{"id":22262,"date":"2024-09-13T12:20:00","date_gmt":"2024-09-13T10:20:00","guid":{"rendered":"https:\/\/stadtsprachen.de\/de\/?post_type=stsp_text&p=22262"},"modified":"2024-09-15T11:09:20","modified_gmt":"2024-09-15T09:09:20","slug":"unmuting-means-changing-the-meaning","status":"publish","type":"stsp_text","link":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/","title":{"rendered":"Unmuting Means Changing The Meaning"},"content":{"rendered":"\n

Language isn\u2019t the only area where dominance is exercised but one of the most important ones and, to my mind, too often marginalized one. The title of the book by Rozsika Parker and Griselda Pollock is a depressing example of an imperative of language, where \u2018Old Mistresses\u2019 is equivalent to \u2018Old masters\u2019. Although Parker\u2019s and Pollock\u2019s focal point in the book is art history the underpining idea is that men have dominated the cultural production, and therefore everything that constitutes our culture should serve to maintain it. The limits of my language mean\u2026.<\/em><\/p>\n\n\n\n

Through a language we can express our thoughts when at the same time our thoughts are shaped and constrained by it. It\u2019s important to keep in mind the social aspect of language especially when discussing power relations. Men have had more power in society than women and this translates into power over language. The latter plays undeniably an important role in communication, hence also in manipulation and control. For instance, terms such as \u2018high art\u2019 or \u2018great artist\u2019 traditionally encoded male perspective and have confined our understanding of who an artist is or could be. Why do we often use the term \u2018female artist\u2019 but never the equivalent, namely \u2018male artist\u2019? Because there is no need to specify the sex of the artist if a man created it. The word \u2018male\u2019 is silent, you can\u2019t hear it but it\u2019s always standing before \u2018artist\u2019. There\u2019s a premise that male artist is the norm, something like a role model, and women filling this position are different.<\/p>\n\n\n\n

Saul Kripke in \u2018Naming and Necessity\u2019 introduces the concept of transition of names via the \u2018historical chain\u2019 of communication, a chain of references where each speaker is a link in the chain. \u2018Historical web\u2019 of the use of a name. What fixes a referent of a name is a community kind of thing. The reference of the name is given by people who use them in certain contexts. It\u2019s how <\/em>people use words that give them meaning rather than abstract definitions. We can redefine, and change the descriptive content through which we fix our reference and agree on a new meaning of terms such as \u2018artist\u2019 or \u2018great artist or \u2018high art\u2019 while at the same time when using these above we\u2019ll be referring to what the community of speakers refers to, to what they have in mind<\/em>.<\/p>\n\n\n\n

A concept is the basis of our symbolic knowledge and a category is a hierarchy of concepts, a concept with members. An \u2018artist\u2019 is a concept but it\u2019s also a category that includes terms like: \u2018female artist\u2019, \u2018Jackson Pollock\u2019, \u2018artist of color\u2019 or \u2018Frida Kahlo\u2019. In cognitive psychology, there\u2019s a so-called prototype theory that tries to answer the question of how we decide which objects to put into a category. According to this view, people group things together by their similarity to an averaged model of the category. A prototype, we have an average representation of the category. Crucial for prototypes are characteristic features, that describe the prototype but are not necessary for it, so they not need to be shared by every object in a category. Instead, many or most instances possess each characteristic feature<\/em>. We can think about the prototype for an \u2018artist\u2019 and its characteristic features. Textbook example: The ability to fly is typical of birds. But it is not a defining feature of a bird\u2014an ostrich cannot fly. According to prototype theory, it thus seems less birdlike than a robin, which can fly<\/em>.1<\/sup><\/em> It means the prototype tends to identify particular people as more likely to be artists.<\/p>\n\n\n\n

Although the problem of categorization is a little bit more complicated than this, it includes some aspects of the theory that says there are necessary and sufficient attributes shared by every object in a category as well as some aspects of prototypicality. Reflecting on how knowledge is organized in the mind is another way that helps to understand why we sometimes unconsciously make false assumptions about other people.<\/p>\n\n\n\n

I was filling out a questionnaire regarding the set of webinars about how to become a professional artist – or at least, how to be at peace with supporting myself with other work when I read the following question:<\/p>\n\n\n\n

Does gender matter in the art world?<\/em><\/p>\n\n\n\n

followed by a selection of answers:<\/p>\n\n\n\n

    \n
  1. Yes, it\u2019s easier when you\u2019re a man<\/em><\/li>\n\n\n\n
  2. Yes, it\u2019s easier when you\u2019re a woman<\/em><\/li>\n\n\n\n
  3. No, it doesn\u2019t<\/em><\/li>\n<\/ol>\n\n\n\n

    Of course I chose a) <\/em>and started wondering whether anyone acquainted with contemporary feminist theories beloved by those, who are or want to be a part of the art world would say b). Obviously. This is why the question of privileges is so tricky. The ones who have them don\u2019t ever fully acknowledge them (until they lose them) and those who lack them seem to be always unable to prove it. My friend sitting next to me was also filling out the same questionnaire and asked me if I thought the guy, who gave a presentation during the last webinar supported women. I thought that was an exciting question. I hesitated. He\u2019s a guy, he thinks he supports women, I said.<\/p>\n\n\n\n

    Last month I read an article (published in 2023, for reference) headed:2<\/sup> \u2018Has the needle moved for women artists in the art market?\u2019 It said it has, because apparently millennials have been embracing the changes, but \u2018we won\u2019t see parity in the auction market for work by female artists until 2053\u2019. It\u2019s difficult to change deeply entrenched attitudes. I continued surfing and watched a panel discussion from Art Basel 2023, \u2018How to overcome the gender barriers in the art market\u2019. She showed the stats. We traced U.S museum data and the international art market data since 2008, she explained. Pablo Picasso\u2019s art market (sales) was bigger than \u201cthe entire combined art market for all female artists in all genres across all periods of time.\u201d 6.23 billion dollars to 6.2 billion dollars. Entering into the art market is statistically more difficult for women. Most of the art schools\u2019 students are female but this isn\u2019t respectively reflected in the number of professionally active artists. The same thing can be noted about the exclusion of women from teaching positions in the art field. The stake is not a greater number of women being recognized by male-dominated art institutions, but the changes in the system, that allow us to construct meanings from our <\/em>experiences. Accepting certain women artists doesn\u2019t give the latter ones structurally the power to create new alternative meanings, which are going to be drowned out by finger-wagging or simply ignored.<\/p>\n\n\n\n

    After almost three hours of watching and reading, I got myself into a state of wistful inactivity and was wallowing in self-righteousness for another couple of hours. In my mind\u2019s <\/a>eye I was going over the talk I would have about women’s struggle with my father. Whenever I talk to my male friends about their thoughts on this topic the upshot is discounting women’s accusations as exaggeration. Describing your perception is never enough, because it\u2019s never objective. You need to be more rational and gather facts not feelings. One day I found myself ordering \u2018The Double X Economy\u2019 for my father. A feminist revolution was imminent.<\/p>\n\n\n\n

    Women as empathy machines. Extra sweet.<\/p>\n\n\n\n

    We read in Old Mistresses that \u201cthe individual female artist alone in her studio or in a traditional art school can achieve only a partial breakthrough\u201d3<\/sup>. <\/em>I guess that regardless of gender all art students or graduates at some point share this fear but the reality for women and people of color is <\/em>different although the ideology, that provides these disparities is disguised and often extremely difficult to track down. Men control who has access to the means of achieving greatness<\/em>. I don\u2019t say the increasing representation of women in the art market is bad. I mean to state, rather, that we shouldn\u2019t stay confined to the thought that the proliferation of women artists\u2019 works will make the old paradigm <\/em>go away. We need the proliferation, as well as something more, namely, organization and support for alternative structures to the dominant practices.<\/p>\n\n\n\n

    This is because men don\u2019t want to share their power with women, she said and took a drag of a cigarette. I had taken a train to Berlin to interview an international artist, who has her studio there. She was smoking one cigarette after another. The coffee was very fragrant. She seemed relaxed and sure of what she was saying. Marriage is a trap. The state should give women money for nannies, so women can work. (I recalled the women who got last year’s Nobel Prize in economics.) The artist sells her work for a lot of money and hires many assistants.<\/p>\n\n\n\n

    She didn\u2019t agree to record the interview because she didn\u2019t think her English was good enough, which I think was. Later I couldn\u2019t stop asking myself whether if she was a man, she would still mind being recorded. I didn\u2019t interview her in German on seemingly similar grounds but it was famous amongst girls and women the feeling of not excelling at something and the fear of being judged. You have to forgive yourself. The question was why prices for women\u2019s artworks have been lower than for artworks made by men. I was afraid to lean back in the chair like she did. I didn\u2019t even cross my legs although it felt like a more comfortable position on this very fancy-looking but very uncomfortable armchair. (I don\u2019t like the feeling of being forced to look at the ceiling when I am sitting. That was this kind of armchair.) I was aware of my body language. I said that I knew a lot of girls at the university who would never speak up because they were afraid of making fools out of themselves and that I attended a lot of philosophy seminars where the only ones actively participating in the class were boys and that very often they would say banal things or even stupid and seemed not to notice or simply didn\u2019t care. Power is also its manifestation and men nailed it. I\u2019ll shed of my inhibitions.<\/p>\n\n\n\n

    She said that women are very often more competent than men. I added that whenever I was leaving the university library late, 10 or 11 pm, they were mostly girls whom I would see leaning forward at the desks. Don\u2019t get me wrong, I knew hard-working male students too, some of them were my friends and I knew they studied hard but this is what I would see.<\/p>\n\n\n\n

    There can be many explanations for this but what can be said for sure: there are more female than male students at the University of Warsaw.<\/p>\n\n\n\n

    I must say, I\u2019ve always seen my brother and father as more capable of doing important things, more capable than me or my mother. I don\u2019t trust myself or other women. I assumed men were better at resolving problems. This was the example set at my home where my dad was implicated to be less emotional and more logical than mom and therefore better qualified to make important decisions. Even when sometimes it was my mom, who decided about crucial things or when dad\u2019s reasoning was biased that was the narration they created for themselves, that I based my beliefs on without even questioning whether they were justified let alone true.<\/p>\n\n\n\n

    Do a Google search. Siri, show me the artist. The fragility of the gains and what is still to win become obvious. The myth of a great artist tells the story of a man who suffers and transforms his anguish into art, a genius or a saint who will receive salvation. Those who take to biographies of famous artists can draw the pattern. A tremendously talented but neurodivergent kid, scribbling everywhere all the time, early discovered by the establishment. (Close your eyes and think again about what you\u2019ve just read. Imagine the kid. Now, are you visualizing a boy or a girl?). And in pain. I praise the epitomes of sorrow. We are besotted with grandiose and mysterious sadness in artists. The more miserable the artist the better. But these are mostly the stories about men, not women. The complexity of women’s experiences is not in our templates of how to understand art. Art is art, but feminine art is something different and art made by women is feminine<\/em>. The concept of artist branches off into subcategories of \u2018artist of color\u2019 and \u2018woman artist\u2019, which are disparate from the \u2018artist\u2019. Is she pretty? Is she a mother? Does she cry a lot? Is she emotionally stable? The term \u2018women\u2019 superficially a label for one of two sexes becomes synonymous with the social and psychological structures of \u2018femininity\u2019<\/em>.4<\/sup><\/p>\n\n\n\n

    When Linda Nochlin wrote: The fact, dear sisters, is that there are <\/em>no women equivalents for Michelangelo or Rembrandt, Delacroix or C\u00e9zanne, Picasso or Matisse, or even, in very recent times, for de Kooning or Warhol, any more than there are Black American equivalents for the same she didn\u2019t mean there were truly no women artists who could measure their talent and craftsmanship with Michelangelo or Picasso, but that there were no women who could receive equal recognition. Let us reflect on the lack of symbolic value given to women artists. A friend sent me the link to The Art Market Recap5<\/sup> which states that among the 50 most expensive artworks sold in 2023 only three were made by women. The women in question are Louis Bourgeois, Georgia O\u2019Keeffe, and Joan Mitchell. Pablo Picasso fetched the highest price, after him there were Gustav Klimt, Claude Monet, Jean-Michel Basquiat, Gustav Klimt again. No matter how lame this sounds now, being repeated over and over, it\u2019s true: our culture produced the exceedingly narrow idea of a great artist. Nochlin examined how social order – especially public institutions- made it almost impossible for women to pursue professional artistic careers. Today we can all agree that women’s capacity to achieve not merely artistic proficiency but also brilliance is a real thing, but no matter what has been said on the subject of gender equality in the art world it\u2019s just a fondant on a cake of prejudices against women, which come from not only a lack of knowledge or proper education but some kind of brutal stupidity.<\/p>\n\n\n\n

    Griselda Pollock gave a presentation at Haus der K\u00fcnste in Munich where she said: virtuality is an attribute to feminism as a project, which is still to come, its capacity to transform us and our world is as yet unrealized. After the presentation, there was a discussion. She spoke about the need for feminist thinkers at educational institutions. The water will close over where I\u2019ve<\/em> been<\/em>. She spoke about the importance of recognizing feminism as a major issue, a foundation.<\/p>\n\n\n\n

    <\/p>\n\n\n\n

    <\/p>\n\n\n\n

    1 R. J. Sternberg, K. Sternberg, Cognitive Psychology Seventh Edition, <\/em>p. 299.
    2     https:\/\/www.artbasel.com\/stories\/women-art-market-silverlens-kaufmann-repetto-pilar-corrias-jhaveri-contemporary-nathalie-obadia?lang=en <\/a>[published on August 3, 2023].
    3 R. Parker, G.Pollock, Old mistresses. Women, Art And Ideology<\/em>, Bloomsbury Academic, 2021, p.102
    <\/a>4 Ibid., <\/em>p.130.
    <\/a>5\u00a0https:\/\/www.artsy.net\/article\/artsy-editorial-art-market-recap-2023<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

    Language isn\u2019t the only area where dominance is exercised but one of the most important ones and, to my mind, too often marginalized one. The title of the book by Rozsika Parker and Griselda Pollock is a depressing example of an imperative of language, where \u2018Old Mistresses\u2019 is equivalent to \u2018Old masters\u2019. Although Parker\u2019s and […]<\/p>\n","protected":false},"featured_media":22139,"template":"","categories":[60,12],"class_list":["post-22262","stsp_text","type-stsp_text","status-publish","has-post-thumbnail","hentry","category-issue-29","category-non-fiction"],"yoast_head":"\nUnmuting Means Changing The Meaning - stadtsprachen<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:locale:alternate\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Unmuting Means Changing The Meaning - stadtsprachen\" \/>\n<meta property=\"og:description\" content=\"Language isn\u2019t the only area where dominance is exercised but one of the most important ones and, to my mind, too often marginalized one. The title of the book by Rozsika Parker and Griselda Pollock is a depressing example of an imperative of language, where \u2018Old Mistresses\u2019 is equivalent to \u2018Old masters\u2019. Although Parker\u2019s and […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/\" \/>\n<meta property=\"og:site_name\" content=\"stadtsprachen\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Stadtsprachen\" \/>\n<meta property=\"article:modified_time\" content=\"2024-09-15T09:09:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/stadtsprachen.de\/wp-content\/uploads\/2024\/09\/ssm29_20-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1920\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@stadtsprachen\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/\",\"url\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/\",\"name\":\"Unmuting Means Changing The Meaning - stadtsprachen\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/stadtsprachen.de\\\/wp-content\\\/uploads\\\/2024\\\/09\\\/ssm29_20-scaled.jpg\",\"datePublished\":\"2024-09-13T10:20:00+00:00\",\"dateModified\":\"2024-09-15T09:09:20+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/#primaryimage\",\"url\":\"https:\\\/\\\/stadtsprachen.de\\\/wp-content\\\/uploads\\\/2024\\\/09\\\/ssm29_20-scaled.jpg\",\"contentUrl\":\"https:\\\/\\\/stadtsprachen.de\\\/wp-content\\\/uploads\\\/2024\\\/09\\\/ssm29_20-scaled.jpg\",\"width\":2560,\"height\":1920},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/unmuting-means-changing-the-meaning\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Texts\",\"item\":\"https:\\\/\\\/stadtsprachen.de\\\/en\\\/text\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Unmuting Means Changing The Meaning\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/#website\",\"url\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/\",\"name\":\"stadtsprachen\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/#organization\",\"name\":\"stadtsprachen\",\"url\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/stadtsprachen.de\\\/wp-content\\\/uploads\\\/2021\\\/02\\\/cropped-logo_stadtsprachen_taubenblau.png\",\"contentUrl\":\"https:\\\/\\\/stadtsprachen.de\\\/wp-content\\\/uploads\\\/2021\\\/02\\\/cropped-logo_stadtsprachen_taubenblau.png\",\"width\":512,\"height\":512,\"caption\":\"stadtsprachen\"},\"image\":{\"@id\":\"https:\\\/\\\/stadtsprachen.de\\\/de\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/Stadtsprachen\",\"https:\\\/\\\/x.com\\\/stadtsprachen\",\"https:\\\/\\\/www.instagram.com\\\/berlinerliterarischeaktion\\\/\",\"https:\\\/\\\/mastodon.social\\\/@BerlinerLiterarischeAktion\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Unmuting Means Changing The Meaning - stadtsprachen","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/","og_locale":"en_US","og_type":"article","og_title":"Unmuting Means Changing The Meaning - stadtsprachen","og_description":"Language isn\u2019t the only area where dominance is exercised but one of the most important ones and, to my mind, too often marginalized one. The title of the book by Rozsika Parker and Griselda Pollock is a depressing example of an imperative of language, where \u2018Old Mistresses\u2019 is equivalent to \u2018Old masters\u2019. Although Parker\u2019s and […]","og_url":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/","og_site_name":"stadtsprachen","article_publisher":"https:\/\/www.facebook.com\/Stadtsprachen","article_modified_time":"2024-09-15T09:09:20+00:00","og_image":[{"width":2560,"height":1920,"url":"https:\/\/stadtsprachen.de\/wp-content\/uploads\/2024\/09\/ssm29_20-scaled.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@stadtsprachen","twitter_misc":{"Est. reading time":"15 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/","url":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/","name":"Unmuting Means Changing The Meaning - stadtsprachen","isPartOf":{"@id":"https:\/\/stadtsprachen.de\/de\/#website"},"primaryImageOfPage":{"@id":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/#primaryimage"},"image":{"@id":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/#primaryimage"},"thumbnailUrl":"https:\/\/stadtsprachen.de\/wp-content\/uploads\/2024\/09\/ssm29_20-scaled.jpg","datePublished":"2024-09-13T10:20:00+00:00","dateModified":"2024-09-15T09:09:20+00:00","breadcrumb":{"@id":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/#primaryimage","url":"https:\/\/stadtsprachen.de\/wp-content\/uploads\/2024\/09\/ssm29_20-scaled.jpg","contentUrl":"https:\/\/stadtsprachen.de\/wp-content\/uploads\/2024\/09\/ssm29_20-scaled.jpg","width":2560,"height":1920},{"@type":"BreadcrumbList","@id":"https:\/\/stadtsprachen.de\/en\/text\/unmuting-means-changing-the-meaning\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/stadtsprachen.de\/de\/"},{"@type":"ListItem","position":2,"name":"Texts","item":"https:\/\/stadtsprachen.de\/en\/text\/"},{"@type":"ListItem","position":3,"name":"Unmuting Means Changing The Meaning"}]},{"@type":"WebSite","@id":"https:\/\/stadtsprachen.de\/de\/#website","url":"https:\/\/stadtsprachen.de\/de\/","name":"stadtsprachen","description":"","publisher":{"@id":"https:\/\/stadtsprachen.de\/de\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/stadtsprachen.de\/de\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/stadtsprachen.de\/de\/#organization","name":"stadtsprachen","url":"https:\/\/stadtsprachen.de\/de\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/stadtsprachen.de\/de\/#\/schema\/logo\/image\/","url":"https:\/\/stadtsprachen.de\/wp-content\/uploads\/2021\/02\/cropped-logo_stadtsprachen_taubenblau.png","contentUrl":"https:\/\/stadtsprachen.de\/wp-content\/uploads\/2021\/02\/cropped-logo_stadtsprachen_taubenblau.png","width":512,"height":512,"caption":"stadtsprachen"},"image":{"@id":"https:\/\/stadtsprachen.de\/de\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/Stadtsprachen","https:\/\/x.com\/stadtsprachen","https:\/\/www.instagram.com\/berlinerliterarischeaktion\/","https:\/\/mastodon.social\/@BerlinerLiterarischeAktion"]}]}},"_links":{"self":[{"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/stsp_text\/22262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/stsp_text"}],"about":[{"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/types\/stsp_text"}],"version-history":[{"count":3,"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/stsp_text\/22262\/revisions"}],"predecessor-version":[{"id":22349,"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/stsp_text\/22262\/revisions\/22349"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/media\/22139"}],"wp:attachment":[{"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/media?parent=22262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/stadtsprachen.de\/en\/wp-json\/wp\/v2\/categories?post=22262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}