, and how to rethink some of the academic ways of understanding what language is and how language should be taught and how language should be analyzed or not. So thank you for that comment. Thank you.

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Susan Gehr: Susan, did you want to respond to that. Yeah. It made me think of that, while linguistics is certainly a discipline, where I'll have a big body of information.

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Susan Gehr: On my language and many other people's languages have been collected and put together and studied and discussed

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Susan Gehr: There were definitely elements of it where I said, Oh, I wish to, you know, interact with this aspect of it or look at my language.

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Susan Gehr: Not look at my language in this way at all. You know, this is not how I really see my language. And I think part of and a little bit of my reasoning and going into a an academic linguistics program.

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Susan Gehr: Was I will do this so that I can understand the work that's been done, because I don't anticipate everyone in my community wanting to interface directly with academic linguistics.

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Susan Gehr: Yeah. And I'd like to help them avoid that.

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Susan Gehr: But in the funny thing is, is that, you know, I've come to stay in relationship with you with you all, and with linguistics as a whole because of CO Lang. I think I might have stayed more in the

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Susan Gehr: In you know

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Susan Gehr: I think that cooling has been a big part of my willingness to interact with academic linguistics as much as I have in the last several years.

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Sam Prins (she/her/hers): All right, thank you so much. I think that's all of our time for the blurring the lines slot.

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Sam Prins (she/her/hers): I just really want to thank you both again for coming on here and talking to all of us and we really look forward to the next time we can all get together, hopefully in person.

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Sam Prins (she/her/hers): Okay, so I'm going to transition over our next session is actually pre recorded it's with Susan pen field and Margaret Flory who is in Melbourne, Australia.

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Sam Prins (she/her/hers): And she she is obviously a very different time zone. So we ended up pre recording this so we're going to show the video and then we're going to transition over to Susan, who is going to answer your questions live so I'm just going to put that on here. Now give me a second.

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Alright, I'm here with Susan and Margaret Hi Susan and Margaret. Thanks for being here. Um, I just want to start before we jump into the content. Let's just some introductions. If you guys wouldn't mind introducing yourself.

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I'll start on that I'm super Enfield, I am a co director for Co Lang.

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Which is not happening, but also through 2020

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And I've had the privilege of teaching grant writing, several times at co lying in the past and working on the project planning a course with Margaret. I look forward to jumping

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High have macro Flory I'm an Australian linguist and I was the founder of the Resource Network for linguistic diversity that's now called Living languages that does training programs with indigenous people around Australia and I've been a part of the coaching previously infield

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Facilitating team since the first one in Santa Barbara in 2008 so I've taught grant writing and project planning several times now. I'm really excited to be potentially carthorses Montana climbing.

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Excellent. Great. Thank you guys so today we're talking about project planning and grant writing, which are two workshops that are offered a colon typically

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And the first thing I wanted to touch on is that these, these two workshops are taught, usually in a series that going. And could you talk a little bit about why they're sort of grouped together in that way and taught in the order that they are

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Maybe I'll start that Susan and you can jump in.

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Sure, for me, and I think for for season as well. And these work really well sequentially because project planning gives people from all different kinds of

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Backgrounds, the opportunity to really explicitly understand what their own project is and what their project goals are. So the, the classes of the workshop is is planned.

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For community people working at grassroots level for Indigenous and non indigenous linguists working both within academia and also again at at Community level.

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to unpack what the project is what their goals are and why that project is important or a priority for the project developers and for the

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The language community. So when when Susan and I were first talking about including project planning in

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The colon workshop series grant writing was a core part of of curling since it first started in 2008 but project planning wasn't so we were trying to do these two aspects together within

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The short time of a of a cooling workshop we felt we really needed to tease them apart so that people could really

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Look analytically at their own project first and projects don't necessarily require funding and it's important to people to understand that and to do this strategic planning first before moving on to the grant writing phase.

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Over to users.

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reiterate that a little bit. But it became interesting. The first few callings when you tried to teach grant writing, and people came to the workshop without knowing

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What either what their project specifically was or what a fundable project was

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So that we begin to begin to see that be very helpful if people had a better handle on what counted as a project.

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And so that workshop. The project planning workshop really does start with pretty basic concepts, you know, how do we define a project and now and then once you define it. How does it fit into your, what is the bigger plan and how does it fit.

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And is it something that you're going to have to seek funding for. If so, you might want to take the grant writing workshop

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Which would help you build the skills you need to get the funding that would support your project. Great. Thank you.

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So now I think we can sort of tease apart a little bit more of this, these two different workshops

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I'm wondering, what if you could just briefly summarize what is typically covered in either a project planning or a grant writing workshop. How are these workshops organized and you know what types of questions are addressed and what types of skills do you hope to develop in these workshops

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Okay.

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I'm going to start with what we come out with in project planning. So in project planning, we're building towards the participants coming out with a 100 word a really concise 100 words summary of their project.

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And we're working towards that. Because to get to that point requires that people really take apart. What is it that they're wanting to achieve in their project.

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What are the potential stages of of a project, what, what makes a project. A project. So we're looking at the things like the goals and objectives.

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And the outcomes. But we're also looking at, are you at the beginning stages of that project that that you say that you want to do. So if you want to

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revitalize your language, you know, really commonly people will say, I want to revitalize my language, which is

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In the end, the, the end point of everything that that you want to do. That's absolutely where you want to end up. But there are so many stages involved in that, or

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You know, I want to teach my language. And then we're getting people to really unpack, you know, have you already got a pool of speakers.

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Are those speakers trained as teachers. So what it, what are the different stages that is project might need to go through what is the beginning stage. What's your starting point for being able to really get something very manageable off the ground.

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Sam Prins (she/her/hers): And so that might be as a beginning stage identifying fluent speakers in the community or identifying second language speakers in the in the community. So what is that project. What are its key goals.

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And why is this project important I mentioned that that earlier. So it's really again trying to tease apart these your own personal goals or is this project a priority for the language community are those two things aligned

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Is there a bigger strategic plan that this particular project fits into and how does it fit in. Is this the first stage that's identified in a strategic plan or have you already achieved several steps. And this is a this is a later stage.

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So we're looking at what are the steps involved in planning a project and how is the need for this project identified who identified that need why this project should be prioritized over over other projects for the for the language.

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Maybe I'll stop there for a minute and let you jump in with some piece pieces to

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It just to build on that. I love the idea that you're going to have students leave with 100 words summary, because then you're really set up well for grant writing

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Yeah. Beautiful. If you walk into it because so much of grant writing is probably deconstructing that summary into the pieces that you actually need for a work plan personnel and figuring out the budgets, I think our goals for grant writing, have always done

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It. And I'll just speak real personally this I think grant writing is a little bit of a mystery to a lot of people, and there's a perception that it takes some kind of rare talent to write a grant and really it's a skill set.

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And so the goal for that workshop is to kind of demystify the whole process to look at a project and see how do you actually get this dream that someone has of

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Doing something great for their language to happen. Now, one way is to get be able to provide provide funding for the project for the people in it for equipment that might be needed for whatever the specified needs are.

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And there's a lot that goes into that. It's true. And in a short workshop. You can't produce maybe a finished product.

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But you can walk people through the stages that are needed, and you can have them leave with a real sense of understanding what has to be done in order to get their project off the ground.

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I've always found it very rewarding and a lot of people do leave calling and actually enact their work and are able to provide something for their community that we couldn't have done otherwise. So

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It's rather exciting to me. And I think when Margaret, and I figured out that it had to be this to stage project they knit so well together that

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I wouldn't say that students have to take them together. But I do think it's it's helpful if you can

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Think also I think it's a it's a common misperception that this workshop, particularly project planning particularly is aimed at Community language workers or

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Indigenous people who are working on their own their own language.

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And and i think that our experience has shown that that's such a misperception everyone needs to know what their projects about everyone who's engaging in language work.

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Needs to be very clear strategically about what their project is about and how they're going to go about that project. And that's true for for academic linguists as well.

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And it's true for people from all the different kinds of diverse backgrounds that come to to coiling that having a very solid understanding of how to to develop and achievable project is is a very important foundational skill and several of the people who are

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Instructors at coiling now have done the project planning workshop. We've seen some incredibly exciting projects and partnerships come out of this workshop end up with the grant writing workshop

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Know, and I'm going to add on to that a little bit about grant writing to, I think, you know, not everybody should be a grant writer, not everybody really wants to be a grant writer.

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But to take a workshop helps you understand the process and in collaborative research, whether you are a member of speaking community if you're indigenous person, you're an academic. It doesn't matter.

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If you're working on a project that was funded grant funded it is really helpful to understand

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What were the pieces. What are the pieces that are in place for that project in terms of the funding and how it's going to move forward and what the time frame is and all of that. So I would encourage people, even if they don't want to learn to write a grant it isn't everybody's

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Desire, but to think about it as understanding the mechanisms that you need to actually do productive research and that applies across the board to everybody.

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It's true, it's I think it's very empowering for people to understand what that project is. And so if they're handing it over to something somebody else to do. They can still guide it and understand what's what's happening, the intricacies of off the ground process right

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You know, for well since you guys have also touched on this a little bit. I'm wondering if we can just talk a bit more specifically about

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Collaboration and how collaboration is built into these workshops and it's one of the main, you know, wonderful things about coding is that we try to be collaborative in the work that we do. And the way that everything set up and

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Is there a way in which, in which that's built into these workshops. Yeah.

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Absolutely. I think in both of these, these workshops and that's that's very much the case and in my experience, the, the two workshops have typically been

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Been a mix of indigenous and non indigenous people, community members academics community members who are academics know all of the all of the possible mixes.

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And in, in both of the workshops again when I've been facilitating them. We've done a lot of work in small groups and it's been wonderful to have support from other other facilitators that coiling who have volunteered to come and assist in the in the workshops all give a shout out to

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Miss leukemia and Andrea birds Crocker who to two years ago came and gave me supporting the project planning.

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Workshop, which helps this whole process of working in in small groups and and creating collaboration. So people have sort of formed their own natural group. Some people come to the workshop with

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Several members of the other language community. So I think in my experience in the project planning.

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Groups have more naturally been formed from language communities and then it's been a process of saying, you know, you guys okay if if some other people come and join your, your group. And I think we've sort of done that from the perspective of

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Susan Penfield: This may not be something that continues on. But it's a chance to also brainstorm how does collaboration work in a project.

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Susan Penfield: That project is typically so complex that it's very hard for one or two or three people to do by themselves. And you may need a specialist

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Susan Penfield: grant writer. If your community doesn't yet have a linguist, you may need to be inviting an external linguists to to come in until somebody from the community is trained up to do that role.

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Susan Penfield: You may need a specialist botanist, or whatever the different project is is about. So people from outside the language community can come in and

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Susan Penfield: Take that role during the workshops as a way of being able to move through the stages of of planning the project. So it's been by invitation. And sometimes there's been, you know, two or three

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Non indigenous academics who decided to work together because they see the particular project as being one in which you know they're developing some it

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Or something. Something along those lines, or you know archiving project. So those are some of the ways in which, in which we've worked to develop

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Collaboration. And what about you, Susan. Yeah, well, I'd like I want to be clear about one thing the calling workshops are in my experience as

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an educator for a long time and lots of different age groups and so forth, probably one of the most mixed groups, you'll see it is not

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training ground just for graduate students. It's not a training ground for any one group. It is a training ground for

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Lots of different people who have an interest in this subject area of working with languages that need revitalization documentation and so forth.

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And that means it's indigenous community members indigenous scholars. And did you know the whole thing that Margaret was talking about in the grant writing class.

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Anybody who has ever tried to write a grant understands that it is a written sort of argument intended to convince somebody that your project is the best one that they ever were able to give money to

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So it takes again like market center project. It takes a lot of people to think about how do you best present that information so that you really

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Show your project in the best light and you really make it solid. So there's there's a kind of refining that goes on in the grant workshops that I think

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Is really it benefits from the collaboration of other students. Other people talking about it, thinking about it. And again, it's, it's, we have lots of different age groups and classes.

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You get perspectives that you might not be able to get elsewhere on your word. I've always found it very beneficial. Yeah.

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Absolutely. Some of those partnerships have persisted since the since the first or the second piling so you know it's been, I think, really exciting to see that curling really is a place where people can find

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Other people with skill sets that they're that they're really keen to, sort of, you know, using their project. And so, yeah, I think that the very mixed nature and

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The very non hierarchical nature of correlating is something that's incredibly valuable. Yeah.

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Sam Prins (she/her/hers): Thank you. Thank you for about our time here but I just wanted to open it up and if there is any sort of, you know,

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Anything you want to put out to anyone that hasn't been to Colin before or even for those that have and to send a message to people that would maybe be taking these workshops

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Sam, I think if I could just throw throw something in the nature of coiling is it so special and, you know, I've made jokes in the past about, you know, my, my colon dating Agency, which is not about setting people up in

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In their personal relationships, but in their professional relationships that you might go there with an idea about

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I've always wanted to talk to this person or this is somebody who I really think would be a great mentor for me.

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And the facilitators, I would say a really on hand for, you know, like 12 or 18 hours of the day and

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So we're having lunch meetings with people are saying, look, you know, if you want to have a chat to that person, why don't we

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Have you know let's have to set up that we have afternoon tea, together with them or, you know, you really need to talk to this person who's doing something similar to you. So that's true of the facilitators. It's true of the

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You know the academics who are there, the students who are their community members who who are there everybody's there because of their passion and commitment to languages language diversity language revitalization and language maintenance.

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I don't think I could beat that.

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Comment but

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I will echo her. It is a really special time. I look forward to it so much. Whenever I'm able to go and it isn't just about

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I get to see a lot of colleagues that I may not have seen otherwise in a long time. And that's always wonderful, but it is the interaction with the

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Participants and the facilitators that I think makes it really kind of unique come along and have a have a whole lot of fun and learn and an incredible set of skills in a very short period of time I meet fantastic people

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And I, and it's also the global nature and I'll just hear your Margaret, and I are talking now and it's so interesting because in 2008 we started

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We met each other at code through the code. Well, I guess we've met before, but we actually decided to collaborate as academics teaching the language activism class.

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Eight and it turned into a great friendship as well. But it's been really

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That happens to a lot of people and that's an international thing, you know. So it's not just us. There's many, many people there and many ways that you can collaborate and develop good relationships so

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Yeah, maybe that's a good point for me to give a quick shout out to Kevin mouth and small WHO WOULD HAVE BEEN MY CO facilitator at this workshop and Kevin's in Singapore.

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And it's also being the key person revitalizing his indigenous language, culture, Kristen, which is a Portuguese ML a Creole and Kevin started planning his revitalization project I think four years ago.

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In the project planning class and just has done the most extraordinary job so yet another international facilitator, who's in, who's in Singapore.

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And let me mention one thing too. I am standing here because Jenny Davis couldn't join us and she was going to teach grant writing

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She's taken on a new role at her University, which is University of Illinois Champaign, Urbana in Native American studies for now and

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She's great. And has the perspective of an academic and an indigenous person, so I think

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There's a lot of that at co lying and a lot of the globally and across communities and across cultures and it's a, you know, it's a good place to come and meet people. So, yeah.

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He stayed in the alumni since the very first infield as as well and has taught language activism with Kennedy bossy ray from Kenya, who is also at the very first infield such clearly yes

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Oh, excellent. I mean, that's, that's all I have for now thank you guys both so much. I think we're going to turn it over to some live questions here at the end of this recording

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And the. I just wanted to thank you guys again for both coming on here and talking about this and we'll look forward to the, to the next time we can all get together. Alright, thanks. And thanks to

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You guys. Bye bye.

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Sam Prins (she/her/hers): Okay. And we're back.

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Sam Prins (she/her/hers): I hope, I hope everyone was able to see the video I know sometimes when you're sharing a video over zoom it gets a little choppy, but hopefully

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Sam Prins (she/her/hers): It worked. We have a short amount of time for questions and then we're going to move on to our tech showcase so if anyone has a question. I'm going to check the chat box there for that are the question answer box.

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Susan Penfield: It's just one question there. Right, Sam.

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Sam Prins (she/her/hers): Yeah, we have a comment about encouragement to take them and I think everyone can be these about

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Sam Prins (she/her/hers): Yeah. Just, just a person encouraging us to to go to the blurring the lines and any of these workshops

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Susan Penfield: And the comment made a lot of fun. And I think there's a casual nature to calling it serious work. We all know that.

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Susan Penfield: But the workshops themselves are such a usually a really warm exchange of ideas and people working together to try to sort of resolve or at least talk through issues within the field and the comment mentions. It's a lot of fun. I've always had a lot of fun.

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Susan Penfield: These workshops. Yeah.

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Sam Prins (she/her/hers): Alrighty. Um, I am not not seeing anything. So I think we're gonna go over to

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Sam Prins (she/her/hers): Oh, I have a question from Mary. Does anyone know if any student proposals that came out of this type of workshop project planning or grant funding that ended up being funded

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Susan Penfield: You know, I know there have been some off the top of my head, I'm having trouble thinking of anything specific. But I'm

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Susan Penfield: Beyond the time spanning calling on just a personal level when I taught grant writing, several times I followed up with students after the workshops

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Susan Penfield: Who were getting ready to submit proposals and so I know there's follow through. I can't tell you a specific case offhand. I wish I could but I have no doubt that some projects have been funded that initial were initiated and or further developed through the CO writing workshops

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Sam Prins (she/her/hers): Well alright, I think we're going to have to pass it over to the tech showcase

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Sam Prins (she/her/hers): A little bit behind. So I will go ahead and kick it over to Carolyn, and all of our other presenters for the tech showcase

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Carolyn O'Meara: Okay, thanks a lot. Sam, so we have

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Carolyn O'Meara: An exciting hour

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Carolyn O'Meara: ahead of us now with three

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Carolyn O'Meara: Three different presentations to showcase the different some of the tech options that we have for workshops and I think that this also of these two hours represent the really nice balance. I think that coaching strikes between

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Carolyn O'Meara: Some workshops that are more tech focused and focused on ways technology can assist us in the work we're doing

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Carolyn O'Meara: And also the workshops that are focused on other aspects that are equally important. So we're going to start with in line then have a Q AMP a session. And then we're going to go to prompt and then we're going to go to flex and I'm going to let each of the

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Carolyn O'Meara: Presenters introduce themselves.

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Carolyn O'Meara: And then I will

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Carolyn O'Meara: Join back in with the Q AMP a session. So we're going to start with, along with Andrea and

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Carolyn O'Meara: I'll let pass the mic over to you.

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Andrea Berez-Kroeker (she/her/hers): Thank you. Carolyn. Okay. But before we start, I have a technical question for

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Andrea Berez-Kroeker (she/her/hers): Sam, I think he said that there's a way that I can optimize my screen for video sharing the. Is that a button that you know

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Sam Prins (she/her/hers): That is a box. You can check and I tried to do that for the video I just shared. So I don't know how much it optimized it

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Sam Prins (she/her/hers): But when you click shy saying

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Yeah.

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Andrea Berez-Kroeker (she/her/hers): I'm in there and then share computer sound also

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Andrea Berez-Kroeker (she/her/hers): Are you guys still there. Can you see my screen here.

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Andrea Berez-Kroeker (she/her/hers): Sorry, I think I hit that wrong. Can you guys see my screen.

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Carolyn O'Meara: No we did before, but then

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It's OK.

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Carolyn O'Meara: OK.

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Andrea Berez-Kroeker (she/her/hers): Ok now.

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Carolyn O'Meara: It's good. Yes, yes.

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Andrea Berez-Kroeker (she/her/hers): Okay, um,

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Andrea Berez-Kroeker (she/her/hers): Okay, so a little home icon call

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Andrea Berez-Kroeker (she/her/hers): My name is Andrea Burris cooker. I work at the University of Hawaii at Manoa and I want to just take a moment and acknowledge that I live in work on the land of the Seneca Malia which people

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Andrea Berez-Kroeker (she/her/hers): When I'm not teaching Alon at Colin. I teach in the Department of Linguistics and I mostly teach classes in language documentation and conservation.

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Andrea Berez-Kroeker (she/her/hers): Today I'm going to talk for just a few minutes about the Alon workshops that we offer at ko Lang, and I want to take a minute also to just give a shout out to my co facilitators here so

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Andrea Berez-Kroeker (she/her/hers): Leo filament and from the University of for what you use there on the left, Chris Cox from Carleton University right and then Lance Twitchell at the University of Alaska se is out there on the bottom.

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Andrea Berez-Kroeker (she/her/hers): Let me start by saying that we love teaching alive. I'm not kidding. We really love it.

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Andrea Berez-Kroeker (she/her/hers): Chris and I especially have been what I call partners and along since the first co line in 2008 so it's 12 years now, and we were really looking forward to expanding our team of Alon teachers with haha and Lance this year, but we're will have to look forward to that very soon.

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Andrea Berez-Kroeker (she/her/hers): Alright so this workshop. The Alon workshops are actually a two part workshop may take place over two weeks. So there's a long one and two and you can sign up for

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Andrea Berez-Kroeker (she/her/hers): Both, if you like, or you can sign up for just one depending on your experience and your interests, the workshops are all completely hands on. So there's a lot of

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Andrea Berez-Kroeker (she/her/hers): Teamwork. A lot of working with a person that's sitting next to you to try to learn how to use this piece of software.

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Andrea Berez-Kroeker (she/her/hers): The Alon one workshop, especially is definitely designed for beginners. So we often have a lot of students who never touched this piece of software before

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Andrea Berez-Kroeker (she/her/hers): And by the time you finish the first week, you would be ready to go into, into a lot too. And that's because we

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Andrea Berez-Kroeker (she/her/hers): Build from simple to complex. So every lesson builds on the previous one. And so it's a good way to learn these skills and to reinforce what you've already learned

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Andrea Berez-Kroeker (she/her/hers): In both workshops. There's lots of time for practice. And then what's really exciting is that we also show you how to make useful products useful outputs from the work that you do.

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Andrea Berez-Kroeker (she/her/hers): Alright, so what does a long do. So a lot of the software that makes time aligned transcripts. Okay, so what the timeline transcript.

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Andrea Berez-Kroeker (she/her/hers): Alright so timeline transcripts match bits of text with sections of an audio or video recording, so I'm not going to play this video at the top, but I just wanted to show you

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Andrea Berez-Kroeker (she/her/hers): You get the idea that this kind of bouncing ball right thing for singing along he is a kind of timeline transcripts. Okay, you're matching text with sections of a recording

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Andrea Berez-Kroeker (she/her/hers): And then this down here is a picture of the window. The Alon window will take a better closer look at that in a moment.

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Andrea Berez-Kroeker (she/her/hers): And really timeline transcripts. If you look around, they're really everywhere in our, in our modern lives on the left is opera surtitles on the maybe those aren't quite so common in everyone's life and but certainly the one in the middle is that say

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Andrea Berez-Kroeker (she/her/hers): a clip from the movie Shrek with some titles in English and also in Chinese characters. And then on the left we have closed captioning, which is also a kind of timeline transcript.

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Andrea Berez-Kroeker (she/her/hers): And so what Ilan does a lot makes timeline transcripts for language work. So for the kind of language work that Colin participants do

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Andrea Berez-Kroeker (she/her/hers): And it's actually great for language work and it's because it's developed by people who know about language which is important because it allows

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Andrea Berez-Kroeker (she/her/hers): The developers to build in features that are going to be relevant for the kind of the kind of timeline transcript work that we want to do.

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Andrea Berez-Kroeker (she/her/hers): It's also Unicode compliant, which means that it can handle a lot of different character sets.

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Andrea Berez-Kroeker (she/her/hers): It's free. It's open source. It's non proprietary. These are all great things. This means that it doesn't cost anything to us. You can also build on to the software, if you're a developer on your own.

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Andrea Berez-Kroeker (she/her/hers): And then it's also the underlying document is written in XML, which means that it's highly transformable meaning you can convert your Alon document into lots of different outputs to make useful product.

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Andrea Berez-Kroeker (she/her/hers): Right. So let's take a tour. I'm going to switch over to the login screen now.

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Andrea Berez-Kroeker (she/her/hers): You should be able to see this now. So this is the Alon screen. And what you can see here we have a video here. And we have a audio wave form here. Okay.

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Andrea Berez-Kroeker (she/her/hers): And then we have some controls all over, and then you can see we have two lines of text down here. The top line is the speech of

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Andrea Berez-Kroeker (she/her/hers): The woman in the video. Her name is kavya already up and she's speaking the language called Kitty, which is spoken in highlands of Papa New Guinea.

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Andrea Berez-Kroeker (she/her/hers): And then you can see, we also have a line of the translation and for speech and the English. And so if I press play with them watch 60 seconds he would have

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Andrea Berez-Kroeker (she/her/hers): Them. Give me one of my studies. I'm going to do that. And then, that is, tell me I'm one meal today. Now, moving on. So you get a sense of what the software basically does like I said it aligns text here two parts of a recording and if you wanted to, you could just listen to one.

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Andrea Berez-Kroeker (she/her/hers): Like one sentence by itself. Let me give me one of these studies. I'm going to do that. And then that is

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Andrea Berez-Kroeker (she/her/hers): So this is a really simple example of any launch transcription. I have another one here.

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Andrea Berez-Kroeker (she/her/hers): That's much more complicated. This one is from a language called Cartesian which is a Caucasian language and this recording was made in the Canadian speaking community that lives in Turkey.

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Andrea Berez-Kroeker (she/her/hers): You can see this one doesn't have a video, but it does have a waveform here and you can see that this time we have lots of information. It's not just the two lines of information we have the sentence in kabaddi and we have intonation units you have words and morphine is marked we have

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Andrea Berez-Kroeker (she/her/hers): Word and working level translations in English and also in Turkish we have sentence level translations in English, Turkish, and then we have some space for for notes in English.

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Andrea Berez-Kroeker (she/her/hers): And so what I want to show you here is that you can create very simple transcripts or you can create very complex transcripts, depending on what you need to do with that transcript.

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Andrea Berez-Kroeker (she/her/hers): And that's what we learn in in the first week of a lot is how to conceptualize the kind of transcript you want and then how to build it in a lot. So I'll just play this for just a sec.

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Andrea Berez-Kroeker (she/her/hers): Dinner.

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Do near for dinner. Okay.

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Andrea Berez-Kroeker (she/her/hers): Alright, so let's go back to the slide show.

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Andrea Berez-Kroeker (she/her/hers): Okay, so then the question is, what else can you do with a lot right once you've time aligned your recording. There's actually a lot of things you can do with it, which is really nice because

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Andrea Berez-Kroeker (she/her/hers): Ilan does have a pretty steep learning curve at first. And you know this this mean. Isn't that attractive. It's certainly very useful.

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Andrea Berez-Kroeker (she/her/hers): But it's not that attractive. And so there's a lot of things you can do to make products that are much more attractive.

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Andrea Berez-Kroeker (she/her/hers): So one thing you can do is you can make some titled videos you can upload them to YouTube, or you can you know use them however you like. But in the second week of Villani class will teach you how to do this.

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Andrea Berez-Kroeker (she/her/hers): You can also export your transcripts for printing so you can customize which minds. You want to show up and then it exports this file, something like this.

450
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Andrea Berez-Kroeker (she/her/hers): Which is a text file that you could then open in a text editor like word and you could change the font and change the color etc made something really pretty for putting into a book or putting into papers.

451
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Andrea Berez-Kroeker (she/her/hers): You can also automatically cut audio file. So if you have a very long recording that you want to chop into small bits, a sentence length bits, then you can, once you've time and landed in a line, you can do that very simply using something like this piece of software called audacity.

452
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Andrea Berez-Kroeker (she/her/hers): And then you can also export to other software. So a lot of does some really great things, but it doesn't do everything that you might need to do so you can take the underlying document from Milan and then export it into say flexor practice. And so that's flex on the

453
01:12:16.050 --> 01:12:17.310
Susan Penfield: On the left, and you could use

454
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Andrea Berez-Kroeker (she/her/hers): Use this

455
01:12:18.330 --> 01:12:27.360
Andrea Berez-Kroeker (she/her/hers): User A long document to make a dictionary or on the right is prot you could import to make a really nice analysis of the

456
01:12:27.810 --> 01:12:29.130
Sound of the sound itself.

457
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Andrea Berez-Kroeker (she/her/hers): Yeah.

458
01:12:31.170 --> 01:12:35.730
Andrea Berez-Kroeker (she/her/hers): And so I think that's where I'm going to stop. If you have any questions you can throw them into the chat box.

459
01:12:37.050 --> 01:12:39.540
Andrea Berez-Kroeker (she/her/hers): Or email me or

460
01:12:39.570 --> 01:12:42.090
Andrea Berez-Kroeker (she/her/hers): Email Carolyn or Sam.

461
01:12:43.860 --> 01:12:44.610
Andrea Berez-Kroeker (she/her/hers): Thanks very much.

462
01:12:45.690 --> 01:12:53.490
Carolyn O'Meara: Thank you. Um, so I don't see any questions in the chat box. Does anyone. Would anyone like to ask

463
01:12:54.630 --> 01:12:56.520
Carolyn O'Meara: A question about Alon

464
01:12:59.250 --> 01:13:01.200
Sam Prins (she/her/hers): I just wanted to jump in with an anecdote.

465
01:13:01.980 --> 01:13:13.410
Sam Prins (she/her/hers): When I was at my first polling in 2018 I was using the alien software to to work on my thesis and I really didn't know what I was doing with it and I was having the worst time because the thought was so tiny.

466
01:13:13.890 --> 01:13:18.390
Sam Prins (she/her/hers): And so I was like running around trying to figure this out. And I happen to be a colon.

467
01:13:18.840 --> 01:13:31.800
Sam Prins (she/her/hers): And my advisor music is like, just go talk to Andrea. She's here she is the expert and she'll help you out and you totally saved my life. Andrea because my eyes were, you know, going bad looking at this time next

468
01:13:32.340 --> 01:13:41.460
Sam Prins (she/her/hers): But I just, I think that just really speaks to like the type of thing that goes on at co leading you know it's like everyone's there everyone's there to help and it was

469
01:13:41.880 --> 01:13:50.040
Sam Prins (she/her/hers): Helped me out immensely. But I think that that it's just a really supportive nice environment. So I just wanted to throw that in there for my own pipe my own part

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01:13:50.370 --> 01:14:04.440
Andrea Berez-Kroeker (she/her/hers): That's awesome. I'm glad that it was helpful. Thank you. Yeah. And that's, you know, that's something about your lawn to is that it's it's great software does fantastic things, but it's not that easy to sit down and just start to use it, you know, without any any training.

471
01:14:06.630 --> 01:14:09.240
Sam Prins (she/her/hers): Yeah, I wish I had been able to take the whole workshop

472
01:14:10.380 --> 01:14:10.800
Andrea Berez-Kroeker (she/her/hers): Yeah.

473
01:14:14.610 --> 01:14:16.620
Carolyn O'Meara: So we have a comment. Okay.

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01:14:18.120 --> 01:14:28.830
Carolyn O'Meara: Okay that Andrew has, in fact, the best line is bad, use it every day. So I think, yeah, as Allah says it's a really useful.

475
01:14:30.930 --> 01:14:36.480
Carolyn O'Meara: Tool, but it's also has so much functionality that sometimes it's hard to

476
01:14:37.740 --> 01:14:38.340
Carolyn O'Meara: You know,

477
01:14:39.540 --> 01:14:45.300
Carolyn O'Meara: Put it I guess and get get it to do what you wanted to do. So they see that

478
01:14:46.080 --> 01:14:59.310
Carolyn O'Meara: That we have one question from go to guy you're nothing. I've seen many linguists work directly on alarm to do transcriptions but others use other options like say more. So why is a long they're going to software. Yeah.

479
01:15:00.090 --> 01:15:03.600
Andrea Berez-Kroeker (she/her/hers): Yeah, so the main function of a line which is to really to link.

480
01:15:04.170 --> 01:15:14.940
Andrea Berez-Kroeker (she/her/hers): Time codes of the media stream to the text there isn't really any other software that does that quite as well as a long does right. And so what you want to be able to do is to be able to pair.

481
01:15:15.240 --> 01:15:20.370
Andrea Berez-Kroeker (she/her/hers): The actual text with the section and recording so that you know what you're listening to or what you're watching

482
01:15:20.820 --> 01:15:38.280
Andrea Berez-Kroeker (she/her/hers): And the other things that alone does right like you can make inter linear texts you can do lines of translation, etc. That can be done in other software but there isn't really anything that that does the linking of the time time code of the media stream to the text as well as Ilan

483
01:15:40.590 --> 01:15:49.560
Carolyn O'Meara: Okay, and what about the learning alone online if we can't wait until 2022 I think there are two questions about the sort of learning and

484
01:15:49.560 --> 01:15:50.370
Carolyn O'Meara: Our own

485
01:15:51.300 --> 01:16:00.420
Andrea Berez-Kroeker (she/her/hers): Sure, so the the materials from last time, which was in Florida. I believe are online and we have Aaron here. You can tell us where to find those perhaps

486
01:16:00.900 --> 01:16:10.470
Andrea Berez-Kroeker (she/her/hers): But yeah, you can certainly get to them and you can and the materials that I use are it's possible to do them in a self paced way it has four lessons and

487
01:16:11.760 --> 01:16:17.700
Andrea Berez-Kroeker (she/her/hers): Recordings and sample transcripts for you to practice with and I believe also for Alon to there's the material that

488
01:16:20.430 --> 01:16:24.870
Carolyn O'Meara: We have another question. How can community language workers make use of alone.

489
01:16:27.390 --> 01:16:30.090
Andrea Berez-Kroeker (she/her/hers): Well, so I think that there's a that that there's a lot of

490
01:16:31.080 --> 01:16:37.800
Andrea Berez-Kroeker (she/her/hers): Good ways to export something that's very useful for language learning. So there are actually people who have developed other

491
01:16:38.400 --> 01:16:47.730
Andrea Berez-Kroeker (she/her/hers): Web applications where you can do something in Milan in that gray screen and then you can import it. You can upload it to a web application that will

492
01:16:48.360 --> 01:16:57.390
Andrea Berez-Kroeker (she/her/hers): Convert it into a really pretty web page, for instance, and that people could then click and listen and read along at the same time that they're hearing the language and watching the speakers.

493
01:16:58.140 --> 01:17:06.900
Andrea Berez-Kroeker (she/her/hers): So I think that's one way to do it. Also exporting to book books right there's lots of ways to make really useful products out of the line. So once you go through the process of learning how to use it.

494
01:17:08.040 --> 01:17:12.120
Andrea Berez-Kroeker (she/her/hers): Then you can then you kind of get to the to the fun stuff to the to the learning materials.

495
01:17:14.640 --> 01:17:17.730
Carolyn O'Meara: Um, okay. Um, so we have a couple more.

496
01:17:19.260 --> 01:17:27.720
Carolyn O'Meara: Questions you see in the chat there in the q&a here. So what about Cupid. Do you know is, you know, that's still being developed.

497
01:17:28.680 --> 01:17:33.360
Andrea Berez-Kroeker (she/her/hers): So keep it as a product and cheers to Jennifer for knowing that product.

498
01:17:34.530 --> 01:17:46.290
Andrea Berez-Kroeker (she/her/hers): Keep it is a piece of software that actually Chris and I started working on in 2008 so he developed it after going through the Alon course that I taught way back then, and it's not currently being

499
01:17:47.400 --> 01:17:57.540
Andrea Berez-Kroeker (she/her/hers): Continually developed. I think you can still access it online. There is another piece of software that just recently came out and I just heard about it and I cannot remember the name of it.

500
01:17:58.080 --> 01:18:11.730
Andrea Berez-Kroeker (she/her/hers): That does something similar like I described, you basically upload your transcript and it, it sort of pops out a beautiful HTML web page, but I can find that. And I can get that information to Sam and maybe Sam can can post it somewhere.

501
01:18:14.100 --> 01:18:15.660
Andrea Berez-Kroeker (she/her/hers): Okay, and I could email you too. Yeah.

502
01:18:17.850 --> 01:18:18.900
Andrea Berez-Kroeker (she/her/hers): Jennifer says, email me.

503
01:18:18.960 --> 01:18:19.500
Yeah.

504
01:18:22.800 --> 01:18:27.390
Carolyn O'Meara: Yeah, and also yesterday in the business mean we talked about the the

505
01:18:28.440 --> 01:18:46.140
Carolyn O'Meara: The project for the cooling website where we're gonna we're hoping to be able to post materials from past coaching workshops, including some of these manuals or information like the exactly what Andrew was mentioning that would keep it one so

506
01:18:47.430 --> 01:19:00.480
Carolyn O'Meara: See, we have about one more minute for questions. Okay. I think Joanna's question. Maybe you have a suggestion for a simple entry level role for Alam use for people just learning to use it, something like

507
01:19:00.750 --> 01:19:02.160
Andrea Berez-Kroeker (she/her/hers): That I can annotate them.

508
01:19:02.550 --> 01:19:08.370
Andrea Berez-Kroeker (she/her/hers): Yeah. Yeah, absolutely. In fact I build those the the the workshop is like this. So the very first recording that we do.

509
01:19:08.730 --> 01:19:12.210
Andrea Berez-Kroeker (she/her/hers): It's just a direct transcription of one language.

510
01:19:12.480 --> 01:19:24.030
Andrea Berez-Kroeker (she/her/hers): And when I say when language. I mean, you're only transcribing the language that's on the recording and it's by one speaker. And so it's a very simple like four minute recording. It's just has one tier right so that's a good first goal.

511
01:19:24.690 --> 01:19:31.800
Andrea Berez-Kroeker (she/her/hers): But a lot of times for the kind of language work that we do at co Lang. It's not enough just to have the original language. You also need a translation.

512
01:19:32.490 --> 01:19:44.970
Andrea Berez-Kroeker (she/her/hers): Because people aren't learning the language in many cases. And so the second step, I would say, is to have, you know, one speaker, where you transcribe the language that's on the recording and then you have another tier where you translate

513
01:19:45.630 --> 01:19:59.190
Andrea Berez-Kroeker (she/her/hers): That same speakers recording. And so if you look at the lessons when when when they get share, you'll see that it kind of builds up slowly, but yeah i think that's that's a good goal. I can also continue to answer these questions. Type the answers to these questions we need to move on.

514
01:20:00.270 --> 01:20:07.950
Carolyn O'Meara: Yeah, that would be great. I see there a few more in the queue or comments. So yeah, that would be great for you that's I think now we're going to move on to

515
01:20:09.030 --> 01:20:10.260
Carolyn O'Meara: The prep session.

516
01:20:11.430 --> 01:20:15.660
Carolyn O'Meara: With Sonia and ran. If you'd like to pop up there.

517
01:20:17.310 --> 01:20:29.730
Carolyn O'Meara: So I am. And there's RAM. Hi. Okay, so if you guys would like to introduce yourselves, briefly, and then I know you're going to share the screen as well and share some sound with us as well.

518
01:20:31.590 --> 01:20:31.950
Sonya Bird: Right.

519
01:20:36.870 --> 01:20:39.540
Sonya Bird: Here, everyone see the screen.

520
01:20:42.780 --> 01:20:43.770
Carolyn O'Meara: Yes.

521
01:20:47.670 --> 01:20:48.600
Sonya Bird: Okay.

522
01:20:51.870 --> 01:20:52.980
Sonya Bird: In this one, yeah.

523
01:20:56.010 --> 01:21:00.360
Sonya Bird: Yeah, I'm. My name is Sonia bird and I'm joining you today from

524
01:21:01.710 --> 01:21:10.320
Sonya Bird: The territories of the requirements and chopping people's and I just wanted to start by thanking them and Carolyn in the coal mine team for inviting me.

525
01:21:11.220 --> 01:21:19.680
Sonya Bird: To come in and speak to you. Um, so I guess I'll start. I'll just introduce myself quickly and then and then ran, you can, and then we'll go on to

526
01:21:20.130 --> 01:21:31.080
Sonya Bird: What the prep work stuff is about. So I'm also a you linguist at you because I'm a colleague of us who spoke earlier about clearing the mind and

527
01:21:31.860 --> 01:21:52.770
Sonya Bird: And for the past few years, I've been really fortunate to be able to work in partnership with the community language and culture, society on projects designed to support adult second language learners in developing their oral fluency and proficiency and so

528
01:21:54.420 --> 01:22:07.830
Sonya Bird: As part of this work, and we've been exploring how we can use kind of speech analysis tools that linguists use to help fine tuning and pronunciation and so reality and I

529
01:22:08.460 --> 01:22:20.850
Sonya Bird: Have been working together on this for quite some time now. So we're really excited about the prospect of thinking, being able to share some of that with you, and in particular the upright work doing

530
01:22:26.340 --> 01:22:31.110
Rae Ann Claxton: And the reason clubs, the bakery to eat snacks to eat.

531
01:22:33.180 --> 01:22:38.670
Rae Ann Claxton: Yes, yes, let's call it some nice corner Leland center poets.

532
01:22:39.420 --> 01:22:46.200
Rae Ann Claxton: My name is Graham Coxon Baker and from, say, oh, that's my home community if you see on the slide.

533
01:22:47.790 --> 01:22:51.480
Rae Ann Claxton: Both of my communities are highlighted in red. I'm from

534
01:22:52.500 --> 01:22:55.410
Rae Ann Claxton: Senate and coaching.

535
01:22:57.510 --> 01:23:03.420
Rae Ann Claxton: Nice and quiet Allen Hamilton Simon Fraser helped me well.

536
01:23:04.650 --> 01:23:04.890
Sonya Bird: Nice.

537
01:23:04.920 --> 01:23:09.660
Rae Ann Claxton: work this out. Let's see. London clemency school called have a whole complete them school

538
01:23:11.100 --> 01:23:20.190
Rae Ann Claxton: I returned to school to Simon Fraser University to study the linguistics of hall meeting them and they happen to be learning my language and

539
01:23:20.970 --> 01:23:35.580
Rae Ann Claxton: I saw you mentioned I've used a lot to help me with the pronunciation and articulation of sounds that we haven't told them that we don't know in English. So I'm really happy to be here. Thank you for having me.

540
01:23:37.680 --> 01:23:51.690
Sonya Bird: Okay, so we put together a slide is answering the questions that you gave us Carolyn, but I think I'll just skip it. And if people have questions, you can come back to that so that you can just jump right into pat

541
01:23:52.890 --> 01:24:09.690
Sonya Bird: So product is software that linguists use fanatics experts use for speech analysis, it's free and it's pretty straightforward to use, it's very powerful, but you don't need to use all the powerful tools.

542
01:24:11.010 --> 01:24:13.050
Sonya Bird: And we don't often actually in our work.

543
01:24:14.190 --> 01:24:32.850
Sonya Bird: And so what we've used to have most for is teaching and learning pronunciation and specifically it's really handy to kind of delve into the details of pronunciation. So it complements alang really well. I think in that and as

544
01:24:34.140 --> 01:24:42.060
Sonya Bird: Andrea said it's you can you can import and export between Atlanta and Pratt, delete, so we considered work across the

545
01:24:43.410 --> 01:24:49.050
Sonya Bird: Platforms and what you can see here, and ran. We'll talk about this a little bit more in a minute, is that

546
01:24:49.440 --> 01:25:03.390
Sonya Bird: What alone, or what to start what conflicts to do is really kind of take that waveform. That's the speech, the acoustic way for speech and zoom in on it and really pay attention to the details of pronunciation. So

547
01:25:04.620 --> 01:25:16.890
Sonya Bird: You can compare pronunciation across speakers so ran walk you through an example in a minute, where there's a recording of her working with one of her elders going back and forth. Want some words.

548
01:25:17.430 --> 01:25:22.770
Sonya Bird: And the other thing that you can do so you can really get a sense of, sort of, if you're a learner how your speech might

549
01:25:23.370 --> 01:25:34.890
Sonya Bird: You know, different from your elders and things in fixing up and things. And then the other thing that it's really handy for is zooming in and playing small clips over and over again. And that's something that

550
01:25:35.790 --> 01:25:41.940
Sonya Bird: You know as learners of any language can be really helpful to be able to just listen over and over again. And I think especially

551
01:25:43.260 --> 01:25:54.870
Sonya Bird: You know, certainly for the languages spoken around here where it's not always possible to work with an elder or teacher. And also, you know, the elders that we tend to work with are so

552
01:25:56.280 --> 01:26:04.020
Sonya Bird: They do so much right and so to ask them to sit with you and repeat the same word over and over and over again is tedious and

553
01:26:04.590 --> 01:26:08.550
Sonya Bird: Then you know there's a lot of other things that people can be doing and so

554
01:26:09.390 --> 01:26:24.090
Sonya Bird: When you record and then use something like Pratt, you can go back to yourself and listen over and over and over again and do it sort of in your own time, keep practicing with it. So I think I'm going to exit out of this now and open up

555
01:26:28.950 --> 01:26:30.030
Sonya Bird: Show you.

556
01:26:32.370 --> 01:26:37.140
Sonya Bird: Don't actually see any of you, which is a bit disconcerting. But I'm assuming you can see me.

557
01:26:39.090 --> 01:26:43.800
Sonya Bird: So ran. Maybe I'll let you kind of introduce us and talk about this.

558
01:26:45.150 --> 01:26:46.410
Rae Ann Claxton: Okay, so this is

559
01:26:48.390 --> 01:26:53.790
Rae Ann Claxton: This clip comes from a phonology class that we took him a project was to address.

560
01:26:54.810 --> 01:26:56.760
Rae Ann Claxton: Pronunciation challenge that we experience.

561
01:26:57.300 --> 01:27:01.620
Rae Ann Claxton: At that time I was first starting to work on learning how to make them.

562
01:27:01.920 --> 01:27:03.120
Rae Ann Claxton: And I couldn't say

563
01:27:04.710 --> 01:27:07.560
Rae Ann Claxton: Which is dragon party in our

564
01:27:07.860 --> 01:27:09.540
Rae Ann Claxton: Language. I just couldn't wrap my

565
01:27:10.620 --> 01:27:14.880
Rae Ann Claxton: My tongue around doing the dental advocate T th Florida.

566
01:27:17.250 --> 01:27:31.980
Rae Ann Claxton: So we sat down with Ruby and did this recording and we don't have a clip of it in prep. But what I was doing was I was inserting an extra consonant in the word

567
01:27:35.520 --> 01:27:54.000
Rae Ann Claxton: So one of the things that Ruby had suggested was that she thought of a whole bunch of words that have that that dental African in them and send them for me to repeat back to her and she found then that I could say

568
01:27:55.410 --> 01:27:55.920
Rae Ann Claxton: Well,

569
01:27:57.690 --> 01:28:00.270
Rae Ann Claxton: So this is a recording of me practicing

570
01:28:01.890 --> 01:28:08.850
Rae Ann Claxton: With Ruby and then Ruby leads me right into saying, which I was able to do after

571
01:28:11.130 --> 01:28:13.230
Sonya Bird: Me to play the whole thing. Yeah.

572
01:28:19.320 --> 01:28:19.710
Um,

573
01:28:27.420 --> 01:28:33.510
Rae Ann Claxton: Yeah, so that we can see day clearly that I'm making similar sounds in to Ruby.

574
01:28:36.060 --> 01:28:37.800
Rae Ann Claxton: And then that I was able to

575
01:28:38.370 --> 01:28:40.410
Rae Ann Claxton: Go right ahead and saying,

576
01:28:41.850 --> 01:28:42.330
Rae Ann Claxton: Yeah, see,

577
01:28:42.480 --> 01:28:48.180
Rae Ann Claxton: So now we can see this spectrograph as well. So I paid close attention to this.

578
01:28:49.440 --> 01:28:53.670
Rae Ann Claxton: The intensity, the shape of the way for the

579
01:28:54.630 --> 01:28:56.430
Rae Ann Claxton: We don't see the pitch in here but

580
01:28:59.760 --> 01:29:01.890
Rae Ann Claxton: When we get into prod

581
01:29:03.270 --> 01:29:07.980
Rae Ann Claxton: Being able to visualize what I'm saying takes a lot of

582
01:29:09.210 --> 01:29:15.540
Rae Ann Claxton: The guesswork out of, out of articulating the sounds of freedom and so

583
01:29:16.950 --> 01:29:26.160
Rae Ann Claxton: We went through saying the words and then I took this recording after and and pulled it up on Pat and just continue to practice saying up

584
01:29:26.700 --> 01:29:38.400
Rae Ann Claxton: Until I could say it. This is the first time I was able to say it. And you can see that I have the tea in front of the the SH. And that was something that I noticed, and I still love it when i when i pronounce the words.

585
01:29:39.660 --> 01:29:40.680
Rae Ann Claxton: When I pronounce the word

586
01:29:41.700 --> 01:29:53.130
Rae Ann Claxton: And you can see that the the intensity is different but darkness and the spectral gram is different than in Ruby, when she has just the sound.

587
01:29:56.130 --> 01:29:58.410
Rae Ann Claxton: Yeah, so I find proud.

588
01:29:58.440 --> 01:29:59.730
Rae Ann Claxton: To be very helpful.

589
01:29:59.910 --> 01:30:01.230
Rae Ann Claxton: In in

590
01:30:02.250 --> 01:30:08.490
Rae Ann Claxton: Addressing pronunciation and articulating the sound and and really understanding what

591
01:30:09.510 --> 01:30:12.090
Rae Ann Claxton: What sounds, it is that I'm trying to

592
01:30:14.160 --> 01:30:15.720
Rae Ann Claxton: What it is, I'm trying to produce

593
01:30:16.890 --> 01:30:28.470
Rae Ann Claxton: So, in this clip here we have this is a clip from Craig steals the river told by Sophie, Michelle. Some of the other things that that part is very useful is

594
01:30:30.120 --> 01:30:39.510
Rae Ann Claxton: Clusters, we don't have a picture of a cluster here, but there are a lot of clusters and in my language. And you can see in the example of

595
01:30:40.680 --> 01:30:45.660
Rae Ann Claxton: That's very typical of how Ruby teaches the language to us, where she breaks it up.

596
01:30:46.830 --> 01:30:52.470
Rae Ann Claxton: And then it makes it very easy to go back. Oftentimes, I'll use audacity and remove

597
01:30:54.330 --> 01:30:57.060
Rae Ann Claxton: Remove sections and

598
01:30:57.420 --> 01:31:01.620
Rae Ann Claxton: Then I can see whether my pitch my timing and my intensity

599
01:31:01.770 --> 01:31:02.760
Rae Ann Claxton: match my elders.

600
01:31:05.790 --> 01:31:26.250
Rae Ann Claxton: We have the logger returns the lengthening for emphasis. So pad is something that I can, I can use to record myself and see if I'm using using my language in an appropriate way is the duration first for specific language pieces the same length.

601
01:31:27.720 --> 01:31:40.020
Rae Ann Claxton: In English we emphasize things a lot differently than we wouldn't have maintenance and that's very important as a language learner that I'm using that I'm using things like rhetorical lengthening I'm using things like parsing.

602
01:31:41.370 --> 01:31:56.280
Rae Ann Claxton: That I'm repeating in the same similar way. So all of these being made visual by crowd. I find to be very helpful for me especially something I noticed with pauses. You can see here clearly in the state.

603
01:31:57.780 --> 01:32:02.610
Rae Ann Claxton: That there's there's a big gap between yo and eight.

604
01:32:04.260 --> 01:32:04.740
Rae Ann Claxton: And

605
01:32:06.660 --> 01:32:16.710
Rae Ann Claxton: So, those, those types of things are things that I make note of as a language, a language speaker. And I know that I can

606
01:32:19.770 --> 01:32:27.120
Rae Ann Claxton: express myself in a way that I can be better understood. I think that one of the main challenges with my language is that there aren't

607
01:32:27.450 --> 01:32:42.030
Rae Ann Claxton: There aren't a lot of fluent speakers that we can practice or our language one on one with Sony had mentioned so prep gives us the tools we need to be able to study these pieces of language.

608
01:32:43.980 --> 01:32:46.080
Rae Ann Claxton: With within with elder elder said

609
01:32:50.640 --> 01:32:52.410
Rae Ann Claxton: Oh, I didn't mention the conversations

610
01:32:52.620 --> 01:32:56.160
Rae Ann Claxton: Conversations or management world tried done a whole lot of work on story.

611
01:32:56.280 --> 01:33:00.720
Rae Ann Claxton: And I'm, I'm working on. I've used a lot to learn how to tell a

612
01:33:00.720 --> 01:33:19.170
Rae Ann Claxton: Story, but I'm conversations. It's like a whole different world and how how we express ourselves in our language is very unique to English. So I'm making the waveform visual with all of these different aspects is a valuable tool.

613
01:33:21.450 --> 01:33:22.140
Sonya Bird: Okay.

614
01:33:23.250 --> 01:33:25.710
Sonya Bird: Thank well we'll stop there.

615
01:33:27.420 --> 01:33:41.880
Sonya Bird: But yeah, I think, in general, well as ran and has kind of said you said a lot to really to really in our in the pronunciation work specifically. So it's really nice compliment to something like align with digital marketing for the steps and scripts on them.

616
01:33:47.400 --> 01:33:52.440
Carolyn O'Meara: Okay. Well, thank you, we already have. We have a question here that in the

617
01:33:53.580 --> 01:33:59.880
Carolyn O'Meara: In the Q AMP a box that was already answered, but it's good to just say it out loud to

618
01:34:02.070 --> 01:34:11.160
Carolyn O'Meara: The can you record too proud or import or both, and actually ran. I think you mentioned that after the question was posed that you record straight into Pratt, right.

619
01:34:11.760 --> 01:34:15.570
Rae Ann Claxton: Yes. Yeah, yeah, able to record straight directly into print

620
01:34:16.020 --> 01:34:19.140
Sonya Bird: Yeah. You can also you can import from something like that.

621
01:34:20.430 --> 01:34:32.400
Sonya Bird: As well. What you can't currently do in class is for videos. So it's really audio focused because it's a tool specifically that you know it's a tool specifically for I have

622
01:34:33.690 --> 01:34:35.430
Sonya Bird: picking apart the audio.

623
01:34:39.270 --> 01:34:39.990
Rae Ann Claxton: I do like

624
01:34:41.220 --> 01:34:43.320
Rae Ann Claxton: With Ilan, I do like working

625
01:34:43.410 --> 01:34:46.320
Rae Ann Claxton: Any long and then the fact that you can pull into crap.

626
01:34:46.350 --> 01:34:47.550
Rae Ann Claxton: To look at specific

627
01:34:48.180 --> 01:34:52.080
Rae Ann Claxton: And ideation assets or even policies. So for instance,

628
01:34:52.320 --> 01:34:56.160
Rae Ann Claxton: If you're using a video. I find that really helpful or elders.

629
01:34:56.190 --> 01:34:57.960
Rae Ann Claxton: Tell stories, along with hands.

630
01:34:58.230 --> 01:34:59.430
Rae Ann Claxton: So creating a tier

631
01:34:59.640 --> 01:35:11.640
Rae Ann Claxton: Two to talk about the you know those pauses, or what they're doing, or or any, you know, any, any parts of language that we want to look at in Italia it's very easy to open. In fact,

632
01:35:14.580 --> 01:35:14.880
Rae Ann Claxton: Oh,

633
01:35:15.960 --> 01:35:27.630
Rae Ann Claxton: I can not give you an example of how that has been useful with conversation because I hadn't looked at conversation yet, but that is something that I want to do. I have four grannies that

634
01:35:28.290 --> 01:35:43.020
Rae Ann Claxton: Well, we can't do it now because of circumstances, but it's my goal to get them together around the table. They're all siblings and their conversations because then the we're really reading

635
01:35:46.020 --> 01:35:49.140
Rae Ann Claxton: We, we don't have a lot of first language speakers left

636
01:35:50.220 --> 01:36:00.690
Rae Ann Claxton: That we can do this important work with. I know that one of the hook Magnum language Academy students, she was working on a conversation piece with her mother.

637
01:36:01.710 --> 01:36:15.720
Rae Ann Claxton: And she didn't she didn't get to finish that for the masters and mother passed away and in our way. We put we put that work away for the time being, but I know that that is an area of interest. And I think that it would be very helpful to see where the timing the timing of about

638
01:36:16.830 --> 01:36:21.630
Rae Ann Claxton: How, how we interact with each other through conversations I know even just through stories.

639
01:36:22.680 --> 01:36:32.550
Rae Ann Claxton: One way that we let people know that we're listening. We want to hear more is the listeners, the audience will say yes. So you get through, like the oil paragraph and they say, yeah.

640
01:36:33.660 --> 01:36:40.470
Rae Ann Claxton: And so that that would be something interesting to to look at. We there's, there's a couple of different small words.

641
01:36:40.620 --> 01:36:48.210
Rae Ann Claxton: That we use in very different ways. And there's slight differences in them, so it'd be nice to look to be able to look at that.

642
01:36:50.610 --> 01:36:57.810
Sonya Bird: I noticed there's a question from Aaron about the advantages over something like I guess City. And I would say so.

643
01:36:59.730 --> 01:37:10.380
Sonya Bird: The, the advantage of Pratt is that so with audacity, you get the waveform which you also get an alarm, but you don't get any other information about the speech. So with Pratt, you can

644
01:37:10.800 --> 01:37:23.370
Sonya Bird: You can super impose the pitch contour and also the loudness contour and that gives you sort of the you know the the flow of the intonation. And then you can also really

645
01:37:24.630 --> 01:37:32.790
Sonya Bird: The what the spectrograph gives you is the details of the acoustics, you know, so in how can we know, for example, globalization.

646
01:37:33.630 --> 01:37:44.250
Sonya Bird: Catching the throat play a huge role in the language. And those are things that the that globalization is really difficult often for learners to figure out where it should go.

647
01:37:44.580 --> 01:37:54.960
Sonya Bird: And to hear it properly. But you can see it really well. When you're looking at the spectrum. And so that's one area we're having the visuals that the sector again gives you

648
01:37:55.440 --> 01:37:58.920
Sonya Bird: Which was that bottom display with all the, the kind of noise in it.

649
01:37:59.790 --> 01:38:13.230
Sonya Bird: Even if you're not a linguist, even if you're, you don't know anything about acoustic analysis I think ran can attest to this you can notice things in the sector down that are useful in and you can't do that in Audacity, for example.

650
01:38:15.750 --> 01:38:33.810
Carolyn O'Meara: Here's a question for in from Ezekiel, I think related to what you just commented on some yet, it can someone who doesn't know how to read a spectrograph take the workshop and I think you're kind of answering that, that he is. It's a pretty basic level to begin exploring that. Correct.

651
01:38:35.370 --> 01:38:47.190
Sonya Bird: Yeah, the basics are quite easy to grasp. And again, you don't need to know anything about physics or acoustics to see things in a spectrograph. And I think, you know, ran and I have

652
01:38:48.990 --> 01:39:06.210
Sonya Bird: We we've used crowd in the context of introductory courses in the with the homecoming and language Academy with with speakers and learners of all ages and all comfort levels with computers and and everyone likes it right ran my

653
01:39:07.890 --> 01:39:23.370
Rae Ann Claxton: From my perspective, I think that patent has been really helpful because I know for myself. I'm a very visual and hands on learner. So being able to look in visually see all of the details that come up from the waveform that are presented in the spectra Graham and

654
01:39:24.630 --> 01:39:42.300
Rae Ann Claxton: Those are really helpful helpful to me. And as I work through my project I, you know, you start to begin to see what what different consonants and vowels start to look like and what the different properties, without any trading, just by looking just plugging in circles.

655
01:39:44.430 --> 01:39:59.670
Carolyn O'Meara: I see that we have about four more questions, but we were just about we're out of time here for this part with Sonia rant. Would you mind jumping into Q AMP a chat box and responding directly to the questions as we move on. Yes. Okay.

656
01:40:00.810 --> 01:40:02.280
Carolyn O'Meara: Thank you very much.

657
01:40:03.510 --> 01:40:04.500
Carolyn O'Meara: That was great.

658
01:40:05.580 --> 01:40:08.130
Carolyn O'Meara: And now we're going to move on to flex

659
01:40:09.120 --> 01:40:10.560
Carolyn O'Meara: With Aaron broad well

660
01:40:12.090 --> 01:40:14.760
Aaron Broadwell: Okay. So hi, everybody.

661
01:40:15.360 --> 01:40:35.880
Aaron Broadwell: I'm going to share a few PowerPoint slides with you. And then I'm going to look at flex and we'll see how some parts of it work so flex is software. It does a lot of things, but the primary thing that we teach at cooling is how to make an edit dictionaries, so

662
01:40:37.290 --> 01:40:48.180
Aaron Broadwell: Flex is software for dictionaries and text analysis and it's been used to produce hundreds of dictionaries for language communities around the world. I asked some

663
01:40:49.110 --> 01:40:59.580
Aaron Broadwell: Various experts over the weekend and the consensus seems to be, it's been used to make about 800 different dictionaries and and there are more in progress as well.

664
01:41:00.810 --> 01:41:04.890
Aaron Broadwell: You don't need to be a professional linguist to use it and it is free.

665
01:41:06.240 --> 01:41:15.180
Aaron Broadwell: So some of the advantages of using flex is that you can easily change a word and immediately create a new version of your dictionary.

666
01:41:16.230 --> 01:41:27.360
Aaron Broadwell: Immediately you can produce print web and mobile versions. So you can have one database of flex database that could make a print dictionary. If you wanted to print a book.

667
01:41:27.780 --> 01:41:34.530
Aaron Broadwell: Or if you wanted a dictionary on a website, you could do that from the same thing. Or you could make an app that would run on the phone.

668
01:41:35.190 --> 01:41:42.960
Aaron Broadwell: And you can also include sounds and images to help learners of your language and it's nice to be able to have all of that together in the same place.

669
01:41:43.560 --> 01:41:56.160
Aaron Broadwell: So the example I'm going to give you today comes from some work that I and members of Kampala tricky community have been doing on a language called Kampala tricky.

670
01:41:56.700 --> 01:42:09.210
Aaron Broadwell: So this is a language spoken about about 30,000 people. It was originally just spoken well Haka Mexico bit tricky speakers now live in a lot of different places in the US and Mexico.

671
01:42:09.630 --> 01:42:18.060
Aaron Broadwell: And primarily we've been working with about 700 members in the tricky community who live in the area around Albany, New York.

672
01:42:19.350 --> 01:42:29.250
Aaron Broadwell: I've given a link here to the web dictionary that we produced and you can also go to the website listed here to see all the members.

673
01:42:29.610 --> 01:42:41.010
Aaron Broadwell: Of our team. It's about half members of the community and to faculty members plus various students who've worked on different parts of the project over the years.

674
01:42:41.460 --> 01:42:53.550
Aaron Broadwell: We produced an Android app for this language in 2018 using flex and we're having just a couple of technical problems with the iPhone app, but it's almost ready and should be available. Pretty soon.

675
01:42:54.090 --> 01:43:08.340
Aaron Broadwell: So this dictionary still being edited and expanded and a really good thing is that we can change an entry or recording the word and then immediately update the website and the app to reflect our edits are corrections and you words that we find

676
01:43:10.590 --> 01:43:25.230
Aaron Broadwell: And just a word about how to get FLEX FLEX works on Windows and Linux systems. If you have a Mac, there's some software solutions that allow you to run Windows or Linux programs. So I'll ask you to consult with

677
01:43:26.070 --> 01:43:39.030
Aaron Broadwell: Your colleagues in your maybe information technology departments on how to get windows to run on a Mac. I've given here. The place where you can download a free copy

678
01:43:39.720 --> 01:43:50.130
Aaron Broadwell: And a nice feature of flex is that multiple workers can work on flex in different places. So maybe, for example, you're working at

679
01:43:50.670 --> 01:44:04.830
Aaron Broadwell: Your University and some people are in their community and you're not necessarily together all the time. You can work separately on the project and you can use a function called send receive and then all your data will be synchronized with each other.

680
01:44:06.150 --> 01:44:14.640
Aaron Broadwell: Also on the site where you can download flex. There are a lot of useful videos that show you how to do some of the most common things in flux.

681
01:44:15.960 --> 01:44:23.040
Aaron Broadwell: So that's sort of an overview. What I'm going to do now is I'm going to shift to

682
01:44:25.200 --> 01:44:42.390
Aaron Broadwell: Flex itself. So this is an example of flex project for the cupola tricky language. I want to first just sort of show you kind of what the overall dictionary looks like. So just takes a minute to generate the view.

683
01:44:49.170 --> 01:44:58.800
Aaron Broadwell: Okay, so here we see entries for various kinds of words in this language. Here we see there's a little picture here of a kind of bug. This is

684
01:44:59.610 --> 01:45:12.600
Aaron Broadwell: A glowing click and be like, and we caught it. Think it's called in English and also its scientific name and it's Spanish name and for some of these as well. We have sounds that were recorded

685
01:45:14.940 --> 01:45:17.910
Aaron Broadwell: I don't know if you could all hear that. Okay, so

686
01:45:18.990 --> 01:45:20.580
Aaron Broadwell: Once you've got this

687
01:45:22.080 --> 01:45:29.490
Aaron Broadwell: looking the way you liked it and flex, then what you can do is you can output. This view to the web or to a print dictionary.

688
01:45:30.000 --> 01:45:41.610
Aaron Broadwell: And basically the idea is you want it to get almost exactly the way you want it to appear in flex and once you've got it exactly the way you like it then you export it to various sorts of things.

689
01:45:42.150 --> 01:45:55.650
Aaron Broadwell: So I thought what I would do for you today. Just to give you a little sense is to add a new word to this dictionary and show you how you might edit and create a new word in the dictionary, so

690
01:45:57.180 --> 01:46:02.430
Aaron Broadwell: I'm going to stop this for just a second and show you something slightly different. So I was looking through

691
01:46:04.050 --> 01:46:19.170
Aaron Broadwell: My notes from last summer, we were still able to go out into the community and talk to speakers and this is just an image from my notes from working with a speaker last summer. This is

692
01:46:20.190 --> 01:46:33.600
Aaron Broadwell: Monica Ramirez, who gave the data here and she speaks tricky and English and Spanish. So on that day we were talking in English, and she gave me this word that means monster.

693
01:46:34.860 --> 01:46:53.250
Aaron Broadwell: So it's pronounced in tricky. Ooh, key and that little three and the three to those are the tones that we're hearing for this word, and I also got a sentence. They put the monster in a cage nice name ash. Good. He got a lot

694
01:46:54.750 --> 01:47:06.750
Aaron Broadwell: So what I'm going to try to do is I'm going to take this word shampoo key, which means monster and I'm going to try to put that in the flex database that is

695
01:47:09.060 --> 01:47:28.830
Aaron Broadwell: Our dictionary for tricky. Okay, so to create new items we go to this box over here that's called lexing or lexicon edit and this little button right here allows us to create a new lexical entry. So then this little thing will pop up.

696
01:47:30.270 --> 01:47:32.580
Aaron Broadwell: So what can we write

697
01:47:35.280 --> 01:47:44.100
Aaron Broadwell: Tricky. The normal way that's used by the community doesn't have all the little tone numbers because people find it too complicated to

698
01:47:44.610 --> 01:47:55.920
Aaron Broadwell: Understand what all that is. So what I'm going to do is I'm just going to enter it here without the tone numbers, the English translation is monster. And then for

699
01:47:57.060 --> 01:48:09.210
Aaron Broadwell: Spanish. I know two words for monster in Spanish. One is something like monster. Oh, and the other is something like an handle. So I'm going to put in both of those right now.

700
01:48:13.350 --> 01:48:14.880
Aaron Broadwell: And then I'm going to say that to now.

701
01:48:17.700 --> 01:48:23.460
Aaron Broadwell: Alright, so now we'll see this new entry that we've just created.

702
01:48:24.960 --> 01:48:43.800
Aaron Broadwell: And you can see here's the form and the normal tricky spelling that I just put in. But there are a lot of other things here as well. So we also have a little field that allows us to give more detailed tone information. So I could put in the tone mark form of the word here.

703
01:48:49.200 --> 01:49:02.250
Aaron Broadwell: And sometimes we also want if we're doing sort of similar linguistics are looking for patterns. Maybe we also want the real kind of linguistic way so we can also write

704
01:49:06.840 --> 01:49:16.500
Aaron Broadwell: This in IPA. So one other thing you might be interested in is that as I go from field to field.

705
01:49:18.510 --> 01:49:31.830
Aaron Broadwell: The keyboard will automatically change to give me the keyboard that I made. So when I'm in the field where I want to type IPA, it'll automatically switch to that IPA key word for me so that I can get my funny symbols in

706
01:49:32.610 --> 01:49:39.330
Aaron Broadwell: And when I'm in other fields, it will just give me ordinary typing based on Spanish. Okay, so that's the

707
01:49:41.520 --> 01:49:52.080
Aaron Broadwell: Entry that we've created so far. So you can see that we've got it formatted so that the ordinary spelling is followed by the phonetic pronunciation

708
01:49:52.530 --> 01:49:59.160
Aaron Broadwell: And then the part of speech. The English this line and then to Spanish synonyms.

709
01:49:59.580 --> 01:50:08.790
Aaron Broadwell: But you might very well find that maybe according to the kind of dictionary, you're creating. You don't want all of this information or you don't want it in this order.

710
01:50:09.150 --> 01:50:27.450
Aaron Broadwell: So it's very easy to change all of this and it will automatically change it for all the items in your lexicon. So if there's some part of the way this is displayed that you like to change what you do is right click on it and you get a little menu that says configure dictionary view.

711
01:50:30.240 --> 01:50:34.080
Aaron Broadwell: Okay. So after we do that, what we'll see is

712
01:50:35.460 --> 01:50:51.360
Aaron Broadwell: Some little boxes here that will show us the relevant thing and this part of the entry right here is a preview of what it will look like. So for example, if I want the pronunciation to go away. I just unplug it and now we have a dictionary without that

713
01:50:54.480 --> 01:50:59.850
Aaron Broadwell: So I'll just click ok so now our intro doesn't have the fanatics anymore.

714
01:51:01.170 --> 01:51:11.460
Aaron Broadwell: Another thing I'll show you is right here we have the English first and then the Spanish. So let's change that. Let's click on configure dictionary view once again.

715
01:51:12.630 --> 01:51:18.900
Aaron Broadwell: And now we'll see that we have first English and in Spanish. So if I want to change that order.

716
01:51:19.380 --> 01:51:36.540
Aaron Broadwell: I could move the English down and now you'll see that the Spanish comes first and the English comes after or maybe I want to produce a dictionary, that's just for Spanish speaking people and I don't really want the English in there. I could click the English. Click OK.

717
01:51:39.720 --> 01:51:44.310
Aaron Broadwell: And now my lexical entry will only show the Spanish

718
01:51:45.390 --> 01:51:55.290
Aaron Broadwell: So depending on who you're producing the dictionary for or what kind of output you have you can configure the dictionary to look pretty much anyone you want

719
01:51:55.740 --> 01:52:02.250
Aaron Broadwell: You can change the order of any of the fields, you can put them in or leave them out according to what you want your dictionary to look like.

720
01:52:03.000 --> 01:52:09.240
Aaron Broadwell: And the other thing you can do is you can record your audio for the word right here within flex

721
01:52:09.660 --> 01:52:21.450
Aaron Broadwell: So when we're working on this dictionary. Typically, a couple of linguist and a couple of people from the tree community all sit around the table together we project Flex up onto the screen.

722
01:52:21.990 --> 01:52:37.590
Aaron Broadwell: And we have the tricky speakers, looking at the entry, as we're making it we're asking their opinion on the way they would like the English and the Spanish definitions to be written. And when we're happy. We also record the word right in flex with this button here.

723
01:52:38.730 --> 01:52:58.050
Aaron Broadwell: And then we just sort of look at the final result, make sure everyone's happy with it. So there are a lot more kind of things that you can do with flex. But that's basically the main things I wanted to show you with the live flex today. And then just to return to my PowerPoint presentation.

724
01:53:00.600 --> 01:53:01.410
Aaron Broadwell: For a second,

725
01:53:02.490 --> 01:53:04.530
Aaron Broadwell: I just wanted to say that

726
01:53:07.320 --> 01:53:16.500
Aaron Broadwell: Flex really represents a giant advance over older ways of making a dictionary. So I started trying to make my first dictionary.

727
01:53:16.920 --> 01:53:26.910
Aaron Broadwell: Around 1982 when I was working for the Choctaw tribe in Mississippi. And at that point, we use very primitive word processing software.

728
01:53:27.360 --> 01:53:39.210
Aaron Broadwell: And I've even worked with older things like index cards or and some places I've worked with spreadsheets, all of those are, I would say vastly inferior to flex

729
01:53:39.540 --> 01:53:44.580
Aaron Broadwell: Flex is the best way that modern computing has come up with to make a dictionary.

730
01:53:45.240 --> 01:53:58.620
Aaron Broadwell: plec can also produce the index for your dictionary, for example, for the copilot tricky dictionary. We're just talking about the English to tricky sections and the Spanish to tricky sections can be computed automatically from this

731
01:53:59.250 --> 01:54:07.620
Aaron Broadwell: It can also be a tool to help you learn about the language you can add text search through and look for new words or patterns in your data.

732
01:54:08.520 --> 01:54:17.820
Aaron Broadwell: And a very useful feature is the ability to produce different kinds of dictionaries from the same data. For example, dictionaries for children adult learners or linguist.

733
01:54:18.360 --> 01:54:29.400
Aaron Broadwell: Like many software tools. It takes a while to learn all the functions of FLEX FLEX has completely transformed the way that language workers make dictionaries and it's definitely worth the effort.

734
01:54:30.510 --> 01:54:47.100
Aaron Broadwell: Had we been in Montana. This week this workshop on flex would have been taught by me and my partner Messiah blue cloud most is hard at work on other things this week, so you can't be here at this, we hope that in some future live version of

735
01:54:48.690 --> 01:54:56.910
Aaron Broadwell: Co Lang that you'll be able to join us and learn how to make a dictionary for your language community and learn all the technical aspects of

736
01:54:57.270 --> 01:55:11.430
Aaron Broadwell: Making a good dictionary. So I'll just say thank you this final slide has my name as my email address and my website, I would welcome any questions from people. So I'll stop sharing now and give you time for q&a

737
01:55:14.520 --> 01:55:15.060
Carolyn O'Meara: Aaron.

738
01:55:17.220 --> 01:55:25.440
Carolyn O'Meara: Aaron said the functionality of flex, just like I think all the programs. There's so much functionality that it's hard to

739
01:55:26.160 --> 01:55:37.290
Carolyn O'Meara: focus just on one aspect and I use flex actually for analyzing texts and not so much for dictionary making. And I think there's so many different ways you can approach it.

740
01:55:38.580 --> 01:55:43.170
Carolyn O'Meara: And we have we have quite a few questions and actually answers already to the

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Carolyn O'Meara: Thing but we had a question in the chat about different or soccer fees and you did show us a bit about that, about how you can in the different fields use different or authority. So somebody asked about what the functionality of that is

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Aaron Broadwell: Yeah, you can have as many orthodoxies as you want. So it's very common. Yeah, at least on languages that I've worked with

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Aaron Broadwell: For the spelling system to change a bit over time. So maybe some of your early material is written in a different orthogonal

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Aaron Broadwell: Than the one that's currently being used by the community. So it's very easy to have as many different warthog fees as have ever been used for your language and also to do some stuff to automatically transfer stuff from one to the other, with certain kinds of changes.

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Carolyn O'Meara: Yeah, that that's true. I think the the way that changes are implemented and flex throughout also is really amazing.

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Carolyn O'Meara: functionality of it. We have a question, too, about you showed us about sounds in your dictionary and you did show us a picture to have the insect that you show. So someone asked about, Can you import pictures and I and

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Aaron Broadwell: I think you yes, you absolutely can. And in fact, members of our community sometimes go out and take pictures with their phones and then we take those images and put them in the dictionary.

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Carolyn O'Meara: Yeah, it's a great because then you can you can make all sorts of different types of dictionaries, some that are more picture based others that are you know for apps and things like that. So it's great.

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Carolyn O'Meara: There's a question here from Sam about the functionality that what are the different interfaces between the between Alon Pratt and flex

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Carolyn O'Meara: So you do mind talking a little bit about that if, to the extent that you can, how they interface with each other and the different ways they can be used in conjunction

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Aaron Broadwell: Right. So, another big thing that flex does is it helps you analyze text in the language you're working on.

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Aaron Broadwell: And connect your dictionary to your text.

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Aaron Broadwell: So for example, if you're trying to understand a particular line of a story. And there's some let's say verb that use their

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Aaron Broadwell: You want to say, oh, okay. This verb in this story is used a little bit differently than it is in the dictionary, so I need to update the dictionary.

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Aaron Broadwell: I need a new example that shows this so it's really good at that. But then, where do you get the text. So often the texts are recorded and

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Aaron Broadwell: They might be analyzed in either prop or and Ilan from either of those. You can export the text then import it into flex so flex is very oriented towards

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Aaron Broadwell: The let's say the words and the sentences and the grammar, not very much towards the sounds right. So typically what you want to do is first transcribe it. And one of the other software tools, then import it into flex and then do additional kind of lexical and grammatical analysis there.

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Aaron Broadwell: I saw there was another question in the Q AMP. A that I thought maybe I'd answer if you want. So

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Aaron Broadwell: Gabrielle asked about exporting the dictionary from Word to flex. Okay, I would say if you have a chance. The best thing to do is to start the dictionary flex

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Aaron Broadwell: And then when you're ready, export it to something like the word. Okay. But if you already have a dictionary that is written in words.

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Aaron Broadwell: There are some ways in which you can run market that Word file and try to import it and flex once it's in flex, then you can manipulate it. And do you all use all the powerful functions of flex I have done this for three or four dictionaries that started off as a Word document.

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Aaron Broadwell: I would say if you already have a dictionary word you probably want to ask a flex specialist

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Aaron Broadwell: On ways to import data into flex that is an other formats, but definitely it is possible to take a Word file and excel file or a or a spreadsheet, other kinds of ways that you might have stored your data and bring it into

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Aaron Broadwell: Bring it into flex and Sonia asked if you can include audio and video in the entries, you can include audio. Currently, I think there's not a way to include video. So our Capella tricky dictionary has

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Aaron Broadwell: Several thousand audio samples that go with both the words and the example sentences. They're used in the dictionary.

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Carolyn O'Meara: And I think that answered the other question I was in the q&a to that video. So yeah, okay, we're out of time now.

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Carolyn O'Meara: But feel free to get in touch with me with our wonderful presenters. If you have additional questions and thank you so much to all of the presenters and the participants who are still with us or who are watching

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Carolyn O'Meara: Later on, this was really great a showcase of all the different variety of workshops. I think I'm going to pass on the mic to

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Carolyn O'Meara: Mizzou we have any clips am. Yes, thank you.

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Mizuki Miyashita: Helen and thank you.

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All the presenters.

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Mizuki Miyashita: Eva on Suzanne for do the first workshop and also Susanna Margaret Andrea Sonia Brianne, Aaron and emceeing Caroline, what I'm seeing. And also organizing members Sam and Madeline so today's session was on call on workshop showcase

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Mizuki Miyashita: tomorrow's session is going to be on practical showcase signing off on Tiana

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Sam Prins (she/her/hers): Alright, thanks everyone. We'll see you tomorrow. Good afternoon, evening, whatever time it is where you

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Sam Prins (she/her/hers): Will see you soon. Okay.