Multimodal Tasks for Translators:
\nA Translational Dialogue with Cia Rinne and Her Work<\/h1>\nAngela K\u00f6lling
\nCia Rinne<\/div>\n\u00a0<\/div>\n<\/header>\n
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in Gothenburg in June 2015 at the NORLIT \u201cThe Future of the Book\u201d conference hosted at the University of Gothenburg in Sweden, where she presented her work during the keynote of the conference. The multilingual, multimodal quality of her work attracts the interest of other artists as well as scholars in literary, linguistic, and fine arts fields. After reading the available scholarly articles, announcements, programs, and conducting an interview with her, I wanted to offer a dialogue, Sprach<\/em>–Spiele<\/em> through verbal and other modes, set between the issues addressed in the contributions to this special issue of Imaginations<\/em> and Rinne\u2019s multimodal work. How does the choreography of letters she performs on the page and elsewhere nuance the<\/p>\n![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image1.jpeg\")
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Fig. 1<\/p>\n
meaning of a word and what does that mean for printed text translations? Do trans-modal or multi-modal trans-lations\u2014by way of reading, layout, type-setting, or digital technology\u2014accumulate into one multi-layered perceived meaning or do they produce different meanings through different perceptions? Can we all hear and see the same thing at the same time?<\/p>\n
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To prepare the game: Instead of presenting the artist Cia Rinne here in the form of a conventional interview, this contribution wants to stage a playground for thoughts and responses to her artwork and the topic of translation. Drawing on primary sources, conversations between the author, other scholars and the poet, and the themes of this special issue, I attempt to show further possibilities for engaging, or spielen (playing), the connections between | translation and visibility\u2014and beyond.<\/p>\n
zaroum, notes for soloistes & l\u2019usage du mot
\nare three projects that include minimalist texts which explore phonetic similarities and shifts. The works for this \u201cDialogue\u201d are chosen mostly from these projects. Their starting point is most often an idea, a question, or quotation. Through visual (zaroum), sonic, rhythmic and melodic interpretation on page (notes for soloistes, l\u2019usage du mot) and in her performances, Rinne exposes possible nuancing of meaning in a polyglot (mainly but not restricted to German, English and French) environment. The following Spiel invites you to look, click\u2014in the order of your liking\u2014and com\/paire.<\/p>\n\u00a0<\/div>\n<\/div>\nSPIEL ONE<\/h2>\n
![\"*](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image1a.png\")
<\/a><\/p>\nMoving from piece to piece in SPIEL ONE a movement of language becomes apparent\u2014not just in the moving around of letters\u2014the word \u201con\u201d is morphed into a copy without original, perhaps a copy that rids itself of(f) its original.<\/p>\n\u00a0<\/div>\n<\/div>\n\u2026we are caught up with the language and then you have to question it. A little bit. To refresh it or to make clear that the way we use it might or is maybe unconscious. So that is what I am interested in, not language itself, not the mere instrument, but to question the way we use and take it for granted. And then you can play a bit of course. But it has a bit more of a philosophical background than mere language game of word play.<\/div>\n\u00a0<\/div>\n\u00a0<\/div>\nRinne<\/div>\nK\u00f6lling\/Rinne 2018, Transkript<\/div>\nDriven by the exploration of the unconscious uses of language, Rinne\u2019s \u201cconcrete poetry\u201d is a particular form of translation\u2014to shift meanings and \u201cimagine\u201d a way out of the system of language that we otherwise cannot step out of. Perhaps it is also informed by a distrust in language, or the taking for granted of meaning.<\/p>\n\u00a0<\/div>\n<\/div>\nWhen you write there\u2019s just the meaning and the visuality and once you start reading them aloud you have this third component. Orality, which only becomes apparent when you read. And sometimes you read and they change and sometimes the speed may change or then they even get some sort of musicality.<\/div>\n\u00a0<\/div>\n\u00a0<\/div>\nRinne<\/div>\nK\u00f6lling\/Rinne 2018, Transkript<\/div>\nSPIEL 2: Thought (Seeing \u2194 Listening)<\/h2>\n
![\"Cia](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image2b.png\")
<\/a><\/p>\nEach performance, then, is a unique orchestration of breath, posture, rhythm, room, audience. It cannot be repeated in exactly the same way. Does this mean in multimodal texts there is no original arrestable meaning, only the meaning of a translation into meaning relevant to the receptor, reader, viewer, listener all at once<\/em>? Does this affect the perception (dis\/trust) in translation\u2014and how do we know?<\/p>\n\u00a0<\/div>\n<\/div>\n\nThe text is more like an image of a thought or an image of a word. In that sense it is a very condensed picture. And then it turns it all around and within translation, meaning can shift and turn into its own and even contain its own opposite. In a way, I am not describing, but instead showing this.<\/div>\n\u00a0<\/div>\n\u00a0<\/div>\nRinne<\/div>\n<\/div>\nK\u00f6lling\/Rinne 2018, Transkript<\/div>\nSPIEL 3<\/strong> \u2013 LIKE SPIEL OHNE? OHNO1<\/h2>\n![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image3.png\")
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Fig. 3<\/p>\n
\nWould you describe the changes that occur between different modalities of a poem, orality, print and animated print as a translation?<\/strong><\/p>\nYes, that could be called translation. Some of the pieces in the archives zaroum I imagined as tactile objects, bodily. I had a sign in mind that could be flipped over and which on one side said ON, and on the other side said NO. So I imagined a realisation in form of a revolving movement right from the start. Certainly not in digital form, rather as an installation, but the effect is similar: through the rotations the word ON is sometimes also readable as NO, which illustrates the graphemic connection of both words. In a book, this cannot be shown so clearly because the words are printed one after the other and separate from each other onto the page. This is why I used drawings in those cases. Likewise, the interrelation between the verses \u201cTO GET HER\u201d and \u201c(together)\u201d also work better in digital form than in the book. The translation into a different modality in this case is a composition, or a \u201cneo-configuration. This is also the case, when different pieces are set together to make new piece, as, for example, for \u201cEnough\u201d, \u201crien \/ \u00e0 \/ voir \/ dans \/ le \/ noir\u201d and \u201cDIFFERENCE \/ ici\u201d from zaroum and their neo-configuration in the archives zaroum. I believe these processes reveal many different layers, which is altogether a form of translation, from medium to medium. Exhibitions, which show my pieces, also transfer and translate text into other contexts, and in the process something becomes real. I therefore call poems that are displayed in a particular form during an exhibition \u201crealisation pieces\u201d. (Benthien and Vorrath 4-5, translation mine)1<\/sup><\/a><\/p>\n<\/blockquote>\nThe translation between thought and language is not limited to moving between linguistic systems in Rinne\u2019s work. Rather one encounters a symphonic orchestration of thought, senses, and language. The question is, of course, whether such an orchestration is only a matter of theoretical or aesthetic perspective or whether this needs to be considered for \u201cnormal,\u201d everyday use(r)s of language. Current neurological research on how \u201ci-media\u201d (Swingle) influences our cognitive development, social skills, and overall communication patterns supports the latter. The American psychotherapist and researcher Mari K. Swingle, for example, compares \u201ci-speak,\u201d in this case texting or txt, with communication practices in multilingual environments, such as sub-conversations and language layering:<\/p>\n
\nthe way one chooses to alter a word or phrase through pseudo or new \u201cspellings,\u201d as well as emphatic emotive, and otherwise meaning conveying formatting, indeed can create subtle but very distinct differences. With texting, one can very efficiently selectively make meaning deeper, more precise, and yes, exclusive. Which brings me to a second feature, the sub-conversation. Again, prior to i-tech, this was a feature exclusive to multilingual individuals. Polyglots, fully knowing what languages people do or do not speak, switch languages accordingly. (183)<\/p>\n<\/blockquote>\n
The pattern Swingle identifies for mixed-media communication is that \u201ccommon conversation,\u201d which involves everyone at the dinner table, so to speak, is \u201cusually verbal,\u201d while \u201csub-conversation,\u201d which is selective, is usually \u201ctechnologically mediated.\u201d In her assessment, such sub-conversation or \u201cswitching\u201d by txt or other i-media can, \u201cif not malicious,\u201d be enriching and, \u201cwith i-tech and digital natives\u201d at least, has become a \u201cregular practice\u201d (183).<\/p>\n
Swingle further points out that older \u201cdigital immigrants,\u201d like myself, \u201cmiss the positive potential of screen technology\u201d (183). Not in the sense that we might miss the practical, pedagogical uses, but rather in the sense that some ideas can be translated better into digital form, and that certain digital information, which becomes available by way of ethical<\/em> data mining, might improve our understanding of and policies for contemporary society.<\/p>\nSome of Rinne\u2019s ideas, such as \u201cturn on\u201d and \u201cto get her,\u201d work better as pieces translated into digital form than pieces translated into print form. Another way of looking at this is by way of Silvia Pireddu\u2019s analysis of catalogue translation in this special issue of Imaginations<\/em>. I believe that her assessment that a \u201cfailure to negotiate and adapt translation to such multiple polarities\u201d (that come into play when verbal and visual information exist in a shared space) \u201cmay lead to varying degrees of interpretive breakdown on the part of the end-user\u201d is not only applicable to translation as a product but also as a discipline. If the older \u201cdigital immigrants\u201d do not partake, in other words, fail to negotiate and adapt their view of translation to i-tech, this may lead to varying degrees of interpretive breakdown on the part of the end-user, that is between older and younger generations of translators, between teachers (and scholars) and students enrolled in translation studies programs.<\/p>\nDigital multimedia writing (and translation) operates from an entirely different neurological platform: one that mines the latest neurological findings about colour preferences, orientations in foreign environments, and psychological predispositions, as well as personal data to produce irresistible products for their \u201creaders.\u201d In other words, digital writing operates in a value system that encourages the exploitation of humans and emphasizes profit making without clearly defined ethical boundaries. Thomas Metzinger describes this as the entrance to an era which redefines the concept \u201chumans\u201d:<\/p>\n
\nNeuro-psychological research itself offers nothing that [\u2026] could lead to a practicable ethic and grounded consensus for everyday life. Therefore, and because we must not confuse \u201cdas Sein\u201d, that which is, with \u201cSollen\u201d, that which ought to be; we need to confront the findings of modern brain research keeping two matters carefully apart: How is the human in reality? And how should the human be in the future? (54, translation mine)2<\/sup><\/a><\/p>\n<\/blockquote>\n\nAs I write this article, the EU\u2019s new rule for general information protection is set into place. The German documentary film, Democracy \u2013 Im Rausch der Daten<\/em> (2015), reveals the complexity of both the political process and of legally framing public and commercial usage of personal information. The film shows an excerpt of a roundtable debate during which one speaker makes a compelling argument for personal data mining:<\/p>\n\u201cWe worked with the Atlanta Public Schools and determined that the best indicator of graduation from high school was not whether your parents were rich, not whether you had internet at home but it was whether you took creative writing in the ninth grade.\u201d (19:57)<\/p><\/blockquote>\n
\u00a0<\/div>\n<\/div>\nAs I revise this article, the world is trying to figure out how to be post-Covid-19. In an article, entitled \u201cHow Big Tech Plans to Profit from the Pandemic,\u201d Naomi Klein discusses how IT companies seize this world-wide crisis to extend their reach and power in the form of a \u201cScreen New Deal\u201d (Klein). The article features the \u201cnew virus-personalised pitch,\u201d summarised by Anuja Sonalker, the CEO of Steer Tech, \u201ca Maryland-based company selling self-parking technology\u201d: \u201cHumans,\u201d says Sonalker, \u201care biohazards, machines are not\u201d (Klein). As usual, IT tries to maintain the invisibility-principle of its production processes, that is, end-users are not meant to see who services the machines and how. What are the neuro-psychological, the socio-political, and the environmental costs?<\/p>\n\u00a0<\/div>\n<\/div>\nScholarly programs that do not address these questions leave the next generations of students and translators to become complicit in the production of what several philosophers (Precht; Metzinger), neurotherapists, behaviourists, and psychotherapists (Greenfield; Rosen; Swingle), as well as media and communications experts (Olsson et al.) now refer to as risk-technology.<\/p>\n
From this difference in reading and writing arrives also a problem of interpretation or communication between older \u201cdigital immigrants\u201d and younger \u201cdigital natives.\u201d While we may assume that the older generation draws on a religiously informed or intuitively holistic understanding of human beings, digital immigrants might actually lack this wider normative frame of reference. The growing privatization of the language industry, that is, the structural trend towards self-employed freelancers following the economic downturn since 2009, is leaving this generation vulnerable to economic exploitation that has begun to transform their understanding of society and of themselves (Moorkens). We might still worry whether machine-aided translation is advancing or destroying translation, which implies that machine and human translation compete with each other. Meanwhile, digital translation is absorbing the translator, mining their expertise (through specially designed programs) and confusing ideas about who they really are with ideas about how they ought to produce.3<\/sup><\/a><\/p>\nSPIEL 4 (in) 3 – Part A: REFLECTIONS<\/h2>\n
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Fig. 4<\/p>\n
\nWhen you say you reduce and reduce and reduce, how do I have to imagine this process practically?<\/strong><\/div>\n\u00a0<\/div>\n\u00a0<\/div>\nK\u00f6lling<\/div>\n<\/div>\n\nThere is usually a word, sentence or quote in the beginning that I start developing until it transforms into something else that in the best case hides an element of surprise, a short of meaning, or even a paradox. While studying philosophy, I used to reduce larger theoretical constructs into condensed forms that in a way made them a little bit easier to understand, but also became something else. So, it is a process of reduction, but also of a sort of deconstruction of language itself, taking it apart, questioning it, and then reassembling it again int into a minimalist form that in itself is open to more.<\/div>\n\u00a0<\/div>\n\u00a0<\/div>\nRinne<\/div>\nK\u00f6lling\/Rinne 2018, Transkript, translation Rinne4<\/sup><\/a><\/div>\n<\/div>\nRinne describes her work as a way of \u201ctrying to get as far away as possible from writing,\u201d through which she then shows \u201cthat which is hidden in the language\u201d (K\u00f6lling\/Rinne 2018, Transkript). The contributors to this special edition have all taken their point of reflection from a form that is other<\/em> to translation\u2014a cover, a poster, a website, a catalogue, an exhibition, an idea, a newspaper article, a book of poetry\u2014to show that which is hidden in translation. They outline current developments in mixed-mode translation and how this might affect the user. What is more, they address the growing polarizations between verbal translation and i-tech in the form of a productive conversation: not taking one side or the other, but trying to form a view which turns<\/em> ideas together. Such a view begins to acknowledge that there is a growing readership for whom reading is more than following lines of letters on the page, deciphering the words and assigning a dictionary meaning to them. \u201cDigital natives\u201d are all-at-once readers: images, letters, sounds, etc.\u2014and they are capable of producing translations in this mixed-mode. And it is important to understand how they really do it<\/em> in order to have an informed discussion about whether they should<\/em> do it. To continue to take for granted that translation is primarily a verbal mode might not only lead to growing break-downs of interpretation between different generations of translators, it might also mean that those who do not partake in this digital shift will not be part of shaping its norms.5<\/sup><\/a><\/p>\nThe diversity of your projects\u2014both with regard to language and media you use\u2014seems to increase interest from scholars of translation like myself. Do you consider yourself a translator of sorts?<\/div>\nNot, not really. Not in – Oh! I can hear the echo.<\/div>\nOh!? Is it bad?<\/div>\nNo, it\u2019s fine. It\u2019s fine. Just cause\u2026 It\u2019s okay now. I have to admit that in the regular sense I have been translating but I don\u2019t consider myself a translator between languages. But more in the sorts of between thought and language maybe. In a sense you can say that, or that I am interested in the untranslatability of the language, or how it depends on which language you use actually. How you can express yourself. So, you cannot step out of language in that sense or of the construct of thought because we are caught up in the system of the language that we have acquired. So, the closest you can get to imagining an alternative way differently is maybe in a different language. So, in that sense I am interested in translation. But not translating as such. I use languages that are connected in a sense like French and English for example that are very close where the meaning shifts although the sound is very similar. That sort of differance<\/em> if you like. (K\u00f6lling\/Rinne 2018, Transkript)<\/div>\nSPIEL (in) 3 PART B: What would there be if there was not me?<\/h2>\n
![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image6.jpeg\")
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Fig. 5<\/p>\n
One detail that Rinne shared with me in my interview with her surprised me: her self-description of being a lonely worker, whereas my first impression was that her pieces (archives zaroum<\/em>, sounds for soloists<\/em>) were mostly collaborative in nature\u2014or a shared experience at least. For me, her projects seemed co-operative, indebted to concrete poetry as much as new advancements in digital technology. This cross-pollination of concrete poetry with digital technology has led me to explore the relationship between analogue and digital modes of translation deeper than I anticipated.<\/p>\nSPIEL 3 PART 3: THE FULL PICTURE: MATERIE (The Idea of a Concrete Translator)<\/h2>\n
Writing on the page is a singular task: one puts a pen to paper. In theory, it could be entirely possible that a writer has produced all of the necessary tools\u2014paper, ink, and feather\u2014for this enterprise. Typing, however, makes it more likely that one needs to draw on the skills of others for the production of a typewriter, carbon paper, and ink ribbon. Nowadays, it seems near impossible that a single person has built the entire materie<\/em>, the machine, programmed the software, and so on from which writing is made.<\/p>\n![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image7.jpeg\")
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Fig. 6<\/p>\n
Writing has become a much more communal production process and it might become entirely outmoded for \u201cdigital natives\u201d to view writing still as an individual task. What, for example, is my position in the production process of this writing? Just a dot in the digital space? I am acutely aware of the necessary materie<\/em> that I alone cannot produce nor bring to life. I am not a lonely worker at all.<\/p>\nRinne\u2019s pieces establish relations, with her audience and through cooperation, by way of linking different languages and modes. I want to use the idea of these relations and entanglements as an opportunity to reimagine translation\u2014to break with the image of the translator as a lonely worker, as well as that of translation as a product of individual consumption.<\/p>\n
POSTSCRIPT:EXIT<\/h2>\n
![\"EXTRAPART.](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image7.png\")
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Materie<\/em>. Production, consumption. Visibility & Translation. Each of the contributors to this issue argues and shows with the material they present and examine that translations and their visibility is a social task, namely that of imagining and reimagining a planet populated with diverse communities, human and other.<\/p>\nRinne sent me four photographs taken from \u201cthe letter i see\u201d exhibition at the Kumu Art Museum in Tallinn, which exhibits A3 braille-prints. Two of the photographs show people looking at her works, the other two just show her works in the empty exhibition space. These images planted a seed, a visual juxtaposition and metaphor, which grew to full thought during a visit to another exhibition in London.<\/p>\n
On 8 November 2019, a friend invited me to see Olafur Eliasson\u2019s \u201cIn Real Life\u201d exhibition at the Tate Modern in London. It is a peculiar experience. Eliasson constructs natural phenomena, often focussing on processes, such as rain running down a window pane or ice melting, whereby he draws attention to the socio-aesthetic constructedness of \u201cnature.\u201d<\/p>\n
\u201cDid we come here to get wet?\u201d a man asks me while I am entering Eliasson\u2019s \u201cBeauty\u201d (1993) installation. It startles me. One is rarely spoken to at exhibitions, let alone by strangers. Normally, the art space is a space of quiet visual consumption.<\/p>\n
\u201cBeauty\u201d is a curtain of mist illuminated by spotlights which re-create the spectral phenomenon of a rainbow (FIGURE 7). When I enter the blackened room, I first experience surprise. The humid air settles on my skin, I feel cold, my eyes adjust to the dark rather slowly. I register the rainbow at the same time that the man speaks to me. I look at him. He smiles at me and I smile back. A question, a connection. I look back at the rainbow, trying to figure out what we are here for.<\/p>\n
![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image8.png\")
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Fig. 7<\/p>\n
The answer, my answer to the stranger\u2019s question, comes to me as I spend perhaps twenty minutes observing the space. The beauty of this installation lies not in the rainbow itself. It lies in how visitors interact with it. The visitors do get wet: they position themselves within the rainbow to have their photographs taken by their spouse or friend or another family member.<\/p>\n
Their expressions are full of joy as they do so. It is joyous to witness this. For a moment, I feel disappointed because I cannot participate. I have no excuse<\/em> to step into the rainbow and break the barrier between observer and being observed because I am alone here. And I prefer the role of spectator. I feel uncomfortable becoming part of this spectacle, being looked at.<\/p>\n\u201cBeauty\u201d invokes a sense of togetherness which becomes even more prominent as I enter the \u201cDin blinde passager\u201d (\u201cYour blind passenger,\u201d 2010) installation. \u201cDin blinde passager\u201d is a 39-meter-long corridor full of dense fog, which cuts visibility down to a claustrophobic arm\u2019s length (FIGURE 8). It is hard to breathe and move. My eyes, which cannot fix on anything to find orientation in the fog, switch into some kind of overdrive. They search and search and search the fog. This coincides with shortshortshort intakes of breath. The physical response to the experience is dramatized by the effect of other blind passengers appearing (relief) and disappearing (discomfort) in the fog. Judging by their gestures, their experiences are similar to my own.<\/p>\n
![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image9.png\")
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Fig. 8<\/p>\n
I could have left this detour through Elisasson\u2019s exhibition out of this article. Perhaps you find it distracting as you read this. But to me it is a punctual note of the production process. The photographs showing \u201cBeauty\u201d and \u201cDin blinde passager\u201d that I included here are taken from Elisasson\u2019s website and the website of an online reviewer of his exhibition in the London Tate Modern in 2019. The images are representative of how his works have been captured for archival and promotional purposes, as well as for the encouragement of academic and emotive discourse (for a more detailed discussion of visuality and translation in the context of visual art and exhibitions see the contributions of Ingram, Perry, and Pireddu to this issue). This is a photograph I took while visiting the exhibition:<\/p>\n
![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image10.jpeg\")
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Fig. 9<\/p>\n
There are several points of connection between Eliasson\u2019s and Rinne\u2019s work. Both are forms of translation which manage in a Brechtian sense to make strange norms of seeing and visual meaning-making. In Eliasson\u2019s installations, the roles of nature (which is constructed) and natural (how visitors are physically affected by the installation) are inverted, just as the role of seeing letters and reading by touch are inverted in Rinne\u2019s exhibition of braille prints.<\/p>\n
\n\n![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image11.jpeg\")
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Fig. 10<\/p><\/div>\n
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Fig. 11<\/p><\/div>\n<\/div>\n
This inversion is not based on the assumption that visitors gifted with sight cannot read braille but on the information in the images that Rinne sent me: the visitors view the prints with their hands in their pockets with lightbulbs placed above the prints for better visibility.<\/p>\n
Both Eliasson and Rinne thus employ the art space to invite the visitor to a meta-dialogue about constructed others and\/or elsewheres<\/em>. The norm becomes strange. Visibility becomes strange. The first two photographs draw attention to the visitors viewing the artwork, emphasized by the lightbulbs which are needed to see (and thus also emphasizing the conundrum staged by the artwork).<\/p>\n\n\n![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image13.jpeg\")
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Fig. 12<\/p><\/div>\n
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Fig. 13<\/p><\/div>\n<\/div>\n
The latter two images, because they are \u201cempty\u201d, white and without people, emphasize the point of view from which the photographs are taken, meaning, the fact that the image focuses my view on re-enacting\/replicating the sole spectator consumption behaviour, and thus excludes the possibility of becoming\/perceiving myself as a participant in a communal and solidary act.<\/p>\n
This is my conclusion, then:<\/p>\n
![](\"https:\/\/imaginations.space\/wp-content\/uploads\/2020\/2020-11-3-visibility\/09-kolling-media\/09-kolling-image15.jpg\")
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Fig. 14<\/p>\n
The art of translation is not the finished product, but the way in which we interact with it and share our interaction with others, and through the inversion of production and consumption by adding our thoughts, ideas, questions and reactions, leer<\/em> becomes voll<\/em>.<\/p>\nI would like to thank the editors and reviewers for their thoughtful comments and efforts towards improving this contribution, Cia Rinne for her time and thought-inspiring artwork, and Patrick Spottiswoode for the ticket to Olafur Eliasson\u2019s exhibition at the Tate Modern.<\/p>\n
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Fig. 15<\/p><\/div>\n
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Fig. 16<\/p><\/div>\n<\/div>\n
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Fig. 17<\/p><\/div>\n
\u00a0<\/div>\n<\/div>\n\nWorks Cited<\/h2>\n
Benthien, Claudia, and Wiebke Vorrath. \u201cCia Rinne im Gespr\u00e4ch mit Claudia Benthien und Wiebke Vorrath.\u201d \u00dcbersetzen und Rahmen. Praktiken medialer Transformationen<\/em>, edited by Benthien und Gabriele Klein, Fink, 2017, pp. 149-62.<\/p>\nDemocracy\u2013Im Rausch der Daten<\/em>. Directed by David Bernet, Indi Film, 2015, http:\/\/www.democracy-film.de<\/a>. Accessed 04 August 2020.<\/p>\nGreenfield, Patricia Marks. Mind and Media: The Effects of Television, Video Games, and Computers<\/em>. Psychology Press. 2014.<\/p>\nKlein, Naomi. \u201cHow Big Tech Plans to Profit from the Pandemic.\u201d The Guardian<\/em>, 13 May 2020, https:\/\/www.theguardian.com\/news\/2020\/may\/13\/naomi-klein-how-big-tech-plans-to-profit-from-coronavirus-pandemic<\/a>.<\/p>\nK\u00f6lling, Angela. Interview with Cia Rinne, 18 Dec. 2017.<\/p>\n
Metzinger, Thomas. \u201cUnterwegs zu einem neuen Menschenbild.\u201d Gehirn&Geist<\/em>, vol. 11, 2005, pp. 50-54, https:\/\/www.spektrum.de\/magazin\/unterwegs-zu-einem-neuen-menschenbild\/836879.<\/p>\nMoorkens, Joss. 2017. \u201cUnder Pressure: Translation in Time of Austerity.\u201d Perspectives: Studies in Translatology<\/em>, vol. 25, no. 3, pp. 464-77. DOI: 10.1080\/0907676X.2017.1285331<\/p>\nOlsson, Tobias, et al. \u201cAt Risk of Exclusion? Degrees of ICT Access and Literacy among Senior Citizens.\u201d Information, Communication and Society<\/em>, vol. 22, no. 1, pp. 55-72.<\/p>\nPrecht, Richard David. Wer bin ich\u2014und wenn ja wieviele?: Eine philosophische Reise<\/em>. Goldmann, 2007.<\/p>\n\u2014. Who am I?: And If So, How Many?: A Philosophical Journey<\/em>. Translated by Shelley Frisch, Spielgel & Grau, 2011.<\/p>\nRinne, Cia. archives zaroum, http:\/\/www.afsnitp.dk\/galleri\/archiveszaroum\/archiveszaroum.html<\/a><\/em>.<\/p>\n\u2014. \u201csounds for soloists.\u201d YouTube<\/em>, 28 Oct. 2011, https:\/\/www.youtube.com\/watch?v=y2NaLpiHOzU<\/a>.<\/p>\nRosen, Larry. iDisorder: Understanding Our Obsession with Technology and Overcoming Its Hold on Us<\/em>. Palgrave Macmillan, 2012.<\/p>\nSwingle, Mari K. i-Minds: How Cell Phones, Computers, Gaming, and Social Media Are Changing Our Brains, Our Behaviour, and the Evolution of Our Species<\/em>. New Society Publishers, 2016.<\/p>\nImage Notes<\/h2>\n
Image 1: Rinne during her keynote at the 2015 NORLIT conference, Gothenburg, photograph, A. K\u00f6lling<\/p>\n
Image 2: \u201cON\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, C. Rinne, photograph, A. K\u00f6lling<\/p>\n
Image 3: \u201ctogether\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, C. Rinne, photograph, A. K\u00f6lling<\/p>\n
Image 4, 5, & 6: \u201cDas Erhabene\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, C. Rinne, partials, full page photographs & mirror image, A. K\u00f6lling<\/p>\n
Image 7: \u201cBeauty\u201d 1993, Olafur Eliasson, Moderna Museet, Stockholm 2015, photograph Anders SuneBerg https:\/\/olafureliasson.net\/archive\/artwork\/WEK101824\/beauty<\/a><\/p>\nImage 8: \u201cDen blinde passager\u201d, Olafur Eliasson, Modern Tate 2019, review and photograph P.Nguyen, 19.07.2019, https:\/\/arrestedmotion.com\/wp-content\/uploads\/2019\/07\/1_DSC07928_P.Nguyen.jpg<\/a><\/p>\nImage 9: \u201cBeauty\u201d 1993, Olafur Eliasson, Modern Tate 2019, photograph A. K\u00f6lling.<\/p>\n
Image 10, 11, 12: the letter i seee, Kumu Art Museum, Tallinn (A3 Drucke, Braille-Prints, turn all books (in your shelf inside out) piece und carthoth\u00e8que I, courtesy of Cia Rinne.<\/p>\n
Image 13: White Energy, Galleri Kant, Kopenhagen 2015 (A3-Drucke), courtesy of Cia Rinne.<\/p>\n
Image 14: \u201cvoll\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, Cia Rinne, photograph A. K\u00f6lling<\/p>\n
Image 15: \u201cle dernier cri\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, Cia Rinne, photograph A. K\u00f6lling<\/p>\n
Image 16: Cia Rinne, portrait, courtesy of Cia Rinne<\/p>\n
Image 17: Angela K\u00f6lling, portrait, courtesy of the author<\/p>\n<\/div>\n\nShare your thoughts:<\/h2>\n\n
\nCia Rinne<\/div>\n
\n
<\/p>\n
in Gothenburg in June 2015 at the NORLIT \u201cThe Future of the Book\u201d conference hosted at the University of Gothenburg in Sweden, where she presented her work during the keynote of the conference. The multilingual, multimodal quality of her work attracts the interest of other artists as well as scholars in literary, linguistic, and fine arts fields. After reading the available scholarly articles, announcements, programs, and conducting an interview with her, I wanted to offer a dialogue, Sprach<\/em>–Spiele<\/em> through verbal and other modes, set between the issues addressed in the contributions to this special issue of Imaginations<\/em> and Rinne\u2019s multimodal work. How does the choreography of letters she performs on the page and elsewhere nuance the<\/p>\n Fig. 1<\/p>\n meaning of a word and what does that mean for printed text translations? Do trans-modal or multi-modal trans-lations\u2014by way of reading, layout, type-setting, or digital technology\u2014accumulate into one multi-layered perceived meaning or do they produce different meanings through different perceptions? Can we all hear and see the same thing at the same time?<\/p>\n To prepare the game: Instead of presenting the artist Cia Rinne here in the form of a conventional interview, this contribution wants to stage a playground for thoughts and responses to her artwork and the topic of translation. Drawing on primary sources, conversations between the author, other scholars and the poet, and the themes of this special issue, I attempt to show further possibilities for engaging, or spielen (playing), the connections between | translation and visibility\u2014and beyond.<\/p>\n Fig. 3<\/p>\n Would you describe the changes that occur between different modalities of a poem, orality, print and animated print as a translation?<\/strong><\/p>\n Yes, that could be called translation. Some of the pieces in the archives zaroum I imagined as tactile objects, bodily. I had a sign in mind that could be flipped over and which on one side said ON, and on the other side said NO. So I imagined a realisation in form of a revolving movement right from the start. Certainly not in digital form, rather as an installation, but the effect is similar: through the rotations the word ON is sometimes also readable as NO, which illustrates the graphemic connection of both words. In a book, this cannot be shown so clearly because the words are printed one after the other and separate from each other onto the page. This is why I used drawings in those cases. Likewise, the interrelation between the verses \u201cTO GET HER\u201d and \u201c(together)\u201d also work better in digital form than in the book. The translation into a different modality in this case is a composition, or a \u201cneo-configuration. This is also the case, when different pieces are set together to make new piece, as, for example, for \u201cEnough\u201d, \u201crien \/ \u00e0 \/ voir \/ dans \/ le \/ noir\u201d and \u201cDIFFERENCE \/ ici\u201d from zaroum and their neo-configuration in the archives zaroum. I believe these processes reveal many different layers, which is altogether a form of translation, from medium to medium. Exhibitions, which show my pieces, also transfer and translate text into other contexts, and in the process something becomes real. I therefore call poems that are displayed in a particular form during an exhibition \u201crealisation pieces\u201d. (Benthien and Vorrath 4-5, translation mine)1<\/sup><\/a><\/p>\n<\/blockquote>\n The translation between thought and language is not limited to moving between linguistic systems in Rinne\u2019s work. Rather one encounters a symphonic orchestration of thought, senses, and language. The question is, of course, whether such an orchestration is only a matter of theoretical or aesthetic perspective or whether this needs to be considered for \u201cnormal,\u201d everyday use(r)s of language. Current neurological research on how \u201ci-media\u201d (Swingle) influences our cognitive development, social skills, and overall communication patterns supports the latter. The American psychotherapist and researcher Mari K. Swingle, for example, compares \u201ci-speak,\u201d in this case texting or txt, with communication practices in multilingual environments, such as sub-conversations and language layering:<\/p>\n the way one chooses to alter a word or phrase through pseudo or new \u201cspellings,\u201d as well as emphatic emotive, and otherwise meaning conveying formatting, indeed can create subtle but very distinct differences. With texting, one can very efficiently selectively make meaning deeper, more precise, and yes, exclusive. Which brings me to a second feature, the sub-conversation. Again, prior to i-tech, this was a feature exclusive to multilingual individuals. Polyglots, fully knowing what languages people do or do not speak, switch languages accordingly. (183)<\/p>\n<\/blockquote>\n The pattern Swingle identifies for mixed-media communication is that \u201ccommon conversation,\u201d which involves everyone at the dinner table, so to speak, is \u201cusually verbal,\u201d while \u201csub-conversation,\u201d which is selective, is usually \u201ctechnologically mediated.\u201d In her assessment, such sub-conversation or \u201cswitching\u201d by txt or other i-media can, \u201cif not malicious,\u201d be enriching and, \u201cwith i-tech and digital natives\u201d at least, has become a \u201cregular practice\u201d (183).<\/p>\n Swingle further points out that older \u201cdigital immigrants,\u201d like myself, \u201cmiss the positive potential of screen technology\u201d (183). Not in the sense that we might miss the practical, pedagogical uses, but rather in the sense that some ideas can be translated better into digital form, and that certain digital information, which becomes available by way of ethical<\/em> data mining, might improve our understanding of and policies for contemporary society.<\/p>\n Some of Rinne\u2019s ideas, such as \u201cturn on\u201d and \u201cto get her,\u201d work better as pieces translated into digital form than pieces translated into print form. Another way of looking at this is by way of Silvia Pireddu\u2019s analysis of catalogue translation in this special issue of Imaginations<\/em>. I believe that her assessment that a \u201cfailure to negotiate and adapt translation to such multiple polarities\u201d (that come into play when verbal and visual information exist in a shared space) \u201cmay lead to varying degrees of interpretive breakdown on the part of the end-user\u201d is not only applicable to translation as a product but also as a discipline. If the older \u201cdigital immigrants\u201d do not partake, in other words, fail to negotiate and adapt their view of translation to i-tech, this may lead to varying degrees of interpretive breakdown on the part of the end-user, that is between older and younger generations of translators, between teachers (and scholars) and students enrolled in translation studies programs.<\/p>\n Digital multimedia writing (and translation) operates from an entirely different neurological platform: one that mines the latest neurological findings about colour preferences, orientations in foreign environments, and psychological predispositions, as well as personal data to produce irresistible products for their \u201creaders.\u201d In other words, digital writing operates in a value system that encourages the exploitation of humans and emphasizes profit making without clearly defined ethical boundaries. Thomas Metzinger describes this as the entrance to an era which redefines the concept \u201chumans\u201d:<\/p>\n Neuro-psychological research itself offers nothing that [\u2026] could lead to a practicable ethic and grounded consensus for everyday life. Therefore, and because we must not confuse \u201cdas Sein\u201d, that which is, with \u201cSollen\u201d, that which ought to be; we need to confront the findings of modern brain research keeping two matters carefully apart: How is the human in reality? And how should the human be in the future? (54, translation mine)2<\/sup><\/a><\/p>\n<\/blockquote>\n As I write this article, the EU\u2019s new rule for general information protection is set into place. The German documentary film, Democracy \u2013 Im Rausch der Daten<\/em> (2015), reveals the complexity of both the political process and of legally framing public and commercial usage of personal information. The film shows an excerpt of a roundtable debate during which one speaker makes a compelling argument for personal data mining:<\/p>\n \u201cWe worked with the Atlanta Public Schools and determined that the best indicator of graduation from high school was not whether your parents were rich, not whether you had internet at home but it was whether you took creative writing in the ninth grade.\u201d (19:57)<\/p><\/blockquote>\n Scholarly programs that do not address these questions leave the next generations of students and translators to become complicit in the production of what several philosophers (Precht; Metzinger), neurotherapists, behaviourists, and psychotherapists (Greenfield; Rosen; Swingle), as well as media and communications experts (Olsson et al.) now refer to as risk-technology.<\/p>\n From this difference in reading and writing arrives also a problem of interpretation or communication between older \u201cdigital immigrants\u201d and younger \u201cdigital natives.\u201d While we may assume that the older generation draws on a religiously informed or intuitively holistic understanding of human beings, digital immigrants might actually lack this wider normative frame of reference. The growing privatization of the language industry, that is, the structural trend towards self-employed freelancers following the economic downturn since 2009, is leaving this generation vulnerable to economic exploitation that has begun to transform their understanding of society and of themselves (Moorkens). We might still worry whether machine-aided translation is advancing or destroying translation, which implies that machine and human translation compete with each other. Meanwhile, digital translation is absorbing the translator, mining their expertise (through specially designed programs) and confusing ideas about who they really are with ideas about how they ought to produce.3<\/sup><\/a><\/p>\n Fig. 4<\/p>\n Rinne describes her work as a way of \u201ctrying to get as far away as possible from writing,\u201d through which she then shows \u201cthat which is hidden in the language\u201d (K\u00f6lling\/Rinne 2018, Transkript). The contributors to this special edition have all taken their point of reflection from a form that is other<\/em> to translation\u2014a cover, a poster, a website, a catalogue, an exhibition, an idea, a newspaper article, a book of poetry\u2014to show that which is hidden in translation. They outline current developments in mixed-mode translation and how this might affect the user. What is more, they address the growing polarizations between verbal translation and i-tech in the form of a productive conversation: not taking one side or the other, but trying to form a view which turns<\/em> ideas together. Such a view begins to acknowledge that there is a growing readership for whom reading is more than following lines of letters on the page, deciphering the words and assigning a dictionary meaning to them. \u201cDigital natives\u201d are all-at-once readers: images, letters, sounds, etc.\u2014and they are capable of producing translations in this mixed-mode. And it is important to understand how they really do it<\/em> in order to have an informed discussion about whether they should<\/em> do it. To continue to take for granted that translation is primarily a verbal mode might not only lead to growing break-downs of interpretation between different generations of translators, it might also mean that those who do not partake in this digital shift will not be part of shaping its norms.5<\/sup><\/a><\/p>\n Fig. 5<\/p>\n One detail that Rinne shared with me in my interview with her surprised me: her self-description of being a lonely worker, whereas my first impression was that her pieces (archives zaroum<\/em>, sounds for soloists<\/em>) were mostly collaborative in nature\u2014or a shared experience at least. For me, her projects seemed co-operative, indebted to concrete poetry as much as new advancements in digital technology. This cross-pollination of concrete poetry with digital technology has led me to explore the relationship between analogue and digital modes of translation deeper than I anticipated.<\/p>\n Writing on the page is a singular task: one puts a pen to paper. In theory, it could be entirely possible that a writer has produced all of the necessary tools\u2014paper, ink, and feather\u2014for this enterprise. Typing, however, makes it more likely that one needs to draw on the skills of others for the production of a typewriter, carbon paper, and ink ribbon. Nowadays, it seems near impossible that a single person has built the entire materie<\/em>, the machine, programmed the software, and so on from which writing is made.<\/p>\n Fig. 6<\/p>\n Writing has become a much more communal production process and it might become entirely outmoded for \u201cdigital natives\u201d to view writing still as an individual task. What, for example, is my position in the production process of this writing? Just a dot in the digital space? I am acutely aware of the necessary materie<\/em> that I alone cannot produce nor bring to life. I am not a lonely worker at all.<\/p>\n Rinne\u2019s pieces establish relations, with her audience and through cooperation, by way of linking different languages and modes. I want to use the idea of these relations and entanglements as an opportunity to reimagine translation\u2014to break with the image of the translator as a lonely worker, as well as that of translation as a product of individual consumption.<\/p>\n Materie<\/em>. Production, consumption. Visibility & Translation. Each of the contributors to this issue argues and shows with the material they present and examine that translations and their visibility is a social task, namely that of imagining and reimagining a planet populated with diverse communities, human and other.<\/p>\n Rinne sent me four photographs taken from \u201cthe letter i see\u201d exhibition at the Kumu Art Museum in Tallinn, which exhibits A3 braille-prints. Two of the photographs show people looking at her works, the other two just show her works in the empty exhibition space. These images planted a seed, a visual juxtaposition and metaphor, which grew to full thought during a visit to another exhibition in London.<\/p>\n On 8 November 2019, a friend invited me to see Olafur Eliasson\u2019s \u201cIn Real Life\u201d exhibition at the Tate Modern in London. It is a peculiar experience. Eliasson constructs natural phenomena, often focussing on processes, such as rain running down a window pane or ice melting, whereby he draws attention to the socio-aesthetic constructedness of \u201cnature.\u201d<\/p>\n \u201cDid we come here to get wet?\u201d a man asks me while I am entering Eliasson\u2019s \u201cBeauty\u201d (1993) installation. It startles me. One is rarely spoken to at exhibitions, let alone by strangers. Normally, the art space is a space of quiet visual consumption.<\/p>\n \u201cBeauty\u201d is a curtain of mist illuminated by spotlights which re-create the spectral phenomenon of a rainbow (FIGURE 7). When I enter the blackened room, I first experience surprise. The humid air settles on my skin, I feel cold, my eyes adjust to the dark rather slowly. I register the rainbow at the same time that the man speaks to me. I look at him. He smiles at me and I smile back. A question, a connection. I look back at the rainbow, trying to figure out what we are here for.<\/p>\n Fig. 7<\/p>\n The answer, my answer to the stranger\u2019s question, comes to me as I spend perhaps twenty minutes observing the space. The beauty of this installation lies not in the rainbow itself. It lies in how visitors interact with it. The visitors do get wet: they position themselves within the rainbow to have their photographs taken by their spouse or friend or another family member.<\/p>\n Their expressions are full of joy as they do so. It is joyous to witness this. For a moment, I feel disappointed because I cannot participate. I have no excuse<\/em> to step into the rainbow and break the barrier between observer and being observed because I am alone here. And I prefer the role of spectator. I feel uncomfortable becoming part of this spectacle, being looked at.<\/p>\n \u201cBeauty\u201d invokes a sense of togetherness which becomes even more prominent as I enter the \u201cDin blinde passager\u201d (\u201cYour blind passenger,\u201d 2010) installation. \u201cDin blinde passager\u201d is a 39-meter-long corridor full of dense fog, which cuts visibility down to a claustrophobic arm\u2019s length (FIGURE 8). It is hard to breathe and move. My eyes, which cannot fix on anything to find orientation in the fog, switch into some kind of overdrive. They search and search and search the fog. This coincides with shortshortshort intakes of breath. The physical response to the experience is dramatized by the effect of other blind passengers appearing (relief) and disappearing (discomfort) in the fog. Judging by their gestures, their experiences are similar to my own.<\/p>\n Fig. 8<\/p>\n I could have left this detour through Elisasson\u2019s exhibition out of this article. Perhaps you find it distracting as you read this. But to me it is a punctual note of the production process. The photographs showing \u201cBeauty\u201d and \u201cDin blinde passager\u201d that I included here are taken from Elisasson\u2019s website and the website of an online reviewer of his exhibition in the London Tate Modern in 2019. The images are representative of how his works have been captured for archival and promotional purposes, as well as for the encouragement of academic and emotive discourse (for a more detailed discussion of visuality and translation in the context of visual art and exhibitions see the contributions of Ingram, Perry, and Pireddu to this issue). This is a photograph I took while visiting the exhibition:<\/p>\n Fig. 9<\/p>\n There are several points of connection between Eliasson\u2019s and Rinne\u2019s work. Both are forms of translation which manage in a Brechtian sense to make strange norms of seeing and visual meaning-making. In Eliasson\u2019s installations, the roles of nature (which is constructed) and natural (how visitors are physically affected by the installation) are inverted, just as the role of seeing letters and reading by touch are inverted in Rinne\u2019s exhibition of braille prints.<\/p>\n Fig. 10<\/p><\/div>\n Fig. 11<\/p><\/div>\n<\/div>\n This inversion is not based on the assumption that visitors gifted with sight cannot read braille but on the information in the images that Rinne sent me: the visitors view the prints with their hands in their pockets with lightbulbs placed above the prints for better visibility.<\/p>\n Both Eliasson and Rinne thus employ the art space to invite the visitor to a meta-dialogue about constructed others and\/or elsewheres<\/em>. The norm becomes strange. Visibility becomes strange. The first two photographs draw attention to the visitors viewing the artwork, emphasized by the lightbulbs which are needed to see (and thus also emphasizing the conundrum staged by the artwork).<\/p>\n Fig. 12<\/p><\/div>\n Fig. 13<\/p><\/div>\n<\/div>\n The latter two images, because they are \u201cempty\u201d, white and without people, emphasize the point of view from which the photographs are taken, meaning, the fact that the image focuses my view on re-enacting\/replicating the sole spectator consumption behaviour, and thus excludes the possibility of becoming\/perceiving myself as a participant in a communal and solidary act.<\/p>\n This is my conclusion, then:<\/p>\n Fig. 14<\/p>\n The art of translation is not the finished product, but the way in which we interact with it and share our interaction with others, and through the inversion of production and consumption by adding our thoughts, ideas, questions and reactions, leer<\/em> becomes voll<\/em>.<\/p>\n I would like to thank the editors and reviewers for their thoughtful comments and efforts towards improving this contribution, Cia Rinne for her time and thought-inspiring artwork, and Patrick Spottiswoode for the ticket to Olafur Eliasson\u2019s exhibition at the Tate Modern.<\/p>\n Fig. 15<\/p><\/div>\n Fig. 16<\/p><\/div>\n<\/div>\n Fig. 17<\/p><\/div>\n Benthien, Claudia, and Wiebke Vorrath. \u201cCia Rinne im Gespr\u00e4ch mit Claudia Benthien und Wiebke Vorrath.\u201d \u00dcbersetzen und Rahmen. Praktiken medialer Transformationen<\/em>, edited by Benthien und Gabriele Klein, Fink, 2017, pp. 149-62.<\/p>\n Democracy\u2013Im Rausch der Daten<\/em>. Directed by David Bernet, Indi Film, 2015, http:\/\/www.democracy-film.de<\/a>. Accessed 04 August 2020.<\/p>\n Greenfield, Patricia Marks. Mind and Media: The Effects of Television, Video Games, and Computers<\/em>. Psychology Press. 2014.<\/p>\n Klein, Naomi. \u201cHow Big Tech Plans to Profit from the Pandemic.\u201d The Guardian<\/em>, 13 May 2020, https:\/\/www.theguardian.com\/news\/2020\/may\/13\/naomi-klein-how-big-tech-plans-to-profit-from-coronavirus-pandemic<\/a>.<\/p>\n K\u00f6lling, Angela. Interview with Cia Rinne, 18 Dec. 2017.<\/p>\n Metzinger, Thomas. \u201cUnterwegs zu einem neuen Menschenbild.\u201d Gehirn&Geist<\/em>, vol. 11, 2005, pp. 50-54, https:\/\/www.spektrum.de\/magazin\/unterwegs-zu-einem-neuen-menschenbild\/836879.<\/p>\n Moorkens, Joss. 2017. \u201cUnder Pressure: Translation in Time of Austerity.\u201d Perspectives: Studies in Translatology<\/em>, vol. 25, no. 3, pp. 464-77. DOI: 10.1080\/0907676X.2017.1285331<\/p>\n Olsson, Tobias, et al. \u201cAt Risk of Exclusion? Degrees of ICT Access and Literacy among Senior Citizens.\u201d Information, Communication and Society<\/em>, vol. 22, no. 1, pp. 55-72.<\/p>\n Precht, Richard David. Wer bin ich\u2014und wenn ja wieviele?: Eine philosophische Reise<\/em>. Goldmann, 2007.<\/p>\n \u2014. Who am I?: And If So, How Many?: A Philosophical Journey<\/em>. Translated by Shelley Frisch, Spielgel & Grau, 2011.<\/p>\n Rinne, Cia. archives zaroum, http:\/\/www.afsnitp.dk\/galleri\/archiveszaroum\/archiveszaroum.html<\/a><\/em>.<\/p>\n \u2014. \u201csounds for soloists.\u201d YouTube<\/em>, 28 Oct. 2011, https:\/\/www.youtube.com\/watch?v=y2NaLpiHOzU<\/a>.<\/p>\n Rosen, Larry. iDisorder: Understanding Our Obsession with Technology and Overcoming Its Hold on Us<\/em>. Palgrave Macmillan, 2012.<\/p>\n Swingle, Mari K. i-Minds: How Cell Phones, Computers, Gaming, and Social Media Are Changing Our Brains, Our Behaviour, and the Evolution of Our Species<\/em>. New Society Publishers, 2016.<\/p>\n Image 1: Rinne during her keynote at the 2015 NORLIT conference, Gothenburg, photograph, A. K\u00f6lling<\/p>\n Image 2: \u201cON\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, C. Rinne, photograph, A. K\u00f6lling<\/p>\n Image 3: \u201ctogether\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, C. Rinne, photograph, A. K\u00f6lling<\/p>\n Image 4, 5, & 6: \u201cDas Erhabene\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, C. Rinne, partials, full page photographs & mirror image, A. K\u00f6lling<\/p>\n Image 7: \u201cBeauty\u201d 1993, Olafur Eliasson, Moderna Museet, Stockholm 2015, photograph Anders SuneBerg https:\/\/olafureliasson.net\/archive\/artwork\/WEK101824\/beauty<\/a><\/p>\n Image 8: \u201cDen blinde passager\u201d, Olafur Eliasson, Modern Tate 2019, review and photograph P.Nguyen, 19.07.2019, https:\/\/arrestedmotion.com\/wp-content\/uploads\/2019\/07\/1_DSC07928_P.Nguyen.jpg<\/a><\/p>\n Image 9: \u201cBeauty\u201d 1993, Olafur Eliasson, Modern Tate 2019, photograph A. K\u00f6lling.<\/p>\n Image 10, 11, 12: the letter i seee, Kumu Art Museum, Tallinn (A3 Drucke, Braille-Prints, turn all books (in your shelf inside out) piece und carthoth\u00e8que I, courtesy of Cia Rinne.<\/p>\n Image 13: White Energy, Galleri Kant, Kopenhagen 2015 (A3-Drucke), courtesy of Cia Rinne.<\/p>\n Image 14: \u201cvoll\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, Cia Rinne, photograph A. K\u00f6lling<\/p>\n Image 15: \u201cle dernier cri\u201d, zaroum: notes pour soloistes, Editions le clou das le fer, 2011, Cia Rinne, photograph A. K\u00f6lling<\/p>\n Image 16: Cia Rinne, portrait, courtesy of Cia Rinne<\/p>\n Image 17: Angela K\u00f6lling, portrait, courtesy of the author<\/p>\n<\/div>\n<\/p>\n<\/p>\n
\nare three projects that include minimalist texts which explore phonetic similarities and shifts. The works for this \u201cDialogue\u201d are chosen mostly from these projects. Their starting point is most often an idea, a question, or quotation. Through visual (zaroum), sonic, rhythmic and melodic interpretation on page (notes for soloistes, l\u2019usage du mot) and in her performances, Rinne exposes possible nuancing of meaning in a polyglot (mainly but not restricted to German, English and French) environment. The following Spiel invites you to look, click\u2014in the order of your liking\u2014and com\/paire.<\/p>\nSPIEL ONE<\/h2>\n
<\/a><\/p>\nSPIEL 2: Thought (Seeing \u2194 Listening)<\/h2>\n
<\/a><\/p>\nSPIEL 3<\/strong> \u2013 LIKE SPIEL OHNE? OHNO1<\/h2>\n
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SPIEL 4 (in) 3 – Part A: REFLECTIONS<\/h2>\n
<\/p>\nSPIEL (in) 3 PART B: What would there be if there was not me?<\/h2>\n
<\/p>\nSPIEL 3 PART 3: THE FULL PICTURE: MATERIE (The Idea of a Concrete Translator)<\/h2>\n
<\/p>\nPOSTSCRIPT:EXIT<\/h2>\n
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Image Notes<\/h2>\n
Share your thoughts:<\/h2>\n
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