#why has he chosen to use us english when he is clearly writing in uk english

[oh2e]

The further into this book I copyedit, the more convinced I am that the English language should have one and only one correct way to spell any given word.

[clarestrand]

Deutsche Börse Photography Foundation prize Catalogue with text by Orit Gat.

The award will now be announced (virtually) on Sept 14th. For further info on how to join the webcast please consult The Photographers Gallery Website.

Image = Information

Orit Gat

1 A beginning

In Paris, an artist painting in a studio that used to be part of a monastery. She goes out and gets the largest drawing papers she can find. Surrounded by paint pots and brushes, it’s an image that belongs in a tradition of artists painting away in Parisian garrets, only this is not that story. What Clare Strand was painting in her Paris studio during a three-month residency at the Centre Photographique d'Ile-de-France in 2017 was a translation of pre-existing photographs that were ‘read’ to her over the phone by her husband in the UK. From across the English Channel, he would give her directions that would encode an image of his choosing, and she would paint it.

2 Transmission

Strand and her husband were following an existing model. The method they were using to transmit information was described in George H. Eckhardt’s ‘Electronic Television’, from 1936, in which he outlined how a photograph can be transmitted via code over telegraph. In this system, the original image is divided into a grid, with every square being given a value from 1 to 10. 1 is white, 2 has a tinge of grey, 3 is greyer, 4 darker and so on until 10, which is black. The initial source images from which Strand’s husband chose the images he would transmit to her were 10-by-8 inches, which they divided into a grid of forty-nine squares across and sixty down, each about 5 square millimetres. If it’s boring to read, imagine the couple’s phone conversations: he would call and say 24-2; 25-4; 26-5; and so on. Through conversation, with Strand following her husband’s direction, the language would form a representation of the original image. Like a human fax machine.

3 The result

Is a series of ten black-and-white paintings in acrylic on paper. The history of art brings forth associations and relations, from the development of the grid as a foundation for perspective in the Renaissance, to the nineteenth-century illusionism achieved through Pointillism. There are Gerhard Richter’s black-and-white paintings, László Moholy-Nagy’s telephone paintings, Agnes Martin’s feather-light grids. But the connection to the history of art crumbles in front of the actual framed paintings. They’re human, Strand says, as she reasserts that she is not a painter. They’re messy, imperfect. There are hairs that stuck to the paper, dust congealed into the paint. However, in installation shots of the whole series, they look like another kind of work. Photographed, the paintings seem faultless: the black, white and grey hues reminiscent of aestheticized black-and-white photography; the paintings look clean, their edges not frayed, the small mistakes blend into the frame. It’s like they have two lives, as object and as image. When I ask Strand which one matters more, she answers, ‘I don’t know. What I find ironic is that, as much I try to push “photography” into different mediums, I can never escape the camera and how it operates as a tool of representation. With each press or catalogue reproduction, the paintings are represented as photographs, which is somewhat at odds with the concept of the work – photography transposing into painting only then to be represented by photography!’

4 Utility

To talk about the history of art and about installation shots is to ignore how the objecthood of the paintings depends on their creation. This series, titled The Discrete Channel with Noise, is at once the result of and the documentation of communication and its possible failures. Looking at the paintings, I want to say they look pixelated, but that would make them more photo than painting, more final product than process.

5 The first man who saw the first photograph

The relationship between painting and photography always makes me think of Roland Barthes writing in his essay on photography, Camera Lucida, that ‘The first man who saw the first photograph (if we except Niépce, who made it) must have thought it was a painting: same framing, same perspective. Photography has been, and is still, tormented by the ghost of Painting.’  Later in the book, he writes about photography’s relationship to reality, or to the document: ‘No writing can give me this certainty. It is the misfortune (but also perhaps the voluptuous pleasure) of language not to be able to authenticate itself.’ The photo as confirmation of fact. That fact, that reality, is communicated over phone lines in The Discrete Channel with Noise. When we look at a photograph, what we’re looking for, according to Barthes, is knowledge that a thing, an event, happened. He writes about Polish soldiers in a 1915 photo by André Kertész: ‘that they were there; what I see is not a memory, an imagination, a reconstitution, a piece of Maya, such as art lavishes upon us, but reality in a past state: at once the past and the real.’ What we see, in The Discrete Channel with Noise, is a story about reality rather than proof thereof.

6 Whizzing through the air

When I meet Strand, she hands me an assortment of notes. She’s hesitant about it for a minute, as if giving me homework rather than help. Or as if she expects communication can fail, and thinks a list of references may offer a way out of an impasse. The history of Morse code; pigeon post between Paris and England c. 1870–71; Eckhardt; Cybernetics founder Norbert Weiner and American mathematician Claude Shannon’s information theory, which gave The Discrete Channel with Noise its title: Strand’s research does not explain as much as expand the work. And then in the notes is a quote from the 1973 movie Charlie and the Chocolate Factory based on Roald Dahl’s writing, recreating Eckhardt’s transmission of images over radio. Here the character Mike Teavee, the winner of the fourth golden ticket, who loves this technology, explains: “You photograph something then the photograph is split up in to millions of tiny pieces and they go whizzing through the air, then down to your TV set when they are all put together in the right order” 

Mike Teavee, Charlie and the Chocolate Factory, Roald Dahl (1971).

That it is possible to share an image, and the labyrinthine process of it whizzing through the air is in line with Dahl’s 1971 book, in which the candy factory includes an impenetrable room-sized machine that, when operated, makes a lot of noise, takes a lot of time, and then produces a single bit of chewing gum. Unimpressive until someone chews it and realizes it is as nourishing as a three-course dinner: tomato soup, roast beef with baked potatoes, blueberry pie and ice cream for dessert.

Proof: the overcomplicated can sometimes be amazing. 

A lesson: also worth exploring.

7 Thirty-six images on a journey

The ten images in The Discrete Channel with Noise were chosen from a collection of thirty-six images Strand has compiled for a previous work, The Entropy Pendulum (2015), in which each of these photographs, which were taken from a tabloid newspaper’s archive, was eroded by the weight of a pendulum over the course of one day in an exhibition, then framed. Strand rephotographed the physical photos from the archive, creating a digital output that becomes a dataset ready for reuse. The subject of those images related to what Strand refers to as the subject of her work in general – magic, illusion, the paranormal, communication, transmission, the way people thought communication technologies were magical when they were first introduced, the way Alexander Graham Bell called the telephone a way to ‘talk with electricity’. How to read the transformation of these images through the process in The Discrete Channel with Noise These images are on a journey of losing and gaining information. The project is a metaphor, if not a realization, for what images do anyway: in flux, they move and shift in meaning.

8 Shifting in meaning

Why pay attention to shifts? Because shifts in context can mean that information is lost, or misused. An art historian friend of mine regularly points out that Alexander Nix, the founder and CEO of Cambridge Analytica, studied art history in university. Art matters, images matter, she wants to say. All channels of misinformation need to be decoded. Is there a present and a real, like Barthes thought there was in an only slightly less technological time than the one we occupy, today? Or is the subject of study now how realities are fractured across channels of communication?

9 An entire history of communication

The diagram used to explain Eckhardt’s ‘Electronic Television’ has a man sitting at a table in front of a large black-and-white image divided into a grid of a woman with short, curly hair who looks a bit like an early Hollywood film star. His sleeves are rolled up, his back a bit hunched, he is clearly concentrating. He holds a long pointer stick and taps information onto a device resting on the desk he is sitting at. The cable running from that device spirals into a growing network of telephone poles that reach a window, and from that window to a box on the wall, and straight from the box to a set of headphones that another man wearing a blazer (or is it a lab coat?) standing in front of a large grid, only partially completed with the recognisable top of the short-haired woman’s head. He holds a paint brush at the same spot the other man’s pointer is. Behind him on a table are 10 boxes of paint numbered from 1 (white) to 10 (black) and some paint brushes. The caption reads, ‘Fig. 26. A Simple Method for Sending Pictures by Wire or Radio.’

Visually, it matters that the example is always a woman and the transmitters and receivers are always men. The message is that even in new technologies, even in a new world, some old signals remain. That is what Eckhardt’s diagram exemplifies. An entire history of communication reinforces the idea of who gets to speak across these lines. It is therefore fitting that The Discrete Channel of Noise is structured and executed by a female artist.

10 A piece of Maya

When Barthes writes that ‘no writing can give me this certainty’, he is asserting photography’s relationship to what he calls ‘the real’. But as a writer, he must have known that it is the rest of the above-cited list – ‘a memory, an imagination, a reconstitution, a piece of Maya’ – that is one of the potentials of art: to reconstitute is a way of reimagining the world. After Cambridge Analytica, or in line with Charlie and the Chocolate Factory, I want to argue that the redefinition or the exploration of that real is the contemporary condition. We come to things with suspicion, some of which is about recognising the failures of the systems around us. But we also come to them with a sense of possibility, a remnant of the Maya or the three-course meal chewing gum: the idea that the world is a story, and it can be shared.

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Rebekah Vardy-Coleen Rooney Instagram feud: Why the football wives are fighting

As Britain descends into an increasingly bleak political horror show, today the country is delivering on its most famous export: Shakespearean drama. On the morning of October 9, two famous wives of major football (i.e. soccer) players were embroiled in an epic feud that just so happens to be deliciously suited to the era of Instagram Stories and private accounts. It’s the kind of splashy kerfuffle that forces people who previously had zero knowledge of or interest in a group of people or perhaps an entire sport to eschew all their responsibilities and learn everything they possibly can about it all in the span of a few hours.

This particular English Renaissance play stars two women, Coleen Rooney and Rebekah Vardy (who goes by Becky), both wives of footballers who played for the England national team. Like many WAGs (an acronym for the wives and girlfriends of athletes), the two were friends, and Rooney had trusted Vardy enough to be included on her private Instagram account, where Rooney would post personal updates about her friends and family.

But according to an operatic tweet posted by Rooney on Wednesday morning, which is at once a brutal damnation of Vardy’s actions and a master class in scene-setting and plot building, Vardy was selling those private stories to the press. “For a few years now someone who I trusted to follow me on my personal Instagram account has been consistently informing the Sun newspaper of my private posts and stories,” it begins.

“After a long time of trying to figure out who it could be, for various reasons, I had a suspicion,” Rooney writes. Here’s where it gets good: “To try and prove this, I came up with an idea. I blocked everyone from viewing my Instagram stories except ONE account.”

Coleen Rooney in 2018.

Max Mumby/Indigo/Getty Images

Rooney then writes that, over the last five months, she posted a series of fake pieces of information about her life to see if they ended up in the Sun. They did: On August 15, the Sun published a story about Rooney and her husband traveling to Mexico to seek controversial gender selection treatment. On September 28, the paper published a story about Rooney possibly joining the BBC reality show Strictly Come Dancing; a third piece about a supposed flood at the Rooney’s Cheshire mansion was also published by the Sun. (All these stories published in the Sun have since been taken down.)

Rooney writes that it was difficult to remain silent and refrain from commenting when the false stories spread about her but that it ultimately helped her find the culprit.

“I have saved and screenshotted all the original [Instagram] stories which clearly show just one person has viewed them,” she writes.

“It’s……. Rebekah Vardy’s account.”

By the time Americans were starting to wake up, the news had lit up British media. That’s not just because the British press is among the thirstiest in the world. It’s because the story had everything: a Notes app-esque manifesto, the genius weaponization of social media, the demonization of a woman named Becky, the exposure of shady tabloid inner workings, and yes, two very rich women fighting with each other, one of whom is widely beloved among football fans for “standing by her man” (Rooney) and one of whom is seen as a fame-hungry money-grubber (that’d be Becky). The Rooney-Vardy feud lets us all feel the kind of vindication of knowing a maybe-bad person is an actually-bad person; it allows us to share in Rooney’s catharsis as she closes her explosive note with the absolute perfect kicker. It’s ……. really great gossip.

Who are Coleen Rooney and Becky Vardy?

It has not been nearly as fun of a day for Becky Vardy, of course. Shortly after Rooney’s post was made public, she posted her own statement to Instagram denying the allegations, claiming that other people had access to her Instagram account and if only Rooney had called her when she first suspected that Vardy was leaking stories, she could have changed her passwords. “I don’t need the money, what would I gain from selling stories on you?” she wrote. “I liked you a lot Coleen & I’m so upset that you have chosen to do this, especially when I’m heavily pregnant. I’m disgusted that I even have to deny this.” Vardy has also reportedly tasked lawyers to conduct a “forensic investigation” on her Instagram account to find out who has access to it.

But for many who have followed both Vardy and Rooney for years, the two statements were vindication that their opinions about each woman were correct all along. “Becky Vardy has always been shady,” says SB Nation soccer writer Kim McCauley. “It’s very obvious she wants to take down Coleen because Coleen has always been the media’s favorite WAG, who got all the best TV spots, and Becky wants to take her place.”

Jamie and Becky Vardy in 2018.

Jan Kruger/Getty Images

“The Vardys are not nice people,” agrees Nicolle Zamora, who writes for the soccer site Unusual Efforts. She points to a series of racist statements both Becky and her husband Jamie Vardy have made in the past. Jamie has been caught on camera multiple times calling a person of Asian descent a racist slur; in 2014, Becky tweeted “Getting followed at 3am from work to your car by a weird black man has to be up there with one of the scariest moments ever!”

Becky in particular is also widely considered inappropriately fame-hungry — she was a cast member on the reality series I’m a Celebrity, Get Me Out of Here and regularly appears on talk shows like Loose Women, Good Morning Britain, and This Morning. Many have long suspected her of being the writer behind the Sun’s “Secret WAG” column, which covers football gossip from an anonymous WAG, which would solidify the link between Vardy and the Sun’s coverage of Rooney.

What adds insult to injury, Zamora adds, is that the Sun has a long and bitter history with the city of Liverpool, where both Coleen and her husband Wayne Rooney were born and raised (the Rooneys now live in the US, where Wayne plays for DC United). Since 1989, the people of Liverpool have boycotted the Sun for its false reporting on the horrific Hillsborough disaster, where 96 people were killed at an FA cup football game due to overcrowding inside the stadium.

Meanwhile, Coleen Rooney has long been royalty among football WAGs, once a part of the original queen WAG Victoria Beckham’s crew in the mid-aughts and now most known for being a mother and loyal wife during her husband’s various reported infidelities. People like her because, as London-based football fan Scott Perdue tells me over DM, she has a “humble background, stuck by her man, tries to stay out of the headlines.

“Coleen Rooney has absolutely bossed Rebekah Vardy,” he adds.

Why the Coleen Rooney-Becky Vardy feud is irresistible

But there is also something more universal going on with the Rooney-Vardy feud that’s pulling in even people totally unfamiliar with British WAG culture. Humans love stories about celebrities acting as investigative reporters of their own lives, and Rooney isn’t the first person to weaponize her social media accounts: Kim Kardashian has reportedly sent her friends fake photos of her newborn children to find out who is leaking information to the press. Fans, meanwhile, have started referring to Rooney as “Wagatha Christie” in admiration.

It might also simply be more banal than that. It’s refreshing, for once, to have a clear winner and a clear loser, to be able to root for one team without feeling sorry for the other. Ironically, this is also what can be so appealing about being a sports fan.

Charlotte Wilder of Sports Illustrated draws this parallel: “I’ve always said that sports are the greatest reality show. Even on reality TV, we assume that everything’s edited or manipulated. But you can’t have spoilers for a game, and there’s something really pure about that. And when the athletes’ lives mirror that unexpectedness, it’s thrilling to me.”

Wayne, Coleen, and son Kai Rooney in 2013.

Matthew Peters/Manchester United via Getty Images

Often, when we see athletes’ or celebrities’ lives play out in the press or on social media, there’s a tendency to assume what we’re seeing is in some way fabricated. The Rooney-Vardy feud, meanwhile, feels pure in its messiness. “A lot of times these athletes are very calculated because they know people are paying attention,” Wilder says. “And when done well, it becomes a master class in public relations. With something like this, [Rooney] knows she’s bulletproof, so she can take a risk. You don’t do this unless you’re pretty sure it’s not gonna backfire.”

Ultimately, what we’re talking about is leaked personal interest stories about the lives of famous people. “It’s still fairly petty,” Wilder laughs. “It’s not that there’s some horrible crime at the center of this, so it makes it a little more harmless to enjoy something like this. If it were really ugly and messy I would feel sad, but at this point, we can enjoy it.”

All of which makes Coleen Rooney and Becky Vardy the perfect distraction from literally everything else happening in the UK right now: a feud so neat and perfect it can be tied up with a bow, a Twelfth Night-style comedy of errors that writes itself where the good guy gets all the faves and the bad guy gets canceled. If nothing else, it beats talking about Brexit.

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[jetlaggedinparis]

The Translation Process

An Interview with Sam Taylor, English author and translator of French contemporary authors, Leïla Slimani, Joël Dicker, Laurent Binet, to name a few.

The importance of translation

For as long as I can remember, be it in its original version or translated in the languages I knew (English and French) I have only memorized the name of the author of a work of prose or poetry I had chosen to read and couldn’t care less for its translator, if there was one. When I read such masterpieces as ‘The Name of the Rose’ by Umberto Eco or ‘One Hundred Years of Solitude’ by Gabriel García Márquez, I took the words at face value and never wondered who had translated them. Translators were the unknown soldiers of my life in reading.

Over the years I would eavesdrop on such passing information that a particular Shakespeare’s play production was worth a re visit at a theatre in Paris as it was enjoying a ‘new better translated version’… why so? I had been fine with the previous versions! Although I was aware of the importance of translation, I was still not interested in the human and qualitative aspect of it.

Only recently did I realize that the translator should not be ignored and that his/her work should be as much acknowledged and valued as the writer’s. Indeed, it requires specific skills that not all bilingual people possess and the responsibility is immense.

Nowadays , there is definitely a trend of awareness as talk shows on books highlight their names and invite them more often, they’re clearly quoted in books reviews, and more and more books blogs have entire sections devoted to books in translation. Thanks to Carolyne Lee, a member of MyFenchLife™ community and translator herself, I discovered Asymptote Journal, described as ‘ the premier site for world literature in translation’.Finally, specific prizes for best translated books abound, especially in the English speaking world (Best Translated Book Award, Pen Translation Prize ,etc.).

The art of translating French into English :

In that respect, when MyFrenchLife™ launched last month a book club of recently-translated award winning or best-selling French novels, as a facilitator, I delved deeper into my new role, and became fascinated by the translation process. In my research, I came across Sam Taylor’ name on many occasions and not only because he was also the translator of our first book on the list ‘The Perfect Nanny’ or ‘Lullaby’ by Leïla Slimani. He had already translated other major recent French novels. I found his site and contact. Nothing could stop me then from submitting to him a few questions, which he kindly answered.

An interview of Sam Taylor, translator of French novels into English

1. What is your preferred title, the UK or the US one and were it Lullaby, did you have your word to say for The Perfect Nanny?

The different titles of the book in the US and the UK reflect different visions of what kind of book it is, I think, and most of all how it should be promoted. I preferred Lullaby because it sounds more literary, and it reads like a literary novel to me. But Penguin US aggressively promoted the book as a thriller, and for that angle The Perfect Nanny probably works better. Leila Slimani was happy with that approach, so who am I to argue? As it happens, the book has been a huge success on both sides of the Atlantic, so perhaps the title didn’t make much difference. Or perhaps both publishers chose the right title for their market?

2. How long did it take you to translate this novel? Were you in contact with Leïla Slimani ? Did she give you any direction?

It’s a fairly short novel, so it probably only took me four or five weeks - I can’t remember precisely. I never even exchanged an email with Leila Slimani, which is unusual. I think I put a few questions in comments on the Word document and the editor asked Leila those questions directly; I’m not sure why. But she seemed very laid back about translation issues.

3. Is it absolutely necessary for a translator to read the whole narrative in the original language before translating or do you have a particular way to proceed?

I think it’s preferable to read the whole book first, but it’s not necessary and it’s not always possible. I doubt it makes any difference to the finished translation - it just means you make fewer wrong turns (like word choices, for example) during the translation process.

4. With such a powerful story, that echoes many of people's personal fears - what makes an apparently normal human being turn into the most atrocious murderer- was is not difficult to just execute your work, unbiased, instead of being the would-be reader-investigator that Leïla Slimani forces us to be after the first chapter revelations ?

I don’t think a translator has to be neutral towards the book they’re translating. In fact, passion is a plus. Part of what you’re translating is the indefinable spark that pulses beneath the words, and if the book doesn’t affect you emotionally it’s more difficult to render that spark into English. I don’t love every book I translate, of course, but it’s always more fun when I do. The biggest emotional reaction I’ve had to a translation was with Antoine Leiris’s You Will Not Have My Hate, which made me cry several times. And I loved translating In Paris With You, so I’m really glad you’re thinking of recommending that to your book group. It’s the best translation I’ve done, I think, and it was also the freest, because it’s verse rather than prose. I hope you enjoy reading it as much as I enjoyed translating it…

I’m translating Leila Slimani’s next novel right now, by the way: Dans le jardin de l’ogre (English title still to be decided). I think it’s going to be even more controversial than the last one was!

It’s a whole new wor(l)d

I could not be happier with Sam Taylor’s answers and be grateful for the time he spent writing them. They are not only shedding light on many of my interrogations on his work but they are also bringing me to the doorstep of a new territory in reading. I will probably never again take a foreign book for granted in my mother tongue.