{"id":8555,"date":"2016-02-01T14:44:43","date_gmt":"2016-02-01T14:44:43","guid":{"rendered":"http:\/\/lab.wrkshp.fi\/huopaniemi\/?p=8555"},"modified":"2018-04-01T12:24:31","modified_gmt":"2018-04-01T10:24:31","slug":"4-2-frag-31-r","status":"publish","type":"post","link":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/4-2-frag-31-r\/","title":{"rendered":"4.2 Fragment 31"},"content":{"rendered":"<h1><em>4.2<\/em> Fragment 31<\/h1>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style><div id=\"gallery-1\" class=\"gallery galleryid-8555 gallery-columns-1 gallery-size-large\"><dl class=\"gallery-item\"><dt class=\"gallery-icon landscape\">\n\t\t\t\t<img width=\"1024\" height=\"640\" src=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-31-1024x640.jpg\" class=\"attachment-large size-large\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-7857\" srcset=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-31-1024x640.jpg 1024w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-31-300x188.jpg 300w, https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-content\/uploads\/2016\/02\/Fragment-31-768x480.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/dt>\n\t\t\t\t<dd class=\"wp-caption-text gallery-caption\" id=\"gallery-1-7857\">\n\t\t\t\tFragment 31. <em>Co-written by DAR and I.<\/em>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\"><\/div>\n\n<h3>Second Dialogue<\/h3>\n<p>I: In the second part of this thesis, we discuss the bodily and physical aspects of our writing methods. I do not know if it is a coincidence but I am exhausted after having read through it.<\/p>\n<p>DAR: We also deal with the imitation or enacting&nbsp;of the humanist scholar&nbsp;from the point of view of the body (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/15\/\">2.3<\/a> and <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/16\/\">2.4<\/a>).<\/p>\n<p class=\"p1\">I:&nbsp;That is true. Although when speaking of embodiment we are facing a tough challenge, already owing to the difficulty of translating the concept into Finnish (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/18\/\">2.6<\/a>). Perhaps it is this focus on embodiment that makes reading the second part physically strenuous.<\/p>\n<p>DAR:&nbsp;Can you specify what you mean?<\/p>\n<p>I:&nbsp;The physical-cognitive load of reading. Actually,&nbsp;I should speak of overload, because that is what my bodily sensations point to. Of course, we can hyper read it and perhaps avoid some of the strain, but close reading it in its entirety, in both languages and in all media, is really something of a feat.<\/p>\n<p>DAR:&nbsp;Is the work even meant to be read linearly from beginning&nbsp;to end? In that case, we could have just as well made a&nbsp;book out of it.<\/p>\n<p>I:&nbsp;Does anyone read books linearly from beginning&nbsp;to end anymore?<\/p>\n<p>DAR:&nbsp;That is how&nbsp;we have tried to read Hayles, at least initially.&mdash;Maybe your body was preparing so thoroughly to speak&nbsp;about embodiment&nbsp;that it grew tired.<\/p>\n<p>I:&nbsp;So, in this regard, I embodied&nbsp;the hypothesis of the physical effects of digital media?<\/p>\n<p>DAR: Perhaps it would be worthwhile thinking about whether we could have taken better account of the physical-cognitive load of the work when designing it. Even so, it seems to me that it could be much more thorough than it is in its current form. As in the Prologue, in part two many issues are left dangling in the air. With only a few exceptions, the algorithmic translations are not analyzed in any systematic or thorough way. Laughter and other physical effects of the writing methods are dealt with in <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/13\/\">2.1<\/a> but not much thereafter, at least not explicitly. In <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/13\/\">2.1<\/a>, we also introduce the concept of repurposing, never to return to it. The same goes for Lori Emerson&rsquo;s <em>readingwriting<\/em> (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/14\/\">2.2<\/a>).<\/p>\n<p>I: In other words, for you the work could you have been even more strenuous?<\/p>\n<p>DAR: If we had&nbsp;focused more rigorously on the chosen topics, we would not have had to perform as&nbsp;many new starts. That would have saved energy.<\/p>\n<p>I: In that case, the work would not have become as diverse&nbsp;and broad.<\/p>\n<p>DAR:&nbsp;Perhaps. One&nbsp;has to compromise.<\/p>\n<p>I:&nbsp;I disagree. I feel that in the second part we are more patient&nbsp;than in the Prologue. By this I mean that the second part is less of a series of textual gestures than&nbsp;the Prologue.&nbsp;Here we seem to be slowing down and closely reading some of the assertions on the physical effects of digital media. In particular, I am thinking of Carr and the discussion of the neural effects of Internet use. It spans over three whole fragments (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/15\/\">2.3<\/a>, <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/16\/\">2.4<\/a> and <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/17\/\">2.5<\/a>).&nbsp;Structurally, this differs quite a lot from the Prologue, in which few topics are discussed in more than one fragment.<\/p>\n<p class=\"p1\">DAR:&nbsp;I am willing to accept that. Yet there are some blatant exceptions. For example, we never return to the hypothesis of &ldquo;unintentional cognitive agency&rdquo; introduced in <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/19\/\">2.7<\/a>, although I am not at all clear on what &ldquo;unintentional&rdquo; designates in connection with cognition. Maybe this is because I do not follow Hayles&rsquo;s talk of &ldquo;non-conscious cognition&rdquo; (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Hayles, N. Katherine. 2012.&nbsp;&amp;lt;em&amp;gt;How We Think: Digital Media and Contemporary Technogenesis.&amp;lt;\/em&amp;gt; Chicago &amp;amp;amp;&nbsp;London: The University of Chicago Press.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/hayles-2012\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Hayles 2012<\/a>, 55, 87, 92, 94&ndash;96, 101&ndash;102, 104, 106) (<a class=\"glossaryLink cmtt_note-4-2en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Hayles develops her theory of non-conscious cognition in her next book &amp;lt;em&amp;gt;Unthought&mdash;The Power of the Cognitive Nonconscious&amp;lt;\/em&amp;gt;, which is, if possible, even broader in scope than &amp;lt;em&amp;gt;How We Think&amp;lt;\/em&amp;gt;. In &amp;lt;em&amp;gt;Unthought&amp;lt;\/em&amp;gt;, Hayles argues that the conscious processing of information has traditionally received too much attention at the expense of non-conscious cognition, which living beings and intelligent machines have in common. (Hayles 2017.)&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/4-2en1\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">4.2EN1<\/a>). An even more blatant example is that, in , you mention the first artistic part&nbsp;<i>love.abz<\/i>&nbsp;having dealt with being a &ldquo;dramatist in a post-dramatic world.&rdquo; We do not really take this into consideration at all.<\/p>\n<p>I:&nbsp;This formulation has been useful at some stage of the research, but it has not proven to be a question central to the research. In some sense, it could of course be argued that the research touches on post-dramatic work in which drama still has some role and function (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/6\/\">1.6<\/a> and <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/7\/\">1.7<\/a>). However, I agree with you that the focus of the research is elsewhere.<\/p>\n<p>DAR:&nbsp;Perhaps the allusion&nbsp;might have been omitted?<\/p>\n<p>I:&nbsp;That did cross my mind.<\/p>\n<p>DAR:&nbsp;Speaking of drama, it is amazing to me how little attention we attach to the autobiographical nature of your play,&nbsp;<em>An ABZ of Love<\/em>, and to what it means to repeatedly machine translate such a text. Also, we do not deal with the metafictional devices you employ in the play,&nbsp;above all the use of the actual names of&nbsp;real-life individuals&nbsp;(including your own).<\/p>\n<p>I:&nbsp;This has been a conscious choice on my part.&nbsp;The incorporation of translation and digital media has changed the direction of the research completely. Originally, my intention was to enquire into autobiographical playwriting and, in particular, its&nbsp;problematic as an artistic strategy (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Huopaniemi, Otso. 2007.&nbsp;&amp;quot;Selfploitation within the Context of Playwriting.&rdquo; Artistic research plan, Theater Academy Helsinki.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/huopaniemi-2007\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Huopaniemi 2007<\/a>). Translation changed all this. I am fond of thinking that translation saved the research from autobiography, although the use of&nbsp;<em>An ABZ of Love<\/em> as one of its textual starting points obviously contradicts this, as do the autobiographical elements of this thesis (e.g. the cyborg messenger anecdote in <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/17\/\">2.5<\/a>).<\/p>\n<p>DAR:&nbsp;Fair enough, but I think that the ethical implications of the continuous back and forth&nbsp;translation of a play that deals with your life are left untreated.<\/p>\n<p>I:&nbsp;Would it have made a difference if the play had not been autobiographical? I have not wanted to construct a&nbsp;dichotomy between human and machine translation in this respect, especially since they ultimately merge in this&nbsp;study.&nbsp;Nor do I believe that machine translation will replace human translation, even if it continues to change human translation practices as it evolves. Automatization transforms translation as it does so many other forms of cognitive work. In light of this research, essential in the relationship between natural languages and their computational processing is the algorithmization Frederik Kaplan refers to:&nbsp;how algorithms change natural languages &#8203;&#8203;by making them more useful for&nbsp;algorithmic systems (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Kaplan, Frederic. 2014. &amp;quot;Linguistic Capitalism and Algorithmic Mediation.&rdquo; &amp;lt;em&amp;gt;Representations&amp;lt;\/em&amp;gt; 127: 57&ndash;63.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/kaplan-2014\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Kaplan 2014<\/a>, 59&ndash;62). Even the various&nbsp;machine translations of a single play may&nbsp;give us indications of the direction in which development is going in this respect.<\/p>\n<p>DAR:&nbsp;If we look more closely at the second part, in&nbsp;<a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/15\/\">2.3<\/a> you bring up the parasitic relationship of the artistic and the humanist researcher. Are both parasitical in this case and where does the need for parasitization arise from?<\/p>\n<p>I:&nbsp;Humanistic and artistic researchers are vulnerable creatures, as&nbsp;they work in fields that are very susceptible to fluctuations in political and economic trends. In addition, they embrace a common source, that is, works of art. In this regard, I find it interesting and remarkable that as eager as we are to seize on the anecdotes Hayles tells in her book, we do not deal at all with her&nbsp;case studies of artworks (Hayles discusses the multimedia works of Steve Tomasula, Steven Hall, and Mark Danielewski, among others). It is as if we were happy to engage with Hayles&rsquo;s theoretical arguments and the anecdotes illustrating them, but when it comes time to deal with works of art, we replace her case studies with descriptions of our own work. Obviously, this is also indicative of the nature and dynamic of the parasitical relationship.<\/p>\n<p>DAR:&nbsp;In <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/15\/\">2.3<\/a>, you also mention writing with and against Hayles. I understand this in regard to the thesis&nbsp;as a whole. However, do we actually ever write against Hayles or only with her? In other words, do we ever question Hayles&rsquo;s arguments and starting points?<\/p>\n<p>I:&nbsp;I think we do view them critically. In this regard, I refer in particular to how we experiment with and assess her assertions on embodied and extended cognition in <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/19\/\">2.7<\/a> and <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/20\/\">2.8<\/a>. Rather than simply accepting or refuting her claims, we put them to the test by attempting to apply them to the writing methods we have developed. Complete compatibility between an individual theory and artistic practice is neither possible nor desirable. Crucial to the relationship of practice and theory is how practice can act as a lens through which the affordances and limitations of theories are evaluated (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/20\/\">2.8<\/a>).<\/p>\n<p>DAR:&nbsp;There is another aspect to this writing with and against, the mimetic aspect, enacting the other. You mention this in relation to Carr (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/16\/\">2.4<\/a>). Could you expand on why it is necessary to enact the other in order to establish one&rsquo;s own position? Where does this need for discursive enactment stem from?<\/p>\n<p>I:&nbsp;You are really taking on the role of the interviewer this time, aren&rsquo;t you? Let us see if we cannot balance things out a bit before too long, in this regard. The mimetic game of the artistic researcher is related to the context in which they work, in this case between the performing arts and academia. In <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/25\/\">3.5<\/a>, I describe a process of tampering with the texts of another writer, which appears as a precondition for learning. Only after&nbsp;the artistic researcher has absorbed the text of&mdash;or adopted the writing technique of&mdash;the other, can they begin to distinguish between what belongs in their work&nbsp;and what not. This obviously only pertains to texts that are close enough in order to be absorbed or assimilated in this way. In other words, a certain affinity or translatability is necessary to begin with (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/3\/\">1.3<\/a>). At this point, making the distinction between body and text becomes more difficult, as adopting the figure of a text is akin to the process of assuming a physical figure or character. Once the figure has been successfully adopted, it can also be dropped.<\/p>\n<p>DAR:&nbsp;Do we also enact the machine translator? I ask because, in places, our text seems machine-like. We repeat, explicate and emphasize certain details with the persistence of a machine.<\/p>\n<p>I:&nbsp;It may be that we also enact&nbsp;algorithmic actors. Another possible explanation, however, is that continuous self-translation destabilizes our sense of language. The languages leak into each other in a way that complicates distinguishing between them. On many occasions, I have felt&nbsp;linguistically hampered by this.&nbsp;How about you?<\/p>\n<p>DAR:&nbsp;Similar questions have come to my mind, too. However, instead of self-translation I have sought an explanation from the hypermedia environment we have created. In other words, to what extent does the media environment itself, with its hyperstimuli, create this destabilization?<\/p>\n<p>I:&nbsp;I am inclined to think that it is rather&nbsp;related to the continuous cross-examination and reworking of one&rsquo;s own text characteristic of&nbsp;self-translation (see. <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/26\/\">3.6<\/a>). However, it is important that you take up the hypermedia environment because it relates directly to hyper reading (see <a href=\"http:\/\/actascenica.teak.fi\/huopaniemi-otso\/frag\/14\/\">2.2<\/a>). When adding hyperlinks to this work, I have often wondered whether I am destroying the very last chances&nbsp;of attentive reading. I refer here to the studies that Hayles and Carr reference, studies suggesting that hyperlinks can actually weaken reading comprehension by further fragmenting the reading process (Hayles 2012, 63; <a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Carr, Nicholas. 2010.&nbsp;&amp;lt;em&amp;gt;The Shallows:&nbsp;&amp;lt;\/em&amp;gt;&amp;lt;em&amp;gt;What the Internet Is Doing to Our Brains&amp;lt;\/em&amp;gt;. New York &amp;amp;amp;&nbsp;London: W. W. Norton &amp;amp;amp; Company.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/carr-2010\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Carr 2010<\/a>, 90).<\/p>\n<p>DAR:&nbsp;There are no hyperlinks in my adaptation, which is, however, due to technical constraints rather than my own desire. Rather than the impact of hyperlinks on reading comprehension, I have contemplated&nbsp;the role of algorithmic translation. Does the presence of algorithmic translation change the reading process in any way? Even if&mdash;or precisely because&mdash;the translation is noisy, does it shed light back on the original in a fashion that is productive? If the algorithmic translation could be considered to give the source text new or additional content, this would be an interesting variation of Walter Benjamin&rsquo;s idea of translation forming the &ldquo;afterlife&rdquo; of the original (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Benjamin, Walter. 1972.&nbsp;&amp;quot;Die Aufgabe des &Uuml;bersetzers.&rdquo; In &amp;lt;i&amp;gt;Gesammelte Schriften Bd. IV\/1&amp;lt;\/i&amp;gt;, ed. Tillman Rexroth, 9&ndash;21. Frankfurt\/Main: Suhrkamp.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/benjamin-2012\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Benjamin 1972<\/a>, 12).&nbsp;It is only through its numerous&mdash;potentially innumerable&mdash;translations that the source text&nbsp;gains significance, life, which is perhaps easier to imagine in the case of an unstaged and thus lifeless&nbsp;play such as <em>An ABZ of Love<\/em>.<\/p>\n<hr><p>DAR: Gender is another topic that we neglect to deal with almost completely, unless our silence is interpreted as a statement.<\/p>\n<p>I: What would it be a statement for?<\/p>\n<p>DAR: Exactly. As we discuss the relations of languages, bodies, and technologies fairly broadly, it is odd that we say nothing about gender. More specifically, how gender is determined by or in relation to algorithmic processes. This is all the more surprising when considering the impact Google&rsquo;s first translation of <em>An ABZ of Love<\/em> has on you.<\/p>\n<p>I: So you are referring to the gender chaos that results from Google&rsquo;s incapacity to infer from the context how to translate the gender-neutral Finnish pronoun <em>h&auml;n<\/em>. Undeniably, this has an enormous influence on me, and a very visceral one at that. The characters keep changing gender from one scene to another or even within a single scene. This if anything allows me to distance myself from my original intentions and to &ldquo;recover&rdquo; from the play and the experience it is based on.<\/p>\n<p>DAR: Surely, this could have easily led to a discussion of gender on a more general level?<\/p>\n<p>I: I find it surprising that you go as far back as <em>An ABZ of Love<\/em>. Certainly there are other, more immediate routes to this question, such as the question of DAR&rsquo;s gender. In Finnish, we are able to bypass this&mdash;again, thanks to <em>h<\/em><em>&auml;n<\/em>&mdash;, but in English it requires a somewhat more awkward construction.<\/p>\n<p>DAR: <em>They!<\/em><\/p>\n<p>I: Not to mention the synthetic voices and the question of their gender. To put it bluntly, why should a synthetic voice have a recognizable gender? And why do we favor &ldquo;female&rdquo; voices, foremost &ldquo;Satu&rdquo; and &ldquo;Ava&rdquo;?<\/p>\n<p>DAR: In your &ldquo;Dear Rita&rdquo; research exposition (<a class=\"glossaryLink cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Huopaniemi, Otso. 2015. &amp;quot;Dear Rita.&rdquo; &amp;lt;em&amp;gt;RUUKKU Studies in Artistic Research&amp;lt;\/em&amp;gt; (online journal). Accessed 6 April 2016. &amp;lt;a href=&amp;quot;https:\/\/www.researchcatalogue.net\/view\/159469\/229633&amp;quot;&amp;gt;www.researchcatalogue.net\/view\/159469\/229633&amp;lt;\/a&amp;gt;.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/huopaniemi-2015enb\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Huopaniemi 2015ENb<\/a>) the selection of voices is much more diverse. There you utilize a whole range of &ldquo;female&rdquo; and &ldquo;male&rdquo; voices.<\/p>\n<p>I: This also relates to how synthetic voices are created. Some utilize actual human voices, while others are fully synthetic, built from the ground up, as it were. The latter option requires far more work on behalf of the programmers, which gives us an idea of how arduous a process the construction of a virtual body is. As far as this thesis is concerned, the explanation for the limited amount of voices is partially technical: &ldquo;Satu&rdquo; is the only Finnish-language voice we have at our disposal. When creating <em>love.abz<\/em>, we also have a second Finnish voice, &ldquo;Mikko,&rdquo; which has later ceased to exist as a result of operating system updates. In English, the range of voices is far broader, although surprisingly enough many American English voices are quite modest in quality. &ldquo;Ava&rdquo; is clearly among the more operable ones.<\/p>\n<p>DAR: Technical issues aside, the question is do we, as a result of our choices, actually reinforce the prevailing cultural structure with regards to gender in and through our use of language?<\/p>\n<p>I: I would prefer to think that <em>they<\/em> is an attempt to break the binary structure, at least linguistically, and thus a marker of resistance. Google&rsquo;s context-blind translation challenges this structure by chance. We, on the other hand, attempt to do so by pointing to an as of yet unspecified third possibility. The boundaries between language and body vacillate here too. I can also confess that, in my ideal case&mdash;if my language skills were to allow it&mdash;this would be a tri- rather than bilingual work. While waiting for the German self-translation, we have to content ourselves with the current form (<a class=\"glossaryLink cmtt_note-4-2en\"  aria-describedby=\"tt\"  data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;I thank the pre-examiners of this work, Mika Elo and Riku Roihankorpi, for their critical remarks concerning gender.&lt;\/div&gt;\"  href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/4-2en2\/\"  data-mobile-support=\"0\"  data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex='0' role='link'>4.2EN2<\/a>).<\/p>\n<div class=\"viitteet\">\n<h5>Notes<\/h5>\n<p>4.2EN1<br>\nHayles develops her theory of non-conscious cognition in her next book <em>Unthought&mdash;The Power of the Cognitive Nonconscious<\/em>, which is, if possible, even broader in scope than <em>How We Think<\/em>. In <em>Unthought<\/em>, Hayles argues that the conscious processing of information has traditionally received too much attention at the expense of non-conscious cognition, which living beings and intelligent machines have in common. (<a class=\"glossaryLink cmtt_refer-fi cmtt_refer-en\" aria-describedby=\"tt\" data-cmtooltip=\"&lt;div class=glossaryItemBody&gt;Hayles, N. Katherine. 2017. &amp;quot;&amp;lt;em&amp;gt;Unthought &ndash;&nbsp;The Power of the Cognitive Nonconscious.&rdquo;&amp;lt;\/em&amp;gt; Chicago &amp;amp;amp; London: The University of Chicago Press.&lt;\/div&gt;\" href=\"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/glossary\/hayles-2017\/\" data-mobile-support=\"0\" data-gt-translate-attributes='[{\"attribute\":\"data-cmtooltip\", \"format\":\"html\"}]' tabindex=\"0\" role=\"link\">Hayles 2017<\/a>.)<\/p>\n<p>4.2EN2<br>\nI thank the pre-examiners of this work, Mika Elo and Riku Roihankorpi, for their critical remarks concerning gender.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>4.2 Fragment 31 Second Dialogue I: In the second part of this thesis, we discuss the bodily and physical aspects of our writing methods. I do not know if it is a coincidence but I am exhausted after having read through it. DAR: We also deal with the imitation or enacting\u00a0of the humanist scholar\u00a0from the [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[41],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8555"}],"collection":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/comments?post=8555"}],"version-history":[{"count":36,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8555\/revisions"}],"predecessor-version":[{"id":20500,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/posts\/8555\/revisions\/20500"}],"wp:attachment":[{"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/media?parent=8555"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/categories?post=8555"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/huopaniemi-otso\/wp-json\/wp\/v2\/tags?post=8555"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}