Not Satisfied With the Blood Remain Friends: The Frankenstein Translation Game

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Today we consider reading as a game. Actually, I don’t consider reading to be a game, but perhaps the most serious thing around. At least the most serious way to impart and take in information. Nevertheless I can easily immerse myself into the game of “Translation Wars,” where we take something memorable and make it unintelligible. Move from one language to the next and on to the next using the wonderful bait-and-switch of automated Internet translation. Like that age-old game of Telephone, where we whispered into the ear of a friend and they whispered to another and then onto another, now we let the machine do the talking. And let’s see just what corner it talks itself into….

On the 200th anniversary of Mary Shelley’s first visit to Castle Frankenstein, let’s see what the Wizard of Internet does with the famous encounter between the good Doctor and his Creature, traveling through one language to the next and then to the next and eventually back to the English in which we began.

Robert Cametti Frankenstein Heads art project for St. Jude's Charity

Original:

“Devil,” I exclaimed, “do you dare approach me? And do not you fear the fierce vengeance of my arm wreaked on your miserable head? Begone, vile insect! Or rather, stay, that I may trample you to dust! And, oh! That I could, with the extinction of your miserable existence, restore those victims whom you have so diabolically murdered!”

“I expected this reception,” said the daemon. “All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind. If you will comply with my conditions, I will leave them and you at peace; but if you refuse, I will glut the maw of death, until it be satiated with the blood of your remaining friends.”

French:

“Diable”, m’écriai-je, “avez-vous osé s’approcher de moi? Et ne craignez-vous pas la vengeance féroce de mon bras semé sur votre misérable tête? Va-t’en, insecte vil! Ou plutôt, séjour, afin que je puisse vous piétiner dans la poussière! Et , oh! que je pouvais, avec l’extinction de votre existence misérable, restaurer ces victimes que vous avez si diaboliquement assassinés! ”

“Je m’attendais à cette réception”, a déclaré le démon. “Tous les hommes détestent les misérables; alors, comment dois-je détestais, qui suis misérable au-delà tous les êtres vivants Pourtant, vous, mon créateur, détestent et méprisent moi, ta créature, à qui tu es lié par des liens que dissoluble par l’anéantissement! l’un de nous. vous but de me tuer. Comment osez-vous le sport ainsi avec la vie? Faites votre devoir envers moi, et je vais faire le mien vers vous et le reste de l’humanité. Si vous vous engagez à respecter mes conditions, je vais les laisser et vous en paix;. mais si vous refusez, je vais assouvir la gueule de la mort, jusqu’à ce qu’il soit rassasié avec le sang de vos amis qui restent ”

German:

“Devil “, rief ich , ” kannst du es wagen mich zu nähern ? Und glauben Sie nicht den harten Rache meinen Arm auf Ihrem elenden Kopf gepflanzt fürchten? Begone , abscheuliche Insekten ! Oder eher , Wohnzimmer, so kann ich Ihnen in den Staub trampeln ! Und, oh , ich könnte , mit dem Erlöschen des kümmerliches Dasein , Wiederherstellung dieser Opfer den du so teuflisch ermordet zu haben ! ”

“Ich erwartete diesen Empfang “, sagte der Dämon. “Alle Menschen hassen die elenden , also wie soll ich hasste , der elend jenseits aller Lebewesen bin Doch du, mein Schöpfer, verabscheue und verachte mich , dein Geschöpf , dem du bist durch die Bande gebunden , dass auflösbar durch Vernichtung ! einer von uns. ihr mich zu töten . Wie können Sie es wagen und den Sport mit Leben? tun Sie Ihre Pflicht auf mich zu, und ich werde mir auf Sie und den Rest der Menschheit zu tun . Wenn Sie einverstanden, dass meine Begriffe , werde ich euch und Friede lassen . , aber wenn Sie sich weigern , werde ich die Klauen des Todes zu stillen , bis es mit dem Blut von deinen Freunden zufrieden ist bleiben ”

Russian:

” Дьявол “, я воскликнул: ” Вы смеете подходить ? И не верьте суровую месть мою руку посадили на вашем несчастной головы страха? Прочь , отвратительные насекомые ! Вернее , в гостиной , чтобы я мог растоптать в пыль ! И, о , я мог , что вы убили так дьявольски с вымиранием жалкое существование , восстановить эти жертвы ! ”

“Я ожидал, что этот прием , ” сказал демон . ” Все мужчины ненавидятнесчастен, так как я должен ненавидел кто я несчастен за всех живых существ не менее вы , мой создатель терпеть , и презирать меня , твой существо , которому вы обязаны узами , что разрешимых путем уничтожения! Любой из нас . ей убить меня . Как ты смеешь и спорта с жизнью ? выполнять свой долг по отношению ко мне , и я собираюсь сделать с тобой и остальным человечеством . , если вы согласны на мои условия , я дам тебе и Мир может . , но если вы откажетесь, я остановлюсь челюсти смерти , пока она не удовлетворена кровью друзьями остаться ”

Esperanto:

” Diablo, ” mi kriis , “Vi kuraĝas tuŝi ? Kaj ne kredu la malmolajn venĝo metas mian manon sur vian kapon mizera timo ? Away , naŭza insektojn ! Prefere en la salono do mi povus dispremi en polvon ! Kaj, ho, mi povis vi mortigis tiom damninda formorto mizeran ekziston , restarigi tiujn viktimojn ! ”

” Mi atendas ĉi akceptejo ,” diris la demono . ” Ĉiuj homoj nenavidyatneschasten , ĉar mi malamas kiun mi estis mizera por ĉiuj vivantaj estaĵoj tamen vi , mia kreinto rezistos, kaj malestimas min, via infanino, al kiuj vi ligis per obstakloj kiujn solvebla per detruo ! Ĉiuj el ni. Ŝia mortigi min. kiel vi kuraĝas sporto kaj vivo ? fari vian devon al mi, kaj mi faros kun vi kaj la resto de la homaro . , se vi konsentos miajn terminojn, kaj mi donos al vi Pacon povas. , sed se vi rifuzos , mi ĉesos makzelo morto ĝis ŝi ne estas kontenta kun sango restos amikoj ”

Finnish:

“Devil”, huudahdin, “Sinä uskalla pelata? Ja usko ankara kosto laittaa käteni pään kurja pelko? Away, ilkeä hyönteisiä! Edullisesti huoneessa niin voisin murskata tomuksi! Ja oi, voisin olla sinun tappoi niin pirun sukupuuttoon kurjaa olemassaoloa, palauttaa ne uhrit! ”

“Odotin tätä vastaanoton”, sanoi demoni. “Kaikki ihmiset nenavidyatneschasten, koska vihaan, että olin onneton kaikkien elävien olentojen, mutta minun luoja kestää, halveksi minua, olento, jolle sinä olet sidottu siteitä, jotka liukenee tuhoa! Jokainen meistä. Hänen tappaa minut. Kuten uskallat urheilun ja elämän? tee velvollisuus minua, ja minä teen sinun kanssasi ja muut ihmiset., jos hyväksyt ehtoni, ja minä annan sinulle rauhaa., mutta jos kieltäydyt, en lakkaa leuan kuolemaan saakka hän ei ole tyytyväinen veren pysyä ystävinä ”

and back to its mother tongue:

“Devil,” I exclaimed, “You’re afraid to play? And believe harsh reprisals put my hand on the head of a miserable fear? Away, nasty insects! Preferably in the room so I could crush into dust! And oh, I could have you killed so damn extinction miserable existence, restore those victims! ”

“I expected this reception,” said the demon. “All the people nenavidyatneschasten, because I hate that I was unhappy with all living things, but I take my God, despise me, creature, to whom thou art bound by ties that dissolves destruction! Each one of us. His killing me. As you dare to sport and life? Obliged to make me, and I will do business with you and other people., if you agree to my terms, and I will give you peace of mind., but if you refuse, I will never cease until the death of the jaw, he is not satisfied with the blood remain friends ”

And hear you may listen to the babelized mix, with the additions of Turkish and simplified Chinese mixed in…

And what can this teach us? That all the world’s a book, and stories are like monsters that take on a life of their own as we tell and retell them?

I’m not sure. But it sure is fun.

translation ableton

 

Let’s All Play the Bass Clarinet

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“Why, I just met someone in Geneva who is interested in meeting you,” said my friend Bendik, president of the World Composers Association. “Like you, he’s obsessed with bass clarinets.”

“Well, there are a few of us clarinet nerds around,” I smiled.

“I think you might want to talk to this guy.  He’s the chief copyright lawyer for Google.”

bass clarinet in parts

Bill Patry lives in a quite modest suburban house. Half of it is immaculate and organized. “That’s my wife’s half.” He seems proud. “She’s a caterer.” The other half is a complete mess: piles of papers everywhere, hundreds of clarinet mouthpieces, gold plated bass clarinet necks, clarinet stands, sheet music, various giant screen monitors. The two parts of the house are divided by a single book sitting on a shelf, one book in eight volumes about U.S. copyright law, thousands of pages—the largest single work on this subject ever written.

“Try this one,” he beamed, holding up a rare clarinet mouthpiece. “Beautiful, isn’t it? And now this one. And now this one.” So many beautiful clarinet accessories.

“So how do you work here?” I asked. “Do you practice the bass clarinet for a few hours, then swivel your chair to this computer here and work for a while, and then back? Do you carefully organize your time?”

“Not at all,” Bill said. “Maybe I’ll play a little, jump to the computer a little, jump back, practice a new piece, try a new reed, a new mouthpiece. Not very disciplined at all.”

“And do you ever go to the office?”

“Not if I can help it. Got everything I need right here.”

“So what is your job exactly?”

“Well, think of all the information coursing around on the Internet. Someone owns the rights to many pieces of that information. And we are trying to develop a way for those who own the rights to get paid every time someone accesses that information.”

That’s a tough challenge for our information economy. Maybe the biggest intellectual property dilemma of our age. Almost as hard as playing the bass clarinet.

clarinet mouthpieces

I have no doubt that a copyright lawyer can learn a lot from playing the bass clarinet on and off throughout the day, but I’m not sure what. And I know the publishing industry has learned something from the music industry in figuring out how to digitize itself and still convince people to pay for something that courses freely through the digital world. As recorded music courses freely over the virtual waves, files of texts which take even less space are somehow being more widely sold and less widely stolen, because the industry has created ways in which people seem happy enough to buy and read them. I believe people who value culture should pay for culture, as much as we can afford—if for no other reason, to prove that we do value it. My students want to steal as much software and music as they can, but they also realize there is something morally and legally wrong about the practice. They wrongly believe that most of the musicians whose work they love are rich, and don’t need money from fans. Sometimes a little basic economics lesson is in order.

The popular cellist Zoë Keating has been very forthcoming in releasing the details of the money she makes through various forms of electronic media sales. She does quite well by independent music standards. On iTunes she sold 32,170 tracks and 3862 albums, earning her $38,195. On Spotify 403,035 streams earned her just $1,764, and 1.9 million YouTube views earned her $1,248. So on Spotify, she earned $0.0044 per stream, and on YouTube $0.00064 per stream.

It is quite instructive to read such figures. For all the music we can instantly access by streaming for a reasonable subscription fee, the artists get almost nothing. It’s close to stealing, and only Spotify is raking in the bucks.

Clearly Patry and his employer have yet to implement their system to fairly compensate artists through the magical Internet of possibilities.

I try to tell everyone I know who claims to care about culture to pay for it whenever they can afford to. If you like someone’s music, buy one of their songs. Show some love, put in a dollar. They will appreciate it.

I just heard today from a newly minted PhD philosophy graduate that most of her friends in academia spend their browsing time scouring Russian websites to download free copies of overpriced academic books that only a few people in the world can really understand or really want to read.

Now if these people are stealing books, why would anyone want to pay to publish them? I know we didn’t get into this life of words and music to make money, but it’s still nice to earn a living from the world and work of stories and ideas.

Pay what you can. And pass me that next mouthpiece…ah, you’re right, it really does sound beautiful.

7903

Is It Long Enough to Grab My Attention?

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With all this hand-wringing about how no one has any attention span left anymore, that people only read on their phones while walking from the car into the house, or in those few moments in between checking Facebook and writing a hundred text messages an hour, I wonder why I just don’t feel such pressures.

When I think about deciding to read something I wonder: Is it long enough my attention? Or will I just get into the story and find that it is suddenly over? I don’t want to jump from screen to screen and story to story. I’d rather be seduced by the simple flow of words. I want to begin at the beginning and be lured on to follow the tale to its end, an end that shouldn’t come too soon. Otherwise why even begin?

I don’t think I’m the only one to feel this way. Long novels still get written, and still get read. People do want to get immersed in the story. In fact, it might be the most immersive stories that best survive the transition from printed page to swiping screen. If you care enough about what will happen next, then you stop noticing what it is you are reading on and get carried away by the way the action finds itself in words.

Writing held firmly in the firmament of words has always seemed more pure than media, which wants to immerse us in worlds by giving us extra fixes on the imagination that perhaps we don’t really need: pictures, movies, and sound that may add to the experience but distract from the purity of language working on its own.

We are supposed to be talking about design in this sprint and all of us seem to agree that electronic books are under-designed; that they do not use fonts, leading, line width, and line spacing to the best advantage. While giving the reader endless options for customization, they do not teach us what makes one book more beautiful than another.

But wait a minute—do I mean to say that how the book looks might be more important than what it says? I just finished arguing for the clarity of language as opposed to any ornamentation of what needs to be said, so who needs design? I’m learning here from John D. Berry, a fantastic book designer who has had a hand in the look of so many of the favorite titles on my home shelves, and he said one rather remarkable thing: You have to choose the line length only after delving into the way each author writes. Different language suggests different layout, and one shouldn’t give up on this opportunity when faced with the allure of digital convenience.

Whatever goes in to our three-day book jam, it should be designed in a unique and powerful form that gives an example of how the next generation of books might be fashioned, and conceived.

Why I’m Here

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Beyond the book, eh? What is more beyond than the book? What technology is as advanced as the book, and has lasted so long to collect and impart information for hundreds of years? Ancient tomes can still be read, still make sense. Microsoft Word can’t even open files that are ten years old. CD-ROMs and Zip drives are long forgotten. Digital technology ages faster than anything as much as it promises eternal life. Or maybe not. Is not the text the thing? Is not content the king? What about books is different than platforms, magazines, web pages, blogs?

I still think a book is a collection of information that the reader spends a sustained amount of time engaging with—hours, days, weeks. That can even happen with an e-book. Hell, I read Gregory David Roberts’ Shantaram (2003) on a first-generation Kindle (not sure why, exactly). In print that would have been 944 pages. Even in black on a gray screen, it held my attention. Only words, only words. I myself write books on music and nature, on aesthetics in evolution. On jamming with birds, whales, and insects. Many of my books have music attached. They used to include CDs but now the publishers say “let’s just offer a link for readers to download the music for free; CDs are an out-of-date technology.” Maybe so, but call me a dinosaur; I’m not ready yet to give my music away in an entirely virtual way. And the CD for Bug Music has sold nearly as many copies as the book, so go figure.

Still, I envision new reading experiences that incorporate music and imagery. I made a PDF e-book of Bug Music with color pictures that you can zoom in on far more than you could do in any printed book. Took about ten minutes to make, and looks great on an iPad. But the publisher said, “nice, but we can’t sell that.” Too specialized. I was disappointed, and hoped they could do a much better job designing such a thing than I could. (I’ll send a copy to any of you readers who asks me for one.)

I would like to see e-books that are beautifully designed in a uniquely electronic way. There will be newly luminous pictures, astonishing sounds that appear just when you read about them. When you increase or reduce the font size the whole design will adapt in intelligent, beautiful ways.

I guess I still see books as beautiful objects; I want to know and to love them, even in their ephemeral electronic forms. It just takes enough people thinking and scheming about it. Maybe that’s what we’ll accomplish here in the next few days. Who knows?