|
ID |
Nickname |
Country / City |
Languages |
Taxonomies |
Comment |
Project / Group |
Map |
|
146129
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
146385
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
147153
|
alex_analyzing stickers_unibe
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
135890
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
Languages present:
Spanish (dominant)
“SE ALQUILA ESTE LOCAL” (This premises for rent) : functional, commercial use.
Concert posters: “El Duende Callejero”, “Sábado 16 Agosto”, “Navalmoral de la Mata” (place name).
English
Stickers: “DEPT” : short for department, common in streetwear branding.
Poster: “Derby Motoreta’s Burrito Kachimba” (band name mixing English + Spanish slang).
Tags often resemble English word-forms, even if unreadable.
Hybrid
Band names, graffiti tags, and branding often blur English/Spanish boundaries (e.g., "Sizer StorK" sticker).
This doorway becomes a multilingual, multi-actor palimpsest:
Top-down Spanish (functional: “Se alquila”)
Spanish + English mix (youth culture, concerts, band names)
Graffiti tags in English-style script (symbolic subcultural identity)
It reflects how urban space is negotiated: official notices get “colonized” by countercultural graffiti, while music/culture posters mediate between both. The symbolic capital of English shows in music and subcultural identity, but Spanish remains the communicative backbone.
|
PALRA
|
|
|
136146
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
This vertical panel is titled “Torres Cristianas”, and it narrates the history of Cáceres’ truncated towers under the heading “El Desmoche de la Reina Isabel” (The Truncation by Queen Isabella).
The sign presents the historical episode when Isabella I of Castile ordered the nobility’s towers in Cáceres to be reduced in height, as punishment for supporting her rival Juana la Beltraneja in the succession conflict after the death of Henry IV.
The panel integrates text, portraits, maps, genealogical diagrams, Braille, and illustrations.
Upper section:
A map of Cáceres indicating Christian towers.
Main title “El Desmoche de la Reina Isabel”.
Portraits of Juana la Beltraneja and Isabel la Católica flank a dynastic family tree, situating them in relation to Enrique IV, Fernando II, and Juana de Portugal. This genealogical framing highlights the roots of the civil war.
Middle section:
Multilingual explanations of the tower demolition, in English, Portuguese, German, and French. Each language is marked with a colored circle for easy navigation.
A central illustration of a medieval battle scene, reinforcing the military context of the succession war.
The narrative highlights both the symbolic punishment of the nobility and the military transformation of the cityscape.
Accessibility:
A wide Braille band transcribes the content for visually impaired visitors, running horizontally across the panel.
Lower section:
The text “El perfil imposible de Cáceres” explains the long-term impact of these demolitions on the city’s skyline.
Mentions specific cases such as the Palacio de las Cigüeñas, the only tower left intact, thanks to its owner Diego de Ovando’s loyalty to Isabella.
Additional drawings and a panoramic photograph of the city link the historical past to the visible present.
Bottom band: Decorated in ochre, with heraldic motifs (including the lion of León), tying the narrative to the broader theme of urban heraldry and identity.
Linguistic Landscape Notes
Multimodal Communication: The panel combines text, genealogical charts, portraits, maps, illustrations, and photography, providing a layered semiotic experience.
Multilingualism: As with the first panel, the presence of English, Portuguese, German, French, and Spanish emphasizes Cáceres’ role as a tourist heritage site that communicates with international audiences.
Accessibility: Braille transcription reinforces inclusivity, making heritage interpretation available to visually impaired visitors.
Historical Identity: The panel ties Cáceres’ physical architecture (its truncated towers) directly to political history and dynastic struggles, presenting the city’s landscape as a living monument to past conflicts.
Pedagogical Design: The genealogical chart and portraits serve as visual aids, simplifying complex dynastic history for museum visitors.
|
PALRA
|
|
|
146130
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
146386
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
146898
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
147154
|
alex_analyzing stickers_unibe
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
135891
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
graffiti and tagging (grassroots, informal).
Languages present:
Spanish
“busco novi@” : means “looking for a boyfriend/girlfriend”.
“Luzia Urdalaz” (likely a personal name, stylized).
English influence (in style, not full words): some tags use letterforms typical of English hip-hop/graffiti culture (blocky, stylized, unreadable signatures).
Symbolic scripts : most are tags (nicknames/signatures), functioning as identity markers rather than meaningful language.
Identity & subculture : Tags (e.g. "YESBAN", "WONE", "TSAH") are graffiti names/pseudonyms. They mark territory, presence, or identity in urban space. The language isn’t about communication but visibility, rebellion, and belonging to urban/street culture.
Multimodal writing : use of color (red, blue, silver, black), overlapping tags, stylized letterforms.
Code-switching potential : Spanish for direct communication, English-style forms for global graffiti identity.
Individual vs collective : unlike posters (public, institutional), graffiti is personal/anonymous expression.
Orthographic creativity : “novi@” uses @ as a gender-neutral ending, which shows digital language influence in graffiti.
Graffiti here contributes as bottom-up language use (vs. top-down advertising and cultural posters). It shows how youth identity, urban art, and language intersect. The mixture of Spanish (for communication) + English-inspired graffiti style (for prestige/subcultural belonging) reflects global-local interplay.
|
PALRA
|
|
|
136147
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
This is a partial capture of an interpretive panel from the Museo de Semana Santa de Cáceres, presented in Spanish, English, Portuguese, German, French, and Braille.
The panels combine text, maps, and images, that reflect the city’s international identity as a World Heritage site.
|
PALRA
|
|
|
9427
|
|
Spain
Santiago de Compostela
|
|
|
—
|
|
|
|
146131
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
146387
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
146899
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
147155
|
alex_analyzing stickers_unibe
|
Spain
València
|
|
|
—
|
Valencia
|
|
|
135892
|
Laura_Pizarro_Jacinto
|
Spain
Cáceres
|
|
|
—
|
PALRA
|
|
|
9428
|
|
Spain
Santiago de Compostela
|
|
|
—
|
|
|
|
146132
|
Naomi_Heller
|
Spain
València
|
|
|
https://entradium.com/events/nola-jazz-finnegans
|
Valencia
|
|
|
146388
|
Naomi_Heller
|
Spain
València
|
|
|
—
|
Valencia
|
|
Lingscape
