<div dir="ltr"><div><div><div>Ana,<br><br></div>I have an essay "Questions of Accent" that caused a lot of controversy when it first came out in the 1990's and that is directly relevant to what you are saying here. It can be accessed on line, in its entirety in the following site: <br><a href="http://ziyalan.com/marmara/murat_nemet_nejat3.html">http://ziyalan.com/marmara/murat_nemet_nejat3.html</a><br><br></div>Ciao,<br></div>Murat<br></div><div class="gmail_extra"><br><div class="gmail_quote">On Wed, Feb 17, 2016 at 11:53 PM, Ana Valdés <span dir="ltr"><<a href="mailto:agora158@gmail.com" target="_blank">agora158@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><p dir="ltr">Dear all I am older than Paula :) and maybe that's the reason I am not shy using English as linguafranca here. As Coco Fusco pointed out once "we are talking broken English here" :)<br>
and the phletore of different accents make English more interesting :)<br>
It's also a way of speak about refugees and immigrants how they change the languages making possible new dialects and nuances and shades.<br>
There is not "the Queen's English" but a complex weave where Shakespeare's English merge with Danish from the time Britain was ruled by Danish chieftains and with the Normand ' s French which was also tainted by their native Norse.<br>
In a post colonial reading of languages it's easy to see how writers from the "periphery" change the soul of a language and make it more vital and eloquent. Salman Rushdie Derek Walcott Arundathi Roy V S Naipal Toni Morrison Nadine Gordimer for English Tahari Ben Jelloun Gisele Halimi and so many others for French Garcia Marquez Vargas Llosa and many more for Spanish all born in the "colonies", writing and speaking a colonized language, the "master's language" but melted and merged with indigenous and hybrid words, la négritude, as Aimé Cesaire coined as expression, plenty more.<br>
The refugees and immigrants are a part of the permanent movement of change and trying to stop it is useless the changes are as regular as the tide rising.<br>
Ana</p>
<div class="gmail_quote">Den 18 feb 2016 04:34 skrev "Ricardo Dominguez" <<a href="mailto:rrdominguez@ucsd.edu" target="_blank">rrdominguez@ucsd.edu</a>>:<br type="attribution"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
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Hola Alva,<br>
<br>
Thanks for sharing the work that you have been doing and developing
collectively.<br>
<br>
The text that you shared reminds me of Alex Rivera's documentary the
<i>Sixth Section:<br>
<br>
<a href="http://alexrivera.com/project/sixth-section/" target="_blank">http://alexrivera.com/project/sixth-section/</a><br>
<br>
</i>This perhaps this enfolds the question of transversal economies,
remittance cultures, and the field of dreams and immigration
(specific to Mexico/U.S. conditions) - but perhaps at play on global
scale as well, I would imagine.<br>
<br>
The undocumented create not only a construct a baseball stadium, buy
a baseball team, get instruments of the band -a dream society back
home that most of them will never be able to touch or smell-but
non-the-less create a form of agency at a distance (a networked
existence or expression) that forces governance at state level to
finally responded and meet face to face with undocumented. The
undocumented use the "imaginary" sixth section of their to force the
state government to meet with them and start to build roads and
infrastructure. <br>
<br>
Very best,<br>
Ricardo<br>
<br>
<div>On 2/16/16 11:52 AM, Alva Mooses wrote:<br>
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<pre>----------empyre- soft-skinned space----------------------</pre>
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<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:13.3333px;font-family:'Helvetica Neue';color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent">In responding to the topic of networks and migration in the Mexico/U.S. context, I think of Sarah Lynn Lopez’s research, </span><span style="font-size:13.3333px;font-family:'Helvetica Neue';color:rgb(0,0,0);font-style:italic;vertical-align:baseline;white-space:pre-wrap;background-color:transparent">The Remittance House: Architecture of Migration in Rural Mexico</span><span style="font-size:13.3333px;font-family:'Helvetica Neue';color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent">. Lopez writes:</span></p>
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<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:13.3333px;font-family:'Helvetica Neue';color:rgb(0,0,0);font-style:italic;vertical-align:baseline;white-space:pre-wrap;background-color:transparent">Remittance houses are emblematic of a profound shift in rural Mexican society. Perhaps the single most striking quality of the remittance construction is the social distance embedded in its form. Scholars of the built environment can contribute to the study of how migration is transforming rural Mexican society by analyzing changes in spatial format both migrants’ places of origin and points of arrival. Social relations stretched across geographies and exacerbated by distance increasingly define places. Places in Mexico are marked by the absences and familial fragmentation that constitute ‘migration as a way of life’. These absences are a necessary precondition for migrants to realize their dream houses. </span><span> </span></p>
<br>
<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:13.3333px;font-family:'Helvetica Neue';color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent">Over the past year I have been working with four NY-based artists that are originally from Mexico, Cuba, </span><span style="color:rgb(0,0,0);font-family:'Helvetica Neue';font-size:13.3333px;white-space:pre-wrap;line-height:1.38;background-color:transparent">Chile and Brazil to form the collective <a href="http://cargocollective.com/grupomasquemenosque" target="_blank">Grupo < ></a>. We have been meeting a couple times a month and corresponding with one another via email to create a collective text that connects personal narratives of origin to our work. Throughout the text we are able to discuss our distinct experiences as a refugee, immigrant, the experience of temporary work abroad and diaspora. We repeatedly describe the architecture of th
e spaces
that we have lived in, the geography and language; at times multiple voices become one. </span></p>
<br>
<span style="font-size:13.3333px;font-family:'Helvetica Neue';color:rgb(0,0,0);vertical-align:baseline;white-space:pre-wrap;background-color:transparent">This is a clip from one of our first shared readings of the text: <a href="https://vimeo.com/155157046" target="_blank">https://:.com/155157046</a></span></span>
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</span></font></div>
<div><font color="#000000" face="Helvetica Neue"><span style="font-size:13.3333px;white-space:pre-wrap">We are currently discussing ways for our Grupo < > project to extend beyond the five of us.</span></font></div>
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</span></font></div>
<div><font color="#000000" face="Helvetica Neue"><span style="font-size:13.3333px;white-space:pre-wrap">Kind regards,
</span></font>
<div><br>
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<div>Alva</div>
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