Wikiyouth - User contributions [en]

Report - Poti

2026-09-08T15:03:58Z

Tamar:

{{Article infobox|{{FULLPAGENAME}}}}
[[File:FB IMG 1788790631875.jpg|thumb|conference session ]]
On June 3rd, 2026, together with my colleague Luca Pasquali, I joined the team of the Charity Humanitarian Centre Abkhazeti (CHCA) for a work-related visit to the city of Poti. Once there, the day after our arrival, we attended the inauguration of the third phase of one of the organization’s ongoing projects, which aims to improve living conditions for internally displaced persons (IDPs) residing in the settlement located in the port area, focusing primarily on the environmental sphere. In fact, the area is sadly famous for environmental issues.

We actively contributed to the preparation of the event, held in the centre of the settlement. Our work began in the Tbilisi office, where in the days before the event we developed a presentation covering both its written and visual elements. This presentation was later used to clearly communicate to the public the different phases of the project, as well as its progress to date and future direction.

Upon arriving in Poti, we continued our involvement on the ground, supporting the team with logistical coordination and assisting in the physical setup of the stage where the event took place.

During the event, we had the opportunity to network with both beneficiaries of the organization’s projects and participants from a variety of backgrounds.

Following the inauguration, we participated in a conference where CHCA representatives presented the project, outlining again the progress achieved so far and the objectives set for the next phase.

We left the city on June 6th.
[[File:FB IMG 1788790618165.jpg|center|thumb|Volunteers during the conference]]

File:FB IMG 1788790618165.jpg

2026-09-08T15:03:24Z

Tamar:

VOLUNTEERS DURING THE CONFERENCE (POTI)

File:FB IMG 1788790631875.jpg

2026-09-08T15:02:16Z

Tamar:

Conference session

The Shadow Harvest – Davide Demichele’s Seminar at Sulkhan-Saba Orbeliani University

2026-09-08T15:00:50Z

Tamar:

{{Article infobox|{{FULLPAGENAME}}}}
[[File:Students during Davide's workshop .jpg|left|thumb|Students during Davide's workshop ]]
'''<big>The Shadow Harvest – Davide Demichele’s Seminar at Sulkhan-Saba Orbeliani University</big>'''
[[File:Davide During the Workshop.jpg|thumb]]
On '''May 25''', I had the pleasure of leading a seminar entitled ''The Shadow Harvest'', focusing on the issue of informal settlements in Southern Italy. The seminar examined the social and economic dynamics surrounding the phenomenon, with particular attention given to the '''Ghetto di Borgo Mezzanone''', currently the largest informal settlement in the region of Puglia. This settlement has become a symbol of the complex challenges related to irregular migration, labour exploitation, social exclusion, and inadequate housing conditions, making it a significant case study for understanding broader structural issues affecting agricultural regions in Italy.

The seminar was held at '''Sulkhan-Saba Orbeliani University''' at '''12:00 p.m.''' and was accompanied by a presentation divided into four main sections:

# '''Introduction to the issue''', beginning with an overview of informal settlements in Italy before narrowing the focus to the specific case of Borgo Mezzanone;
# '''Social consequences''', exploring the impact of the settlement on the lives of its inhabitants and local communities;
# '''Economic consequences''', analysing the relationship between informal settlements, agricultural labour and informal economies;
# '''Comparative reflections and conclusions''', discussing potential similarities and differences between the Italian and Georgian contexts and encouraging participants to reflect on how comparable challenges may emerge in different social and institutional environments.

Throughout the seminar, the audience demonstrated a high level of interest and engagement. Participants actively followed the presentation and contributed both during the discussion and in the concluding question-and-answer session. Numerous attendees asked thoughtful questions, raised critical observations, and shared their own perspectives on the issues presented.

One of the most valuable aspects of the seminar was the diversity of the audience. Participants from different academic disciplines, cultural backgrounds, and countries of origin enriched the discussion by offering a wide range of viewpoints and experiences. The exchange of ideas led to a lively and constructive debate on the root causes of informal settlements, the challenges of balancing economic needs with human rights, and the importance of developing sustainable policy responses.

File:Students during Davide's workshop .jpg

2026-09-08T14:59:41Z

Tamar:

Students during Davide's workshop

Final Report - "The Algorithmic Mirror" Workshop

2026-09-08T14:54:41Z

Tamar:

{{Article infobox|{{FULLPAGENAME}}}}
[[File:LUCA DURING THE SEMINAR .jpg|thumb|Luca during the seminar ]]
'''<big>Final Report & Personal Reflection: "The Algorithmic Mirror" Workshop</big>'''

Author: Luca Pasquali

Workshop Date: July 23, 2026

Venue: Alte University, Tbilisi (Georgia)

Framework: ESC Volunteering Project supported by the European Solidarity Corps and Istituto Cultura Italiana

On July 23, 2026, I led the workshop "The Algorithmic Mirror: Architecture, Technological Apparatus & Social Effects of AI" at Alte University in Tbilisi, and looking back on it now, the experience carries a weight that goes well beyond the hour and a half I spent speaking. When I first proposed running this session, management was openly hesitant about having me take it on as speaker and facilitator. My background is unconventional, and I do not hold a completed formal academic degree in the field, which understandably raised doubts about whether I was the right person to lead a discussion of this kind in front of a university audience. I chose not to let that hesitation be the final word. I pushed back, made my case, and eventually earned the approval to design and deliver the session on my own terms. Standing in front of that room and carrying it through independently is something I am genuinely proud of, not just because the talk went well, but because it represents a small but real victory over the assumption that formal credentials are the only valid entry point into a conversation about technology and society. The organizational delivery held together, the room stayed engaged from start to finish, and the response from the audience confirmed that the risk had been worth taking.

I built the workshop around a multidisciplinary reading of Artificial Intelligence, deliberately working to dismantle techno-solutionist narratives rather than reinforce them. The session moved from historical and mythological roots, tracing a line from Hephaestus' autonomous tripods in the Iliad to the I Ching as an early binary precursor of modern algorithms, into the mechanics and statistical illusions at the heart of the technology itself, from Claude Shannon's 1951 "Copernican Trauma" through to Large Language Models and the psychological pull of the ELIZA Effect. From there I opened up the geopolitics of AI, setting American commercial and private models against European regulatory and sovereign frameworks and Chinese state-backed open-source ecosystems, before turning to the environmental impact and sustainability of data processing and computing infrastructure, and closing with creative labor and media philosophy through Latour's Actor-Network Theory and Vaccari's notion of the "technological unconscious." Of everything I presented, it was the environmental cost of AI that by far generated the most engagement and debate. That thread pulled us naturally into a genuinely political discussion about the future of open-source AI, and I found myself moderating a debate I had not fully anticipated but was glad to see unfold.

The room was made up mostly of students from the Engineering department and other technical faculties, and in hindsight that shaped what worked and what I would change. Given how technically literate this audience was, I think a future version of the workshop would benefit from going deeper into the actual mechanics of model architecture, things like weight dynamics, attention mechanisms, or the mathematical specifics of diffusion processes. The humanistic and philosophical framing was well received and clearly gave people a new lens to think through, but I could feel that a slightly heavier technical dose would have matched even more closely what this particular crowd was hoping to get out of it.
[[File:Poster.jpg|left|thumb]]
This workshop proved to me, in a very concrete way, the value of approaching technology through a critical, cross-disciplinary lens rather than accepting the narratives it usually comes packaged in. But beyond the content itself, delivering this seminar and overcoming the initial administrative doubts about my academic credentials feels like a real milestone in my own professional development. It is a marker I will keep coming back to, and it reinforces for me just how much impact this ESC volunteering project in Tbilisi is having, not only on the people who attend, but on how I see my own path forward.

File:LUCA DURING THE SEMINAR .jpg

2026-09-08T14:53:03Z

Tamar:

Luca during the seminar

The Shadow Harvest – Davide Demichele’s Seminar at Sulkhan-Saba Orbeliani University

2026-09-03T15:18:02Z

Tamar: VisualData update

{{Article infobox|{{FULLPAGENAME}}}}
'''<big>The Shadow Harvest – Davide Demichele’s Seminar at Sulkhan-Saba Orbeliani University</big>'''
[[File:Davide During the Workshop.jpg|thumb]]
On '''May 25''', I had the pleasure of leading a seminar entitled ''The Shadow Harvest'', focusing on the issue of informal settlements in Southern Italy. The seminar examined the social and economic dynamics surrounding the phenomenon, with particular attention given to the '''Ghetto di Borgo Mezzanone''', currently the largest informal settlement in the region of Puglia. This settlement has become a symbol of the complex challenges related to irregular migration, labour exploitation, social exclusion, and inadequate housing conditions, making it a significant case study for understanding broader structural issues affecting agricultural regions in Italy.

The seminar was held at '''Sulkhan-Saba Orbeliani University''' at '''12:00 p.m.''' and was accompanied by a presentation divided into four main sections:

# '''Introduction to the issue''', beginning with an overview of informal settlements in Italy before narrowing the focus to the specific case of Borgo Mezzanone;
# '''Social consequences''', exploring the impact of the settlement on the lives of its inhabitants and local communities;
# '''Economic consequences''', analysing the relationship between informal settlements, agricultural labour and informal economies;
# '''Comparative reflections and conclusions''', discussing potential similarities and differences between the Italian and Georgian contexts and encouraging participants to reflect on how comparable challenges may emerge in different social and institutional environments.

Throughout the seminar, the audience demonstrated a high level of interest and engagement. Participants actively followed the presentation and contributed both during the discussion and in the concluding question-and-answer session. Numerous attendees asked thoughtful questions, raised critical observations, and shared their own perspectives on the issues presented.

One of the most valuable aspects of the seminar was the diversity of the audience. Participants from different academic disciplines, cultural backgrounds, and countries of origin enriched the discussion by offering a wide range of viewpoints and experiences. The exchange of ideas led to a lively and constructive debate on the root causes of informal settlements, the challenges of balancing economic needs with human rights, and the importance of developing sustainable policy responses.

Final Report - "The Algorithmic Mirror" Workshop

2026-09-03T15:17:02Z

Tamar: VisualData update

{{Article infobox|{{FULLPAGENAME}}}}

'''<big>Final Report & Personal Reflection: "The Algorithmic Mirror" Workshop</big>'''

Author: Luca Pasquali

Workshop Date: July 23, 2026

Venue: Alte University, Tbilisi (Georgia)

Framework: ESC Volunteering Project supported by the European Solidarity Corps and Istituto Cultura Italiana

On July 23, 2026, I led the workshop "The Algorithmic Mirror: Architecture, Technological Apparatus & Social Effects of AI" at Alte University in Tbilisi, and looking back on it now, the experience carries a weight that goes well beyond the hour and a half I spent speaking. When I first proposed running this session, management was openly hesitant about having me take it on as speaker and facilitator. My background is unconventional, and I do not hold a completed formal academic degree in the field, which understandably raised doubts about whether I was the right person to lead a discussion of this kind in front of a university audience. I chose not to let that hesitation be the final word. I pushed back, made my case, and eventually earned the approval to design and deliver the session on my own terms. Standing in front of that room and carrying it through independently is something I am genuinely proud of, not just because the talk went well, but because it represents a small but real victory over the assumption that formal credentials are the only valid entry point into a conversation about technology and society. The organizational delivery held together, the room stayed engaged from start to finish, and the response from the audience confirmed that the risk had been worth taking.

I built the workshop around a multidisciplinary reading of Artificial Intelligence, deliberately working to dismantle techno-solutionist narratives rather than reinforce them. The session moved from historical and mythological roots, tracing a line from Hephaestus' autonomous tripods in the Iliad to the I Ching as an early binary precursor of modern algorithms, into the mechanics and statistical illusions at the heart of the technology itself, from Claude Shannon's 1951 "Copernican Trauma" through to Large Language Models and the psychological pull of the ELIZA Effect. From there I opened up the geopolitics of AI, setting American commercial and private models against European regulatory and sovereign frameworks and Chinese state-backed open-source ecosystems, before turning to the environmental impact and sustainability of data processing and computing infrastructure, and closing with creative labor and media philosophy through Latour's Actor-Network Theory and Vaccari's notion of the "technological unconscious." Of everything I presented, it was the environmental cost of AI that by far generated the most engagement and debate. That thread pulled us naturally into a genuinely political discussion about the future of open-source AI, and I found myself moderating a debate I had not fully anticipated but was glad to see unfold.

The room was made up mostly of students from the Engineering department and other technical faculties, and in hindsight that shaped what worked and what I would change. Given how technically literate this audience was, I think a future version of the workshop would benefit from going deeper into the actual mechanics of model architecture, things like weight dynamics, attention mechanisms, or the mathematical specifics of diffusion processes. The humanistic and philosophical framing was well received and clearly gave people a new lens to think through, but I could feel that a slightly heavier technical dose would have matched even more closely what this particular crowd was hoping to get out of it.
[[File:Poster.jpg|left|thumb]]
This workshop proved to me, in a very concrete way, the value of approaching technology through a critical, cross-disciplinary lens rather than accepting the narratives it usually comes packaged in. But beyond the content itself, delivering this seminar and overcoming the initial administrative doubts about my academic credentials feels like a real milestone in my own professional development. It is a marker I will keep coming back to, and it reinforces for me just how much impact this ESC volunteering project in Tbilisi is having, not only on the people who attend, but on how I see my own path forward.

Report - "Budrugana Gagra" - Hand Shadow Theater

2026-09-03T15:15:25Z

Tamar: VisualData update

{{Article infobox| {{FULLPAGENAME}} }}

=="Budrugana Gagra" State Hand Shadow Theater==



'''Date of Visit:''' March 9, 2026
[[File:1788435480517.jpg|left|thumb|Volunteers and actors of the Hand Shadow Theatre]]
'''Organizer:''' Italian Cultural Institute

'''Working Group / Volunteers:''' Lidia Davidovi, Tamar Kikalishvili, Davide Demichele, and Andrea Morrillo.

'''Purpose of the Report:''' Cultural and historical overview of the theater, analysis of its creative methodology, and summary of the outcomes of the visit.

'''1. Introduction and Historical Background'''

The "Budrugana Gagra" Hand Shadow Theater is a unique Georgian cultural phenomenon founded in 1982 by director Gela Kandelaki. The troupe's initial strategic goal was the decentralization of art - bringing performances to remote mountainous regions and small villages where residents had limited access to cultural life.

The word "Budrugana" originates from Sulkhan-Saba Orbeliani’s dictionary and refers to a carriage that moves slowly but steadily toward its destination. In the initial stage, due to a lack of material resources, the troupe substituted puppets with a synthesis of bare hands and light projection. This method, which was initially conceived as a temporary workaround, evolved over time into an independent, highly artistic form of art, completely replacing the need for physical puppets.

'''2. Creative Methodology: The Phenomenology of Shadows'''

The theater's concept is built upon a psychological and neurobiological phenomenon known as pareidolia ''(the natural human tendency to perceive familiar faces or shapes within vague visual stimuli)''. While only bare hands and the movement of ten fingers are displayed on stage, the audience perceives these movements as specific characters and living silhouettes.

The artistic structure of the performance is two-fold: the physical action is performed on stage, while the final image is formed and comes alive within the minds of the audience through the contrast of light and shadow. The absence of a color spectrum provides the audience with the creative space for imagination and individual interpretation of the imagery.

'''3. International Recognition and Geopolitical Context'''

"Budrugana Gagra" is the only theatrical troupe in the world that works exclusively with the bare-hand technique - unlike traditional Chinese or Turkish shadow theaters, which utilize cardboard or leather figures.

The troupe gained international recognition before establishing its status at home. Specifically, on May 26, 1991 - the historic day of Georgia's first presidential election and the restoration of its independence - the theater was performing triumphantly in Paris, serving as a cultural ambassador for the newly reborn nation. Later, following the armed conflict in Abkhazia, the director welcomed young internally displaced persons (IDPs) affected by the war into the troupe. To honor them and preserve their identity, the theater was renamed "Budrugana Gagra."

'''4. Performance Structure and Musical Accompaniment'''

During performances, actors do not use verbal communication (voice); instead, the entire emotional and dynamic weight is transferred to bodily plasticity. The primary compositional axis of the stagings is music, primarily drawing on the classical works of Antonio Vivaldi, Johann Sebastian Bach, and jazz melodies.

Through long-term practice, the actors' hands develop what is known as "body (kinesthetic) memory," which ensures that complex blocking and movements are executed automatically with high precision. Currently, the theater operates its own two-year training studio, ensuring the continuity of this tradition. The troupe regularly holds its performances on the small stage of the Shota Rustaveli National Theater.

'''5. Working Visit and Interview (March 9, 2026)'''

On March 9, 2026, the volunteer group from the Italian Cultural Institute visited the theater during a charity concert organized specifically for children with disabilities.

Following the performance, the working group conducted an interview with theater representatives '''Ketevan Chitadze''' and '''Zurab Kvachakhia'''. Based on the gathered material, an analytical article was prepared by Lidia Davidovi and Luca Pasquale for the media platform kargimokalake.ge.

The visit highlighted the following key aspects:

* '''Inclusive Environment:''' The theater's creative team demonstrated high professional ethics and a exceptionally welcoming, friendly atmosphere.
* '''Age Universality:''' Practical observation showed that the philosophy of shadow theater transcends the boundaries of children's entertainment; it is equally relevant, evocative, and intellectually valuable for an adult audience.

'''6. Acknowledgment'''

The Italian Cultural Institute (ICI) expresses its deepest gratitude and respect to the "Budrugana Gagra" Theater for the 40 years of dedicated and ascetic creative work that the troupe has contributed to the development of culture.

Your art serves as a profound cultural bridge that-devoid of any language barriers or verbal interpretations-unites people of different nationalities, generations, and worldviews solely through light projection and the plasticity of human hands. Thank you for the unique philosophy, aesthetics, and humane hope that your shadows convey so simply and brilliantly.

'''Figure. Burdugana gagra. Foto taken by Lidia Davidovi.'''

Library Visit - Report

2026-09-03T15:13:23Z

Tamar: VisualData update

{{Article infobox| {{FULLPAGENAME}} }}

[[File:Library visit.jpg|thumb|Volunteers, Davide and Andrea, with coordinator and the library representative]]
'''<big>LIBRARY VISIT</big>'''

On February 19th, 2026, I had the opportunity to visit the National Library of Georgia together with my coordinator, Tamar Kikalishvili, and Andrea Morrillo, former intern at the Istituto Cultura Italiana. What initially seemed like a simple cultural visit soon became one of the most inspiring experiences of my first days in Georgia.

Having arrived in the country only a couple of days earlier, this visit represented much more than an introduction to Georgian literature and history, it felt like the true beginning of my journey here. Thanks to the people who guided us, we were granted access to areas of the library that are normally closed to the public, allowing us to witness the hidden work that preserves the nation’s cultural memory.

During the visit, we observed the meticulous process through which books arriving from different parts of the country are classified and archived. We also had the rare chance to see machinery dating back to the Soviet era, once used by the scientists and researchers working within the institution.

Inspired by what I had seen and learned, I later wrote two articles connected to the experience and its topics. Those articles can be read here:

<nowiki>https://kargimokalake.ge/en/authors/davide-demichele/</nowiki>

Report - Poti

2026-09-03T15:11:39Z

Tamar: VisualData update

{{Article infobox|{{FULLPAGENAME}}}}
On June 3rd, 2026, together with my colleague Luca Pasquali, I joined the team of the Charity Humanitarian Centre Abkhazeti (CHCA) for a work-related visit to the city of Poti. Once there, the day after our arrival, we attended the inauguration of the third phase of one of the organization’s ongoing projects, which aims to improve living conditions for internally displaced persons (IDPs) residing in the settlement located in the port area, focusing primarily on the environmental sphere. In fact, the area is sadly famous for environmental issues.

We actively contributed to the preparation of the event, held in the centre of the settlement. Our work began in the Tbilisi office, where in the days before the event we developed a presentation covering both its written and visual elements. This presentation was later used to clearly communicate to the public the different phases of the project, as well as its progress to date and future direction.

Upon arriving in Poti, we continued our involvement on the ground, supporting the team with logistical coordination and assisting in the physical setup of the stage where the event took place.

During the event, we had the opportunity to network with both beneficiaries of the organization’s projects and participants from a variety of backgrounds.

Following the inauguration, we participated in a conference where CHCA representatives presented the project, outlining again the progress achieved so far and the objectives set for the next phase.

We left the city on June 6th.
[[File:Davide.jpg|center|thumb]]

Final Report - "The Algorithmic Mirror" Workshop

2026-09-03T15:04:01Z

Tamar:

Final Report - "The Algorithmic Mirror" Workshop

2026-09-03T15:02:06Z

Tamar:

Final Report & Personal Reflection: "The Algorithmic Mirror" Workshop

Author: Luca Pasquali

Workshop Date: July 23, 2026

Venue: Alte University, Tbilisi (Georgia)

Framework: ESC Volunteering Project supported by the European Solidarity Corps and Istituto Cultura Italiana

On July 23, 2026, I led the workshop "The Algorithmic Mirror: Architecture, Technological Apparatus & Social Effects of AI" at Alte University in Tbilisi, and looking back on it now, the experience carries a weight that goes well beyond the hour and a half I spent speaking. When I first proposed running this session, management was openly hesitant about having me take it on as speaker and facilitator. My background is unconventional, and I do not hold a completed formal academic degree in the field, which understandably raised doubts about whether I was the right person to lead a discussion of this kind in front of a university audience. I chose not to let that hesitation be the final word. I pushed back, made my case, and eventually earned the approval to design and deliver the session on my own terms. Standing in front of that room and carrying it through independently is something I am genuinely proud of, not just because the talk went well, but because it represents a small but real victory over the assumption that formal credentials are the only valid entry point into a conversation about technology and society. The organizational delivery held together, the room stayed engaged from start to finish, and the response from the audience confirmed that the risk had been worth taking.

I built the workshop around a multidisciplinary reading of Artificial Intelligence, deliberately working to dismantle techno-solutionist narratives rather than reinforce them. The session moved from historical and mythological roots, tracing a line from Hephaestus' autonomous tripods in the Iliad to the I Ching as an early binary precursor of modern algorithms, into the mechanics and statistical illusions at the heart of the technology itself, from Claude Shannon's 1951 "Copernican Trauma" through to Large Language Models and the psychological pull of the ELIZA Effect. From there I opened up the geopolitics of AI, setting American commercial and private models against European regulatory and sovereign frameworks and Chinese state-backed open-source ecosystems, before turning to the environmental impact and sustainability of data processing and computing infrastructure, and closing with creative labor and media philosophy through Latour's Actor-Network Theory and Vaccari's notion of the "technological unconscious." Of everything I presented, it was the environmental cost of AI that by far generated the most engagement and debate. That thread pulled us naturally into a genuinely political discussion about the future of open-source AI, and I found myself moderating a debate I had not fully anticipated but was glad to see unfold.

The room was made up mostly of students from the Engineering department and other technical faculties, and in hindsight that shaped what worked and what I would change. Given how technically literate this audience was, I think a future version of the workshop would benefit from going deeper into the actual mechanics of model architecture, things like weight dynamics, attention mechanisms, or the mathematical specifics of diffusion processes. The humanistic and philosophical framing was well received and clearly gave people a new lens to think through, but I could feel that a slightly heavier technical dose would have matched even more closely what this particular crowd was hoping to get out of it.
[[File:Poster.jpg|left|thumb]]
This workshop proved to me, in a very concrete way, the value of approaching technology through a critical, cross-disciplinary lens rather than accepting the narratives it usually comes packaged in. But beyond the content itself, delivering this seminar and overcoming the initial administrative doubts about my academic credentials feels like a real milestone in my own professional development. It is a marker I will keep coming back to, and it reinforces for me just how much impact this ESC volunteering project in Tbilisi is having, not only on the people who attend, but on how I see my own path forward.

File:Poster.jpg

2026-09-03T15:01:45Z

Tamar:

poster

Final Report - "The Algorithmic Mirror" Workshop

2026-09-03T14:59:05Z

Tamar: VisualData update

Final Report - "The Algorithmic Mirror" Workshop

2026-09-03T14:59:05Z

Tamar: VisualData initial revision

Report - Poti

2026-09-03T14:52:15Z

Tamar:

Report - Poti

2026-09-03T14:49:24Z

Tamar:

On June 3rd, 2026, together with my colleague Luca Pasquali, I joined the team of the Charity Humanitarian Centre Abkhazeti (CHCA) for a work-related visit to the city of Poti. Once there, the day after our arrival, we attended the inauguration of the third phase of one of the organization’s ongoing projects, which aims to improve living conditions for internally displaced persons (IDPs) residing in the settlement located in the port area, focusing primarily on the environmental sphere. In fact, the area is sadly famous for environmental issues.

We actively contributed to the preparation of the event, held in the centre of the settlement. Our work began in the Tbilisi office, where in the days before the event we developed a presentation covering both its written and visual elements. This presentation was later used to clearly communicate to the public the different phases of the project, as well as its progress to date and future direction.

Upon arriving in Poti, we continued our involvement on the ground, supporting the team with logistical coordination and assisting in the physical setup of the stage where the event took place.

During the event, we had the opportunity to network with both beneficiaries of the organization’s projects and participants from a variety of backgrounds.

Following the inauguration, we participated in a conference where CHCA representatives presented the project, outlining again the progress achieved so far and the objectives set for the next phase.

We left the city on June 6th.
[[File:Davide.jpg|center|thumb]]

Report - Poti

2026-09-03T14:47:39Z

Tamar: VisualData update

Report - Poti

2026-09-03T14:47:39Z

Tamar: VisualData initial revision

The Shadow Harvest – Davide Demichele’s Seminar at Sulkhan-Saba Orbeliani University

2026-09-03T14:39:06Z

Tamar:

File:Davide During the Workshop.jpg

2026-09-03T14:31:09Z

Tamar:

Workshop

The Shadow Harvest – Davide Demichele’s Seminar at Sulkhan-Saba Orbeliani University

2026-09-03T14:25:44Z

Tamar: VisualData update

The Shadow Harvest – Davide Demichele’s Seminar at Sulkhan-Saba Orbeliani University

2026-09-03T14:25:43Z

Tamar: VisualData initial revision

Library Visit - Report

2026-09-03T14:15:26Z

Tamar:

Report - "Budrugana Gagra" - Hand Shadow Theater

2026-09-03T11:45:23Z

Tamar:

'''<big>Report: "Budrugana Gagra" State Hand Shadow Theater</big>'''

'''<big><u>Author : LIDIA DAVIDOVI</u></big>'''

'''Date of Visit:''' March 9, 2026
[[File:1788435480517.jpg|left|thumb|Volunteers and actors of the Hand Shadow Theatre]]
'''Organizer:''' Italian Cultural Institute

'''Working Group / Volunteers:''' Lidia Davidovi, Tamar Kikalishvili, Davide Demichele, and Andrea Morrillo.

'''Purpose of the Report:''' Cultural and historical overview of the theater, analysis of its creative methodology, and summary of the outcomes of the visit.

'''1. Introduction and Historical Background'''

The "Budrugana Gagra" Hand Shadow Theater is a unique Georgian cultural phenomenon founded in 1982 by director Gela Kandelaki. The troupe's initial strategic goal was the decentralization of art - bringing performances to remote mountainous regions and small villages where residents had limited access to cultural life.

The word "Budrugana" originates from Sulkhan-Saba Orbeliani’s dictionary and refers to a carriage that moves slowly but steadily toward its destination. In the initial stage, due to a lack of material resources, the troupe substituted puppets with a synthesis of bare hands and light projection. This method, which was initially conceived as a temporary workaround, evolved over time into an independent, highly artistic form of art, completely replacing the need for physical puppets.

'''2. Creative Methodology: The Phenomenology of Shadows'''

The theater's concept is built upon a psychological and neurobiological phenomenon known as pareidolia ''(the natural human tendency to perceive familiar faces or shapes within vague visual stimuli)''. While only bare hands and the movement of ten fingers are displayed on stage, the audience perceives these movements as specific characters and living silhouettes.

The artistic structure of the performance is two-fold: the physical action is performed on stage, while the final image is formed and comes alive within the minds of the audience through the contrast of light and shadow. The absence of a color spectrum provides the audience with the creative space for imagination and individual interpretation of the imagery.

'''3. International Recognition and Geopolitical Context'''

"Budrugana Gagra" is the only theatrical troupe in the world that works exclusively with the bare-hand technique - unlike traditional Chinese or Turkish shadow theaters, which utilize cardboard or leather figures.

The troupe gained international recognition before establishing its status at home. Specifically, on May 26, 1991 - the historic day of Georgia's first presidential election and the restoration of its independence - the theater was performing triumphantly in Paris, serving as a cultural ambassador for the newly reborn nation. Later, following the armed conflict in Abkhazia, the director welcomed young internally displaced persons (IDPs) affected by the war into the troupe. To honor them and preserve their identity, the theater was renamed "Budrugana Gagra."

'''4. Performance Structure and Musical Accompaniment'''

During performances, actors do not use verbal communication (voice); instead, the entire emotional and dynamic weight is transferred to bodily plasticity. The primary compositional axis of the stagings is music, primarily drawing on the classical works of Antonio Vivaldi, Johann Sebastian Bach, and jazz melodies.

Through long-term practice, the actors' hands develop what is known as "body (kinesthetic) memory," which ensures that complex blocking and movements are executed automatically with high precision. Currently, the theater operates its own two-year training studio, ensuring the continuity of this tradition. The troupe regularly holds its performances on the small stage of the Shota Rustaveli National Theater.

'''5. Working Visit and Interview (March 9, 2026)'''

On March 9, 2026, the volunteer group from the Italian Cultural Institute visited the theater during a charity concert organized specifically for children with disabilities.

Following the performance, the working group conducted an interview with theater representatives '''Ketevan Chitadze''' and '''Zurab Kvachakhia'''. Based on the gathered material, an analytical article was prepared by Lidia Davidovi and Luca Pasquale for the media platform kargimokalake.ge.

The visit highlighted the following key aspects:

* '''Inclusive Environment:''' The theater's creative team demonstrated high professional ethics and a exceptionally welcoming, friendly atmosphere.
* '''Age Universality:''' Practical observation showed that the philosophy of shadow theater transcends the boundaries of children's entertainment; it is equally relevant, evocative, and intellectually valuable for an adult audience.

'''6. Acknowledgment'''

The Italian Cultural Institute (ICI) expresses its deepest gratitude and respect to the "Budrugana Gagra" Theater for the 40 years of dedicated and ascetic creative work that the troupe has contributed to the development of culture.

Your art serves as a profound cultural bridge that-devoid of any language barriers or verbal interpretations-unites people of different nationalities, generations, and worldviews solely through light projection and the plasticity of human hands. Thank you for the unique philosophy, aesthetics, and humane hope that your shadows convey so simply and brilliantly.

'''Figure. Burdugana gagra. Foto taken by Lidia Davidovi.'''

File:1788435480517.jpg

2026-09-03T11:43:39Z

Tamar:

Volunteers and actors of the Hand Shadow Theatre

Report - "Budrugana Gagra" - Hand Shadow Theater

2026-09-03T11:38:50Z

Tamar: VisualData update

Report - "Budrugana Gagra" - Hand Shadow Theater

2026-09-03T11:38:49Z

Tamar: VisualData initial revision

Data:Person/Lida Davidovi

2026-09-03T11:33:27Z

Tamar: VisualData update

{
"schemas": {
"Person": {
"first_name": "Lida",
"last_name": "Davidovi",
"country": "Georgia",
"biographical_note": "",
"occupation": "volunteer",
"picture": "File:",
"contact": "lida.davidovi1@iliauni.edu.ge",
"name": "Lida Davidovi"
}
},
"schemas-data": {
"untransformed": {
"Person/picture": "",
"Person/name": ""
}
}
}

Data:Person/Lida Davidovi

2026-09-03T11:33:27Z

Tamar: VisualData initial revision

Georgian Dialects and Academic Collaboration

2026-09-03T11:31:09Z

Tamar:

[[File:CCIworkshop.jpg|thumb|386x386px|Luca during the Seminar]]
'''<big>Georgian Dialects and Academic Collaboration</big>'''

= Documentation =

= Introduction and Purpose =
This report describes the experience and results of the seminar/workshop dedicated to Georgian dialects held at Ilia State University in Tbilisi. The session included a comparative study on the protection of Puglian dialects and Georgian linguistic minorities. The initiative is part of the framework of international cooperation and cultural promotion activities promoted by the Italian Cultural Institute (ICI) in Georgia.

The Italian case study presented during the comparative analysis focused on the Alto Adige/Südtirol model, highlighting its success in managing the coexistence of three linguistic groups (German, Italian, and Ladin) through the instruments of autonomy and bilingualism/trilingualism. This system of language protection, based on the recognition of specific rights and the pursuit of an institutional balance, has made it possible to overcome historical conflicts by creating a lasting peace and transforming languages into true "bridges for living together."

= Reflections on Linguistic Awareness =
Participation in this workshop allowed for a deeper exploration of the complexity and richness of the Georgian linguistic landscape. Through the analysis of different regional varieties, a much more structured awareness of Georgian languages and their historical evolution emerged. This understanding is not only theoretical but fundamental for anyone operating in a context of cultural diplomacy or European integration in the Caucasian arena.

= Impact on Italian Language Students =
A focal point of the meeting was the analysis of the importance of such activities for students learning the Italian language. Understanding one's own linguistic roots (Georgian dialects and Kartvelian languages) serves as a methodological bridge for learning a foreign language, allowing for the establishment of cultural and structural parallels that enrich the academic educational path.

= Institutional Collaboration and Volunteering =
The activity was carried out thanks to the commitment of volunteers Luca Pasquali and Davide, who operated in operational synergy between the Italian Cultural Institute (ICI) and the Italian Cultural Center (ICC). Such collaboration demonstrates the effectiveness of the network model applied to youth and academic cooperation, strengthening the links between cultural institutions and the local university.
[[File:CCIworkshop1.jpg|center|thumb|412x412px|Participants of Seminar and Audience]]

File:CCIworkshop1.jpg

2026-09-03T11:27:20Z

Tamar:

Participants and Audition

Library Visit - Report

2026-09-03T11:24:06Z

Tamar:

[[File:Library visit.jpg|thumb|Volunteers, Davide and Andrea, with coordinator and the library representative]]
'''<big>LIBRARY VISIT</big>'''

On February 19th, 2026, I had the opportunity to visit the National Library of Georgia together with my coordinator, Tamar Kikalishvili, and Andrea Morrillo, former intern at the Istituto Cultura Italiana. What initially seemed like a simple cultural visit soon became one of the most inspiring experiences of my first days in Georgia.

Having arrived in the country only a couple of days earlier, this visit represented much more than an introduction to Georgian literature and history, it felt like the true beginning of my journey here. Thanks to the people who guided us, we were granted access to areas of the library that are normally closed to the public, allowing us to witness the hidden work that preserves the nation’s cultural memory.

During the visit, we observed the meticulous process through which books arriving from different parts of the country are classified and archived. We also had the rare chance to see machinery dating back to the Soviet era, once used by the scientists and researchers working within the institution.

Inspired by what I had seen and learned, I later wrote two articles connected to the experience and its topics. Those articles can be read here:

<nowiki>https://kargimokalake.ge/en/authors/davide-demichele/</nowiki>

File:Library visit.jpg

2026-09-03T11:22:50Z

Tamar:

Volunteers Davide and Andrea, with coordinator and the library representative

Georgian Dialects and Academic Collaboration

2026-09-03T11:19:26Z

Tamar:

Georgian Dialects and Academic Collaboration

= Documentation =

= Introduction and Purpose =
This report describes the experience and results of the seminar/workshop dedicated to Georgian dialects held at Ilia State University in Tbilisi. The session included a comparative study on the protection of Puglian dialects and Georgian linguistic minorities. The initiative is part of the framework of international cooperation and cultural promotion activities promoted by the Italian Cultural Institute (ICI) in Georgia.

The Italian case study presented during the comparative analysis focused on the Alto Adige/Südtirol model, highlighting its success in managing the coexistence of three linguistic groups (German, Italian, and Ladin) through the instruments of autonomy and bilingualism/trilingualism. This system of language protection, based on the recognition of specific rights and the pursuit of an institutional balance, has made it possible to overcome historical conflicts by creating a lasting peace and transforming languages into true "bridges for living together."

= Reflections on Linguistic Awareness =
Participation in this workshop allowed for a deeper exploration of the complexity and richness of the Georgian linguistic landscape. Through the analysis of different regional varieties, a much more structured awareness of Georgian languages and their historical evolution emerged. This understanding is not only theoretical but fundamental for anyone operating in a context of cultural diplomacy or European integration in the Caucasian arena.

= Impact on Italian Language Students =
A focal point of the meeting was the analysis of the importance of such activities for students learning the Italian language. Understanding one's own linguistic roots (Georgian dialects and Kartvelian languages) serves as a methodological bridge for learning a foreign language, allowing for the establishment of cultural and structural parallels that enrich the academic educational path.

= Institutional Collaboration and Volunteering =
The activity was carried out thanks to the commitment of volunteers Luca Pasquali and Davide, who operated in operational synergy between the Italian Cultural Institute (ICI) and the Italian Cultural Center (ICC). Such collaboration demonstrates the effectiveness of the network model applied to youth and academic cooperation, strengthening the links between cultural institutions and the local university.

[[File:CCIworkshop.jpg|border|thumb|Luca During the Seminar]]

Georgian Dialects and Academic Collaboration

2026-09-03T11:16:05Z

Tamar: VisualData update

Georgian Dialects and Academic Collaboration

2026-09-03T11:16:04Z

Tamar: VisualData initial revision

Library Visit - Report

2026-09-03T11:02:11Z

Tamar:

On February 19th, 2026, I had the opportunity to visit the National Library of Georgia together with my coordinator, Tamar Kikalishvili, and Andrea Morrillo, former intern at the Istituto Cultura Italiana. What initially seemed like a simple cultural visit soon became one of the most inspiring experiences of my first days in Georgia.

Having arrived in the country only a couple of days earlier, this visit represented much more than an introduction to Georgian literature and history, it felt like the true beginning of my journey here. Thanks to the people who guided us, we were granted access to areas of the library that are normally closed to the public, allowing us to witness the hidden work that preserves the nation’s cultural memory.

During the visit, we observed the meticulous process through which books arriving from different parts of the country are classified and archived. We also had the rare chance to see machinery dating back to the Soviet era, once used by the scientists and researchers working within the institution.

Inspired by what I had seen and learned, I later wrote two articles connected to the experience and its topics. Those articles can be read here:

<nowiki>https://kargimokalake.ge/en/authors/davide-demichele/</nowiki>

Library Visit - Report

2026-08-23T15:07:08Z

Tamar: VisualData update

Library Visit - Report

2026-08-23T15:07:08Z

Tamar: VisualData initial revision

File:Davide.jpg

2026-08-23T15:04:43Z

Tamar:

Data:Person/Davide Demichele

2026-08-23T15:04:43Z

Tamar: VisualData update

{
"schemas": {
"Person": {
"first_name": "Davide",
"last_name": "Demichele",
"country": "Italy",
"biographical_note": "",
"occupation": "Volunteer",
"picture": "File:davide.jpg",
"contact": "dav.demichele@gmail.com",
"name": "Davide Demichele"
}
},
"schemas-data": {
"untransformed": {
"Person/picture": "davide.jpg",
"Person/name": ""
}
}
}

Data:Person/Davide Demichele

2026-08-23T15:04:43Z

Tamar: VisualData initial revision

File:CCIworkshop.jpg

2026-08-21T11:46:25Z

Tamar:

Data:Person/Luca Pasquali

2026-08-21T11:46:25Z

Tamar: VisualData update

{
"schemas": {
"Person": {
"first_name": "Luca ",
"last_name": "Pasquali",
"country": "Italy",
"biographical_note": "",
"occupation": "Volunteer",
"picture": "File:CCIworkshop.jpg",
"contact": "Luca.pasc2025@gmail.com",
"name": "Luca Pasquali"
}
},
"schemas-data": {
"untransformed": {
"Person/picture": "CCIworkshop.jpg",
"Person/name": ""
}
}
}

Data:Person/Luca Pasquali

2026-08-21T11:46:25Z

Tamar: VisualData initial revision

MediaWiki:DefaultEditorScript

2001-01-15T00:00:00Z

Tamar:

export default function( editor, config, updateEditorCallBack ) {
editor.on('ready', () => {
// use updateEditorCallBack(newConfig) to reload the editor
});

editor.on('change', () => {

});

editor.on('buildComplete', () => {

});
}

MediaWiki:DefaultEditorOptions

2001-01-15T00:00:00Z

Tamar:

export default {
validation: 'onsubmit', // onsubmit, always
template: 'default',
max_depth: 16,
path_separator: '.',
default_additional_properties: false,
use_lazy_properties: 'threshold', // never, always, threshold
lazy_properties_threshold: 6,
remove_empty_properties: false,
remove_false_properties: false,
required_evaluates_non_empty: false,
debug: false,
callbacks: {
enum_providers: {
wikiList: function () {
let cache = null;
let pending = null;

function parseBulletList(content) {
const regex = /^\*\s*(.+)$/gm;
const items = [];
let match;

while ((match = regex.exec(content)) !== null) {
items.push(match[1]);
}

return items;
}

return {
source: (jseditor, { item, watched }) => {
if (cache) return cache;
if (pending) return pending;

if (
!jseditor.schema['x-data'] ||
!jseditor.schema['x-data'].article
) {
console.log(
'A key "article" must be specified in an object with key "x-data" in the enum schema',
);

cache = [];
pending = null;
return cache;
}

const pageTitle = jseditor.schema['x-data'].article;

pending = new mw.Api().get({
action: 'query',
prop: 'revisions',
revslots: 'main',
titles: pageTitle,
formatversion: 2,
rvprop: 'content',
})
.then((data) => {
const pages = data.query?.pages || [];
if (pages.length === 0 || pages[0].missing) {
cache = [];
pending = null;
return cache;
}
const content = pages[0].revisions?.[0]?.content;
cache = content ? parseBulletList(content) : [];
pending = null;
return cache;
})
.catch((error) => {
console.error('Failed to get page content:', error);
});

return pending;
},
filter: (jseditor, { item, watched }) => {
return true;
},
title: (jseditor, { item, watched }) => item.text,
value: (jseditor, { item, watched }) => item.value,
};
},

jsonSchemas: function () {
let cache = null;
let pending = null;

return {
source: (jseditor, { item, watched }) => {
if (cache) return cache;
if (pending) return pending;

const api = new mw.Api();

pending = api
.get({
action: 'query',
list: 'allpages',
apnamespace: 2100,
aplimit: 'max',
formatversion: 2,
})
.then((res) => {
cache = res.query.allpages.map((page) => {
const titleObj = new mw.Title(page.title);
const baseTitle = titleObj.getMainText();
return {
text: baseTitle,
value: baseTitle,
};
});
pending = null;
return cache;
});

return pending;
},
filter: (jseditor, { item, watched }) => {
return true;
},
title: (jseditor, { item, watched }) => item.text,
value: (jseditor, { item, watched }) => item.value,
};
},
},
autocomplete_providers: {
jsonSchemas: function () {
let cache = null;
let pending = null;

return {
search: async (jseditor_editor, input) => {
// If we have cached results, filter them based on input
if (cache) {
if (!input) return cache;
const lowerInput = input.toLowerCase();
return cache.filter((item) =>
item.text.toLowerCase().includes(lowerInput),
);
}

if (pending) return pending;

const api = new mw.Api();

pending = api
.get({
action: 'query',
list: 'allpages',
apnamespace: 2100,
aplimit: 'max',
formatversion: 2,
})
.then((res) => {
cache = res.query.allpages.map((page) => {
const titleObj = new mw.Title(page.title);
const baseTitle = titleObj.getMainText();
return {
text: baseTitle,
value: baseTitle,
};
});
pending = null;

// Filter after caching if input exists
if (input) {
const lowerInput = input.toLowerCase();
return cache.filter((item) =>
item.text.toLowerCase().includes(lowerInput),
);
}
return cache;
});

return pending;
},
getResultValue: (jseditor_editor, result) => result.value,
renderResult: (jseditor_editor, result, props) => result.text,
};
},
},
template: {},
button: {
submit: function (editor) {
const jsonEditor = editor.jsoneditor;
const jsonForm = jsonEditor.options.jsonFormsInstance;
const validation = jsonEditor.validate();
if (!validation.length) {
editor.disable();
const optionsEditor = jsonForm.getEditor('root.form.options');
jsonForm
.submitForm(jsonEditor, optionsEditor)
.then(() => editor.enable())
.catch((err) => {
console.error('API error:', err);
editor.enable();
});
} else {
JsonForms.Alert('there are errors');
}
},
},
upload: {},
converters: {},
},
};