The other on display: translation in the Ethnographic Museum

The ethnographic museum in the West has a long and troubling history. The display of 'exotic peoples' in travelling exhibitions began as early as the sixteenth century, but it was the mid and late nineteenth century that saw the great expansion of museums as sites to show artefacts collected - under anything but reputable circumstances - from what were considered the 'primitive', 'natural', or 'tribal' peoples of the world. Today the ethnographic museum is still a feature of large European cities, though faced with newly formulated dilemmas in the postcolonial world. For how can the material culture of a non-western people be collected and displayed in the West without its makers being translated into wordless and powerless objects of visual consumption? In national museums the processes of choosing, contextualizing and commentating exhibits help form national identity; in the ethnographic museum, similarly, they shape perceptions of the apparently distant Other. Like written ethnography, the museum is a 'translation of culture', with many of the associated problems traced by Talal Asad (1986). Like the written form, it has to represent the dialogic realities of cultural encounters in a fixed and intelligible form, to propose categories that define and order the material it has gathered. As the public face of academic ethnography, the museum interprets other cultures for the benefit of the general reader, and in that task museum practice, like all ethnography, operates within very specific historical and political parameters. How are museums in western Europe responding to the issues raised by critical ethnographers like James Clifford (1988), with their focus on the politics of representation? Is globalisation increasing the degree of accountability imposed on the ethnographic museum, or merely reinforcing older patterns? What opportunities and problems are raised by the use of more words - more 'translation' in the narrower sense - in ethnographic museums, and how do museums gain from introducing a reflexive and contextualizing concept of "thick translation" (Appiah 1993) into their work of interpretation?

Category learning induces position invariance of pattern recognition across the visual field

Human object recognition is considered to be largely invariant to translation across the visual field. However, the origin of this invariance to positional changes has remained elusive, since numerous studies found that the ability to discriminate between visual patterns develops in a largely location-specific manner, with only a limited transfer to novel visual field positions. In order to reconcile these contradicting observations, we traced the acquisition of categories of unfamiliar grey-level patterns within an interleaved learning and testing paradigm that involved either the same or different retinal locations. Our results show that position invariance is an emergent property of category learning. Pattern categories acquired over several hours at a fixed location in either the peripheral or central visual field gradually become accessible at new locations without any position-specific feedback. Furthermore, categories of novel patterns presented in the left hemifield are distinctly faster learnt and better generalized to other locations than those learnt in the right hemifield. Our results suggest that during learning initially position-specific representations of categories based on spatial pattern structure become encoded in a relational, position-invariant format. Such representational shifts may provide a generic mechanism to achieve perceptual invariance in object recognition.

Using sonic enhancement to augment non-visual tabular navigation

More information is now readily available to computer users than at any time in human history; however, much of this information is often inaccessible to people with blindness or low-vision, for whom information must be presented non-visually. Currently, screen readers are able to verbalize on-screen text using text-to-speech (TTS) synthesis; however, much of this vocalization is inadequate for browsing the Internet. An auditory interface that incorporates auditory-spatial orientation was created and tested. For information that can be structured as a two-dimensional table, links can be semantically grouped as cells in a row within an auditory table, which provides a consistent structure for auditory navigation. An auditory display prototype was tested.^ Sixteen legally blind subjects participated in this research study. Results demonstrated that stereo panning was an effective technique for audio-spatially orienting non-visual navigation in a five-row, six-column HTML table as compared to a centered, stationary synthesized voice. These results were based on measuring the time- to-target (TTT), or the amount of time elapsed from the first prompting to the selection of each tabular link. Preliminary analysis of the TTT values recorded during the experiment showed that the populations did not conform to the ANOVA requirements of normality and equality of variances. Therefore, the data were transformed using the natural logarithm. The repeated-measures two-factor ANOVA results show that the logarithmically-transformed TTTs were significantly affected by the tonal variation method, F(1,15) = 6.194, p= 0.025. Similarly, the results show that the logarithmically transformed TTTs were marginally affected by the stereo spatialization method, F(1,15) = 4.240, p=0.057. The results show that the logarithmically transformed TTTs were not significantly affected by the interaction of both methods, F(1,15) = 1.381, p=0.258. These results suggest that some confusion may be caused in the subject when employing both of these methods simultaneously. The significant effect of tonal variation indicates that the effect is actually increasing the average TTT. In other words, the presence of preceding tones increases task completion time on average. The marginally-significant effect of stereo spatialization decreases the average log(TTT) from 2.405 to 2.264.^

A Spanish Translation of the American Crime TV Series "Wicked City"

El siguiente trabajo de fin de Master tiene como objetivo la realización de una traducción audiovisual al español de la serie americana de crimen Wicked City, en concreto de los dos primeros episodios de esta. El creciente desarrollo tecnológico sufrido en los últimos años así como el aumento en el número de producciones audiovisuales, ha colocado a la rama de la traducción audiovisual en una de las más demandadas hoy en día. Aun habiendo una gran cantidad de productos audiovisuales, sobre todo series y películas, que son importadas y exportadas y por lo tanto traducidas y adaptadas a la cultura receptora, siendo las más traducidas las estadounidenses, hay aun algunas que todavía no han sido objeto de este proceso. Y este es el caso de, por ejemplo, la serie elegida en este trabajo, Wicked City, que no ha sido oficialmente traducida al español. Por lo tanto, este trabajo propone una traducción para los dos primeros capítulos de esta serie, y dicha traducción es acompañada de un análisis de las prioridades y restricciones que se han seguido para llevarla a cabo, así como de una ejemplificación de las características específicas pertenecientes al género del crimen en esta serie concreta y de algunas de las técnicas de traducción usadas en el proyecto. La disertación se estructura en cinco partes aparte de la introductoria. La primera es un marco teórico sobre la traducción audiovisual y el género del crimen. En la segunda, se presenta la metodología usada para el proyecto. La tercera se centra en la traducción de la serie en sí. La cuarta es un análisis y discusión sobre la traducción. La quinta y última, está destinada a las conclusiones y sugerencias para investigación futura. En el marco teórico se define la traducción audiovisual como una traducción de cualquier producto audiovisual, ya sea de cine, televisión, teatro, radio, o de aplicaciones informáticas, siendo esta una disciplina relativamente nueva. Así mismo, también se da una vista general de todos los modos de traducción audiovisual, así como de las prioridades técnicas y lingüísticas de esta y la situación de la disciplina en el ámbito universitario español. También se comentan los aspectos más básicos del crimen ficticio así como las características de este género en las series televisivas. En la sección de metodología se explica que con el fin de llevar desarrollar el objetivo del trabajo, el primer paso a seguir fue, tras la visualización de la serie, el transcribir los diálogos de los dos episodios a un documento aparte, creando así lo que podríamos llamar el “script original”. Una vez hecho esto, se tradujeron ambos episodios al español. Seguidamente, se imprimó tal script para poder señalar todos los aspectos a discutir, es decir, las restricciones, las características del crimen de televisión y las técnicas de traducción. Finalmente, se llevó a cabo un análisis cualitativo de todos los aspectos mencionados previamente. Así bien, en la sección de análisis, se destaca que se llevó como prioridad el intentar conservar un lenguaje natural y no forzado. Para tal prioridad hay que tener en cuenta las restricciones que nos presenta la traducción: los referentes culturales, los nombres propios, la intertextualidad, las unidades fraseológicas, las rimas, los calcos, las normas ortotipográficas, los diferentes acentos y las interjecciones. Además, esta serie presenta una serie de características pertenecientes al género del crimen que son las preguntas, la terminología específica, los marcadores pragmáticos y los “suavizadores” . Por último, para llevar a cabo la traducción se siguieron diversas técnicas, así como préstamo, traducción palabra por palabra, traducción literal, omisión, reducción, particularización, generalización, transposición, amplificación, variación, substitución y adaptación. Todos estos aspectos son ejemplificados con ejemplos extraídos de la traducción. Como conclusión, se resalta que una traducción audiovisual contiene mayormente dos tipos de restricciones: las técnicas y las lingüísticas. Las primeras van a estar especialmente ligadas a la modalidad de traducción audiovisual. Aunque en este trabajo la traducción no ha sido realizada con el fin de adaptarla a una modalidad específica, y por tanto las restricciones técnicas no suponen tantos problemas, es importante tener en cuenta la coherencia visual y auditiva, que de cierta manera van a condicionar la traducción. Así, a la hora de familiarizar, extranjerizar y naturalizar un término cultural, es importante mantener dichas coherencias. Por lo tanto, va a ser más fácil usar estas técnicas con un término que no aparece en pantalla. En cuanto a las restricciones lingüísticas, nos encontramos con los referentes culturales, los nombres propios, la intertextualidad, las unidades fraseológicas, las rimas, los calcos, las normas ortotipográficas, los diferentes acentos y las interjecciones, aspectos que el traductor tiene que cuidar especialmente. Finalmente, ya que ha sido muy poca la investigación realizada en el género del crimen desde un punto de vista traductológico, algunas líneas de estudio futuras podrían ser: estudiar en mayor profundidad las características que son específicas al genero del crimen, especialmente en las series de televisión; comparar estas características con las características de otro tipo de textos como por ejemplo la novela; estudiar si estas características especificas a un género condicionan de alguna manera la traducción, y si es así, hasta qué punto; y por último, determinar cómo una traducción puede ser diferente dependiendo del género, es decir, por ejemplo, si es de tipo romántico, de crimen, o de comedia.

The Visual Representation of a Systematic Metaphor in a UK Media Text

Much has been written on the organizational power of metaphor in discourse, eg on metaphor ‘chains’ and ‘clusters’ of linguistic metaphor in discourse (Koller 2003, Cameron & Stelma 2004, Semino 2008) and the role of extended and systematic metaphor in organizing long stretches of language, even whole texts (Cameron et al 2009, Cameron & Maslen 2010, Deignan et al 2013, Semino et al 2013). However, at times, this work belies the intricacies of how a single metaphoric idea can impact on a text. The focus of this paper is a UK media article derived from a HM Treasury press release on alleviating poverty. The language of the article draws heavily on orientational (spatial) metaphors, particularly metaphors of movement around GOOD IS UP. Although GOOD IS UP can be considered a single metaphoric idea, the picture the reader builds up as they move line by line through this text is complex and multifaceted. I take the idea of “building up a picture” literally in order to investigate the schema of motion relating to GOOD IS UP. To do this, fifteen informants (Masters students at a London university), tutored in Cognitive Metaphor Theory, were asked to read the article and underline words and expressions they felt related to GOOD IS UP. The text was then read back to the informant with emphasis given to the words they had underlined, while they drew a pictorial representation of the article based on the meanings of these words, integrating their drawings into a single picture as they went along. I present examples of the drawings the informants produced. I propose that using Metaphor-led Discourse Analysis to produce visual material in this way offers useful insights into how metaphor contributes to meaning making at text level. It shows how a metaphoric idea, such as GOOD IS UP, provides the text producer with a rich and versatile meaning-making resource for constructing text; and gives a ‘mind-map’ of how certain aspects of a media text are decoded by the text receiver. It also offers a partial representation of the elusive, intermediate ‘deverbalized’ stage of translation (Lederer 1987), where the sense of the source text is held in the mind before it is transferred to the target language. References Cameron, L., R. Maslen, Z. Todd, J. Maule, P. Stratton & N. Stanley. 2009. ‘The discourse dynamic approach to metaphor and metaphor-led analysis’. Metaphor and Symbol, 24(2), 63-89. Cameron, L. & R. Maslen (eds). 2010. Metaphor Analysis: Research Practice in Applied Linguistics, Social Sciences and Humanities. London: Equinox. Cameron, L. & J. Stelma. 2004. ‘Metaphor Clusters in Discourse’. Journal of Applied Linguistics, 1(2), 107-136. Deignan, A., J. Littlemore & E. Semino. 2013. Figurative Language, Genre and Register. Cambridge: Cambridge University Press. Koller, V. 2003. ‘Metaphor Clusters, Metaphor Chains: Analyzing the Multifunctionality of Metaphor in Text’. metaphorik.de, 5, 115-134. Lederer, M. 1987. ‘La théorie interprétative de la traduction’ in Retour à La Traduction. Le Francais dans Le Monde. Semino, E. 2008. Metaphor in Discourse. Cambridge: Cambridge University Press. Semino, E., A. Deignan & J. Littlemore. 2013. ‘Metaphor, Genre, and Recontextualization’. Metaphor and Symbol. 28(1), 41-59.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.

Audio games: investigation of the potential through prototype development

This article discusses the potential of audio games based on the evaluation of three projects: a story-driven audio role-playing game (RPG), an interactive audiobook with RPG elements, and a set of casual sound-based games. The potential is understood, both in popularity and playability terms. The first factor is connected to the degree of players’ interest, while the second one to the degree of their engagement in sound-based game worlds. Although presented projects are embedded within the landscape of past and contemporary audio games and gaming platforms, the authors reach into the near future, concluding with possible development directions for this non-visual interactive entertainment.

Marvel Cinematic Universe in translation: a study of intertextual coherence and inter-filmic discourse

The primary objective of the present thesis was to determine the extent of intertextual coherence and inter-filmic discourse retained in the Finnish DVD subtitles of the first twelve feature films set in the Marvel Cinematic Universe and ten episodes of the first season of Agents of S.H.I.E.L.D., a transmedia extension of the MCU. The cinematic world of Marvel was chosen as research data in this study for the inherence, abundance, and conspicuousness of its intertextuality. Two categories through which to retain intertextual coherence in translation were set as the premise of the study: 1) the consistent application of the same form of MCU-related proper names in translation and 2) the retention of MCU-related allusions in translation when the retention of the allusion is a strategic choice. The data was collected and analyzed primarily in this juxtaposition. The examination of the gathered data and the set research questions necessitated the division of audiovisual allusions into three categories: verbal visual allusions, secondary spoken allusions, and primary spoken allusions, the last of which was further divided into ambiguous and unambiguous types. Because of their qualitative inadequacies, unambiguous primary spoken allusions were not eligible as data in the present study. 33.3 percent of the proper names qualified as data were translated consistently in each installment they were referenced. In terms of allusions, 76.2 percent of the qualified source-text instances were retained in translation. The results indicate that intertextual elements are more easily identified and retained within the context of one narrative than when this requires the observation of multiple connected narratives as one interwoven universe.

Perceção de emoções no canto: a importância dos estímulos auditivo e visual

Este estudo pretendeu examinar a importância dos estímulos auditivo (interpre-tação vocal do cantor) e visual (expressão facial do cantor) na perceção de emo-ções pelo público de uma performance de canto. Para tal, foram gravados, atra-vés de vídeo e áudio, dois cantores a interpretar pequenas frases melódicas com a intenção de expressar, isoladamente, as seis emoções básicas: alegria, tristeza, raiva, medo, surpresa e nojo. Para validar a expressividade dos canto-res, foi medida, através de eletromiografia, a atividade dos músculos faciais du-rante a performance da emoção e foram apresentadas as gravações áudio a um painel de especialistas que as caracterizaram em termos acústicos. Com base nas gravações audiovisuais dos cantores, foi criado um teste percetual no qual se pretendia que o ouvinte reconhecesse a emoção comunicada a partir apenas do áudio, apenas do vídeo, ou ambos. Comparando as respostas dadas, os re-sultados evidenciaram que o estímulo visual é mais eficaz do que o auditivo, e que a junção dos dois estímulos é a modalidade mais eficiente na perceção de emoções pelo público de uma performance de canto.

Prototipo web para la creación de descripciones y reproducción de videos con audio descripción utilizando un sintetizador de voz

117 p.

Lost in translation? The potential psychobiotic Lactobacillus rhamnosus (JB-1) fails to modulate stress or cognitive performance in healthy male subjects

Background: Preclinical studies have identified certain probiotics as psychobiotics a live microorganisms with a potential mental health benefit. Lactobacillus rhamnosus (JB-1) has been shown to reduce stress-related behaviour, corticosterone release and alter central expression of GABA receptors in an anxious mouse strain. However, it is unclear if this single putative psychobiotic strain has psychotropic activity in humans. Consequently, we aimed to examine if these promising preclinical findings could be translated to healthy human volunteers. Objectives: To determine the impact of L. rhamnosus on stress-related behaviours, physiology, inflammatory response, cognitive performance and brain activity patterns in healthy male participants. An 8 week, randomized, placebo-controlled, cross-over design was employed. Twenty-nine healthy male volunteers participated. Participants completed self-report stress measures, cognitive assessments and resting electroencephalography (EEG). Plasma IL10, IL1β, IL6, IL8 and TNFα levels and whole blood Toll-like 4 (TLR-4) agonist-induced cytokine release were determined by multiplex ELISA. Salivary cortisol was determined by ELISA and subjective stress measures were assessed before, during and after a socially evaluated cold pressor test (SECPT). Results: There was no overall effect of probiotic treatment on measures of mood, anxiety, stress or sleep quality and no significant effect of probiotic over placebo on subjective stress measures, or the HPA response to the SECPT. Visuospatial memory performance, attention switching, rapid visual information processing, emotion recognition and associated EEG measures did not show improvement over placebo. No significant anti-inflammatory effects were seen as assessed by basal and stimulated cytokine levels. Conclusions: L. rhamnosus was not superior to placebo in modifying stress-related measures, HPA response, inflammation or cognitive performance in healthy male participants. These findings highlight the challenges associated with moving promising preclinical studies, conducted in an anxious mouse strain, to healthy human participants. Future interventional studies investigating the effect of this psychobiotic in populations with stress-related disorders are required.

Augmented Audiovisual Translation: the Perks and Perils of the Implementation of Artificial Intelligence in Subtitling and Dubbing

This thesis examines the state of audiovisual translation (AVT) in the aftermath of the COVID-19 emergency, highlighting new trends with regards to the implementation of AI technologies as well as their strengths, constraints, and ethical implications. It starts with an overview of the current AVT landscape, focusing on future projections about its evolution and its critical aspects such as the worsening working conditions lamented by AVT professionals – especially freelancers – in recent years and how they might be affected by the advent of AI technologies in the industry. The second chapter delves into the history and development of three AI technologies which are used in combination with neural machine translation in automatic AVT tools: automatic speech recognition, speech synthesis and deepfakes (voice cloning and visual deepfakes for lip syncing), including real examples of start-up companies that utilize them – or are planning to do so – to localize audiovisual content automatically or semi-automatically. The third chapter explores the many ethical concerns around these innovative technologies, which extend far beyond the field of translation; at the same time, it attempts to revindicate their potential to bring about immense progress in terms of accessibility and international cooperation, provided that their use is properly regulated. Lastly, the fourth chapter describes two experiments, testing the efficacy of the currently available tools for automatic subtitling and automatic dubbing respectively, in order to take a closer look at their perks and limitations compared to more traditional approaches. This analysis aims to help discerning legitimate concerns from unfounded speculations with regards to the AI technologies which are entering the field of AVT; the intention behind it is to humbly suggest a constructive and optimistic view of the technological transformations that appear to be underway, whilst also acknowledging their potential risks.

The future of dubbing: an overview of the new technologies

Throughout the years, technology has had an undeniable impact on the AVT field. It has revolutionized the way audiovisual content is consumed by allowing audiences to easily access it at any time and on any device. Especially after the introduction of OTT streaming platforms such as Netflix, Amazon Prime Video, Disney+, Apple TV+, and HBO Max, which offer a vast catalog of national and international products, the consumption of audiovisual products has been on a constant rise and, consequently, the demand for localized content too. In turn, the AVT industry resorts to new technologies and practices to handle the ever-growing workload and the faster turnaround times. Due to the numerous implications that it has on the industry, technological advancement can be considered an area of research of particular interest for the AVT studies. However, in the case of dubbing, research and discussion regarding the topic is lagging behind because of the more limited impact that technology has had on the very conservative dubbing industry. Therefore, the aim of the dissertation is to offer an overview of some of the latest technological innovations and practices that have already been implemented (i.e. cloud dubbing and DeepDub technology) or that are still under development and research (i.e. automatic speech recognition and respeaking, machine translation and post-editing, audio-based and visual-based dubbing techniques, text-based editing of talking-head videos, and automatic dubbing), and respectively discuss their reception by the industry professionals, and make assumptions about their future implementation in the dubbing field.

Advancing Bag-of-visual-words Representations For Lesion Classification In Retinal Images.

Diabetic Retinopathy (DR) is a complication of diabetes that can lead to blindness if not readily discovered. Automated screening algorithms have the potential to improve identification of patients who need further medical attention. However, the identification of lesions must be accurate to be useful for clinical application. The bag-of-visual-words (BoVW) algorithm employs a maximum-margin classifier in a flexible framework that is able to detect the most common DR-related lesions such as microaneurysms, cotton-wool spots and hard exudates. BoVW allows to bypass the need for pre- and post-processing of the retinographic images, as well as the need of specific ad hoc techniques for identification of each type of lesion. An extensive evaluation of the BoVW model, using three large retinograph datasets (DR1, DR2 and Messidor) with different resolution and collected by different healthcare personnel, was performed. The results demonstrate that the BoVW classification approach can identify different lesions within an image without having to utilize different algorithms for each lesion reducing processing time and providing a more flexible diagnostic system. Our BoVW scheme is based on sparse low-level feature detection with a Speeded-Up Robust Features (SURF) local descriptor, and mid-level features based on semi-soft coding with max pooling. The best BoVW representation for retinal image classification was an area under the receiver operating characteristic curve (AUC-ROC) of 97.8% (exudates) and 93.5% (red lesions), applying a cross-dataset validation protocol. To assess the accuracy for detecting cases that require referral within one year, the sparse extraction technique associated with semi-soft coding and max pooling obtained an AUC of 94.2 ± 2.0%, outperforming current methods. Those results indicate that, for retinal image classification tasks in clinical practice, BoVW is equal and, in some instances, surpasses results obtained using dense detection (widely believed to be the best choice in many vision problems) for the low-level descriptors.

Visual Navigation In The Neotropical Ant Odontomachus Hastatus (formicidae, Ponerinae), A Predominantly Nocturnal, Canopy-dwelling Predator Of The Atlantic Rainforest.

The arboreal ant Odontomachus hastatus nests among roots of epiphytic bromeliads in the sandy forest at Cardoso Island (Brazil). Crepuscular and nocturnal foragers travel up to 8m to search for arthropod prey in the canopy, where silhouettes of leaves and branches potentially provide directional information. We investigated the relevance of visual cues (canopy, horizon patterns) during navigation in O. hastatus. Laboratory experiments using a captive ant colony and a round foraging arena revealed that an artificial canopy pattern above the ants and horizon visual marks are effective orientation cues for homing O. hastatus. On the other hand, foragers that were only given a tridimensional landmark (cylinder) or chemical marks were unable to home correctly. Navigation by visual cues in O. hastatus is in accordance with other diurnal arboreal ants. Nocturnal luminosity (moon, stars) is apparently sufficient to produce contrasting silhouettes from the canopy and surrounding vegetation, thus providing orientation cues. Contrary to the plain floor of the round arena, chemical cues may be important for marking bifurcated arboreal routes. This experimental demonstration of the use of visual cues by a predominantly nocturnal arboreal ant provides important information for comparative studies on the evolution of spatial orientation behavior in ants. This article is part of a Special Issue entitled: Neotropical Behaviour.