Re: [-empyre-] Forward from Mariam Ghani: translation + minding the gaps



Thanks for such thoughtful and interesting responses.

An interesting news story yesterday re: control and exclusion of Internet content in China:
http://msnbc.msn.com/id/9489510/
Don't know how that might play into the statistics of controlled vs. uncontrolled net traffic quoted by Ian, but it's definitely an interesting development.


There's a different but equally powerful deterrent to access which happens in Afghanistan, where Internet cafes are frequently targeted by bombers. In my own experience, if you don't have private means to avoid public terminals, you often have to forego email altogether during the more turbulent periods. So the people with the means of violence may not be official authorities, but they're definitely exerting some (somewhat unquantifiable) political control over information and connectivity.

Ricardo brought up Unicode, which I think definitely promises to change the linguistic skin of the Internet once it becomes more widely disseminated -- at the moment there's still the problem of end users on older operating systems/browsers who can't display some Unicode symbol sets or entire Unicode fonts without installing them expressly. Or at least that seemed to be the problem I ran into when I was making a multilingual (Arabic, Dari, Urdu, Spanish, French, Italian) project last year -- a steep learning curve for me as a designer, for sure. As I understand it, though, Unicode as it stands now won't change the linguistic basis of programming languages, except by allowing programmers to type Unicode symbols directly into IDEs when writing their print or echo code lines. Am I wrong about this, or were you referring to the probability of an eventual trickle-down effect from Unicode-based multilingual surfaces to the development of Unicode-based multilingual programming languages, environments and structures?

I'm not really sure what the border zones of the net are yet ... or how exactly to engage them as sites of artistic practice ... that's why I was interested in participating in this discussion. One direction that seems promising to me is the deliberate ambiguity of Alex Rivera's work -- as seen in the Cybraceros project and the collaboration with Angel on LowDrone -- because it seems to operate effectively on the margin between reality and absurdity, between corporate culture and community enclave, and between artwork and network.

I'm with Ian in thinking that the politics of inclusion are viable on the web. I suppose it's because my particular practice is so focused on "mediating spaces for the partly visible and invisible" that I'm always looking for the hybrid landscapes that often make the best stages for those mediations.




On Sep 25, 2005, at 7:45 AM, ian clothier wrote:

I was wondering if Danny was going to reply but so far
not yet, and I observe that we should not be
bracketed, but was thinking there was quite a lot to
agree with in what Miriam Ghani had to say.

Email everywhere really should start with the words
'this message was written on a device composed of
processed plastic, diverse materials and electricity,
created by the military-industrial complex in the
second half of the 20th century, planet earth, solar
system, space.' These are the assumptions made just by
participating. The net is an assumption based space,
and probably these same words should be in the footer
of all web pages.

That brings the question to language, and although it
is true that one language is dominating in some
places, at the same time all languages are in flux.
The description of the centricity of English at the
expense of other languages is one picture, and another
picture is that of the additions and alterations to
English as a result.  I’m thinking here of the
Malay-English word ‘airflown’ as an example. Where did
‘dis’ come from and what sort of English is txt?

Her next point concerns the politics of exclusion and
here I feel there is a twist in the tale. The politics
of exclusion are based on control and hierarchical
authority. However the internet is predominantly
uncontrolled in so far it is beyond the control of
governing local authorities. What I mean by this is
that most of the traffic on the internet is out of
control of officials. It has been estimated that porn
(the uncontrolled portion) is 65% of internet traffic,
followed by commercial sites (21%), then business to
business (includes government sites) at 12% and the
others at 2%. I suppose the arts are others here. The
internet is both controlled and uncontrolled – it can
be used to counter authoritarian stances. As a way
around the issue of control, the politics of inclusion
are viable on the web.

The third point she raises is cash. Cash does
discriminate but at the same time websites are
probably more accessible than many art forms. The web
appears to be partly flat in so far as the internet
address of a government and 'Tattoo, my pet dragon'
differs by only a few characters. But the issue of
cash as she writes, is more about the invisibility of
certain parts of the populace.

There are cultural hybrids found in liminal,
borderland, boundary and in between places. These
hybrid cultural identities sometimes come without the
usual badges of reference. This runs a range of
identification strategies from absence of national
dance in a nation, to non-patch hybrid gangs where
sneakers might be the basis for defining association.
Mediating spaces for the partly visible and invisible
necessitates alternate strategies to the more standard
approaches to cultural output.

So I would support the notion that the 'idea of
site-specific or community-based practice online is to
engage with the places, communities and histories of
the net itself - or to make a deliberate effort to
discover the gaps in the network - the sites of
absence, where voices are missing or elided, or the
online border zones, places of transition, translation
and in-between, parallel to sites like San
Diego/Tijuana - and use those spaces to launch
mediations between on and offline practice.'
Hybridity is antagonistic to singularity and more in
tune with multiplicity and diversity. Borders are
crossed, transfigured and transformed – constructing
an argument for similar occurring in the creative
practice of those recognising the hybrid landscape.

Ian



--- ricardo miranda zuniga <ricardo@ambriente.com>
wrote:

Hello Everyone,
I'd like to make a delayed response to Mariam's
question.



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