transliteration

This paper is proposed as the second part of an essay, the first part of which was presented at DAC'98, having the overall title 'Performances of Writing in the Age of Digital Transliteration'. Part one of this essay raised questions -- contextualized by reference to Walter Benjamin and Friedrich Kittler, amongst others -- concerning the intrinsically digital characteristics of text, along with certain implications of these characteristics (and what they have entailed, specifically and especially: the Net) for traditional literary culture, for the latter's critique, and for textual, especially artistic textual practices.

Whereas the first part engaged digital characteristics of textuality, this second is more concerned with practices themselves and theories of those practices. The first part argued that although inscribed textuality provides a, perhaps 'the,' paradigm of 'the digital,' it has, in traditional literary culture, been less susceptible to the varieties of (algorithmic) programming which works in digital media invite (because of their very structure). Despite this, 'programming' is proposed as both a more comprehensive and more accurate term, compared with, for example, 'authorship' or 'composition,' when setting out to indicate and characterize existing, potential and even traditional textual practices.

'Programming' operates here in the sense of an intrinsically provisional practice of inscription, prior to publication in whatever media; it is the detailed announcement of a performance which may soon take place (on the screen, in the mind); it is an indication of what to read and how. This sense of programming is poised to reconfigure the process of writing and *incorporate* programming in its technical sense, making it an inalienable part of textual practice. In fact, programming has subsumed writing *progressively*, as the paratextual features of textual art have become increasingly programmable by writers:- from the arrangement of programmatological atoms (letters) in syntactic sequences, to their layout (as in generalized page design), to more specialized spatial arrangements (as in visual poetry); through hypertextual orderings; algorithmic text generation; and kinetic textual performance. Writers are always already programmers.

(Source: DAC 1999 Author's abstract)

Digital Orientalism: Japan and Electronic Literature: Alice Ferrebe
In their 1995 essay ‘Techno-Orientalism: Japan Panic’, David Morley and Kevin Robins examined the contemporary construction of Japan as a potent and threatening Other, inscrutably encroaching upon the West through precocious technological genius and insidious business practices. For Japanophobes, they claimed, ‘the unpalatable reality is that Japan, that most Oriental of Oriental cultures, as it increasingly outperforms the economies of the West, may now have become the most (post)modern of all societies’. Of course, this imagining of Japan as the land of the future (a frequent cyberpunk strategy) stands in contrast to the more traditional Orientalist vision of the nation as a repository for the ancient and exotic – the Japan of an alien, exquisite aesthetic and of arcane martial practices, pre-modern rather than postmodern.

Though his ‘East’ was Middle- rather than Far-, Edward Said has established the way in which the Orient has functioned to define and empower the Occident, its binary opposite. In 1967, Marshall McLuhan proclaimed a shift in this cultural hierarchy of West/East, as ‘electric circuitry is Orientalizing the West. The contained, the distinct, the separate – our Western legacy – are being replaced by the flowing, the unified, the fused’. This valorization of the Orient in relation to the new experiences of digital culture extends well beyond McLuhan’s early messianism. Broadly, the structures, poetics and aesthetics of Japanese literature – multiple, or undefined, viewpoints; epigrammatic verse; pictographic representation; freedom from the necessity of sensing an ending, for example – seem to suggest a far more satisfying critical match with postmodern writing in general, and electronic literature in particular, than the perceivedly linear, ego-centered discourses of the Western canon. If we are to respond to N. Katherine Hayles’s recent plea to ‘understand electronic literature not only as an artistic practice (though it is that, of course), but also as a site for negotiations between diverse constituencies and different kinds of expertise’, then the Japanese literary tradition would seem to offer some potentially invaluable insights.

Yet in Orientalism Said countered any utopian notion that technologically advanced communication systems necessarily enhance inter-cultural relations with the claim that his contemporary media were actually reinforcing the symbolic stereotypes of the East: ‘So far as the Orient is concerned, standardisation and cultural stereotyping have intensified the hold of the nineteenth-century academic and imaginative demonology of the “mysterious Orient”’. This paper will explore the concept of a new Orientalism within digital studies more widely and one particular Japan-inspired work of electronic literature, Young-Hae Chang Heavy Industries’s Nippon. Is it a regressive practice, replicating old stereotypes, and effective in mystifying process and agency in an emergent genre that depends upon those very qualities for its specificity? Or does it refigure the Orient/Occident binary in new and potentially liberating ways? (author-submitted abstract)

author-submitted abstract:
What effect are the current profound changes in global communications, transport and demographics having on language and its readers and writers, those defined through their engagement with and as a function of language? What happens to our identity, as linguistic beings, when the means of communication and associated demographics shift profoundly? What is driving this? Is it the technology, the migration of people or a mixture of these factors?

Language is motile, polymorphic and hybrid. Illuminated manuscripts, graphic novels, the televisual and the web are similar phenomena. The idea that the ‘pure’ word is the ultimate source of knowledge/power (a hermeneutic) was never the case. Don Ihde’s ‘expanded hermeneutics’ (1999), proposes, through an expanded significatory system, that what appear to be novel representations of phenomena and knowledge are, whilst not new, now apparent to us.

Fernando Ortiz (1947) proposed the concept of ‘transculturation’, which may offer possible insights in relation to these questions.

“I am of the opinion that the word transculturation better expresses the different phases of the process of transition from one culture to another because this does not consist merely in acquiring another culture, which is what the English word acculturation really implies, but the process also necessarily involves the loss or uprooting of a previous culture, which could be defined as a deculturation. In addition it carries the idea of the consequent creation of new cultural phenomena, which could be called neoculturation.”

The suggestion here is that in a communications saturated world of highly mobile people’s we are all engaged in a complex interplay of cultural interactions and appropriations. Language, a technology fundamental to the human condition, is the primary means by which this process occurs. The demographic implications here give rise to the question; are we creating a ‘neo-pidgin’ or are our cultures fragmenting further into linguistic ghettoes?

People define themselves through language and create their own sub-cultural linguistic fields, their own ‘tribal’ codes, in order to establish their identity and be identified by other members of their ‘tribe’. This can be done through the clothes they wear, the language they employ and the means through which they transmit their messages. This is an iterative process where people evolve new dialects that in turn define self. Transculturation functions not only within the established context of the colonial but also the post-colonial, where human migration has proceeded, for multiple reasons, in multiple directions.

Does creative work with language, that employs digital media and exposes necessarily the dynamic processes of signification, lend itself to reflecting upon the technological, social and linguistic changes enveloping us?

References:

Ihde, D (1999); Expanding Hermeneutics: Visualism in Science; Northwestern University Press, USA.

Ortiz, F (1947), Cuban Counterpoint: Tobacco and Sugar; Re-published 1995, Duke University Press, USA.