Ricarda Vidal – författare

Campbell, Vidal and their contributors expand the notion of translation beyond linguistic, modal and medial borders to embrace posthumanist perspectives through a holistic experiential epistemology which envisions translation as engaged, situated social practice.The first of two volumes, this book focuses on questions of materiality and play. Drawing together contributions on theory, methodology and practice from translators, scholars and practitioners working in the creative and performing arts, this book explores how contemporary, experiential acts of interpretation, mediation and negotiation can serve to bridge social and cultural discontinuities across time and space. These range from ancestral past to digital present, from rural to urban environments across the globe. Experiential translation applies a transdisciplinary lens to problematize views of translation and untranslatability traditionally bound by structuralist frames of reference and the reserve of professional linguistic translation. The chapters in this book apply this experiential lens to understand a pluriverse of creative translation practices where the translator’s subject position in relation to the ‘original’ is transformed by the role of experimentation, creativity and play.This book and its companion volume The Translation of Experience: Cultural Artefacts in Experiential Translation will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.Funding: This work was supported by UKRI under AHRC Grant AH/V008234/1, awarded to Ricarda Vidal, King’s College London (Principal Investigator) and Madeleine Campbell, University of Edinburgh (Co-Investigator).

Campbell, Vidal and their contributors expand the notion of translation beyond linguistic, modal and medial borders to embrace posthumanist perspectives through a holistic experiential epistemology which envisions translation as engaged, situated social practice.The first of two volumes, this book focuses on questions of materiality and play. Drawing together contributions on theory, methodology and practice from translators, scholars and practitioners working in the creative and performing arts, this book explores how contemporary, experiential acts of interpretation, mediation and negotiation can serve to bridge social and cultural discontinuities across time and space. These range from ancestral past to digital present, from rural to urban environments across the globe. Experiential translation applies a transdisciplinary lens to problematize views of translation and untranslatability traditionally bound by structuralist frames of reference and the reserve of professional linguistic translation. The chapters in this book apply this experiential lens to understand a pluriverse of creative translation practices where the translator’s subject position in relation to the ‘original’ is transformed by the role of experimentation, creativity and play.This book and its companion volume The Translation of Experience: Cultural Artefacts in Experiential Translation will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.Funding: This work was supported by UKRI under AHRC Grant AH/V008234/1, awarded to Ricarda Vidal, King’s College London (Principal Investigator) and Madeleine Campbell, University of Edinburgh (Co-Investigator).

Experience is a multilayered, cumulative affair with transformation at its core. Its study, a necessary first step for its translation, requires an exploration of embodiment, the senses, and cultural and social environments.The second of two volumes, this book explores how artefacts, as outcomes of experience brought about by the “artistranslator” perform semiotic work. This semiotic work arises through the intervention of their makers but also through their viewers/audience, often through the latter’s direct participation in the artefacts’ creation, which we see as an open-ended process. Drawing on diverse examples from across the world, the chapters explore visual materiality, the digital world and the multisensory nature of artefacts such as monuments, festivals, theatre performances, artworks, rituals, the urban environment and human bodies—the embodied perception of which may draw holistically or variously on the haptic, olfactory, auditory, kinetic or kinaesthetic senses. Throughout the book, experiential translation is framed as a political endeavour that allows experience to be shared across linguistic, cultural, generational or gendered divides in the form of artefacts that facilitate transformation and the acquisition of knowledge.This book and its companion volume The Experience of Translation: Materiality and Play in Experiential Translation include an international range of contributions from graduate students and early career researchers (ECRs) to tenured academics in translation studies, comparative literature, performance arts, fine arts, media and cultural studies, as well as educators, artists and curators. It will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.

Experience is a multilayered, cumulative affair with transformation at its core. Its study, a necessary first step for its translation, requires an exploration of embodiment, the senses, and cultural and social environments.The second of two volumes, this book explores how artefacts, as outcomes of experience brought about by the “artistranslator” perform semiotic work. This semiotic work arises through the intervention of their makers but also through their viewers/audience, often through the latter’s direct participation in the artefacts’ creation, which we see as an open-ended process. Drawing on diverse examples from across the world, the chapters explore visual materiality, the digital world and the multisensory nature of artefacts such as monuments, festivals, theatre performances, artworks, rituals, the urban environment and human bodies—the embodied perception of which may draw holistically or variously on the haptic, olfactory, auditory, kinetic or kinaesthetic senses. Throughout the book, experiential translation is framed as a political endeavour that allows experience to be shared across linguistic, cultural, generational or gendered divides in the form of artefacts that facilitate transformation and the acquisition of knowledge.This book and its companion volume The Experience of Translation: Materiality and Play in Experiential Translation include an international range of contributions from graduate students and early career researchers (ECRs) to tenured academics in translation studies, comparative literature, performance arts, fine arts, media and cultural studies, as well as educators, artists and curators. It will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.

The social and cultural changes of the last century have transformed death from an everyday fact to something hidden from view. Shifting between the practical and the theoretical, the professional and the intimate, the real and the fictitious, this collection of essays explores the continued power of death over our lives. It examines the idea and experience of death from an interdisciplinary perspective, including studies of changing burial customs throughout Europe; an account of a“dying party” in the Netherlands; examinations of the fascination with violent death in crime fiction and the phenomenon of serial killer art; analyses of death and bereavement in poetry, fiction, and autobiography; and a look at audience reactions to depictions of death on screen. By studying and considering how death is thought about in the contemporary era, we might restore the natural place it has in our lives.

Revolve:R was initiated in 2011 by Sam Treadaway and Ricarda Vidal as a multidisciplinary and international collaboration. The project explores the transmission of ideas through collaborative forms of communication ranging from the physical and tactile (such as the sharing of original artworks via the postal service) to the digital and intangible (which includes a parallel interplay online). Besides visual artworks, Revolve:R includes poetry, film, soundscapes and music. The complete work of each Revolve:R edition is presented as a limited-edition bookwork. Revolve:R: edition three is available through Intellect.Revolve:R: edition three is the result of a two-year-long collaboration, between 2016 and 2018, in which artists, poets, and musicians from around the UK, USA, Africa and Continental Europe created artworks in reply and response to one another. During this time many of the artworks featured have physically travelled many thousands of miles before coming together in this publication.Edition three is a continuation of editions one and two (Arrow Bookworks, 2013 and 2015) which explored concepts relating to chaos theory, chance and synchronicity. The first artwork-page of Revolve:R, edition three (page 217) references the final artwork sequence from Revolve:R, edition two (ending on page 216). Throughout the evolution of this third edition the editors have continued the development of the initial ideas and working processes that formed the basis and structure of the original Revolve:R project and have further reflected upon the nature of collaboration. In doing so their awareness and consideration of certain parallels and connections between the artworks has developed their insight into the act of co-creation and the phenomenon of collective consciousness.Each Revolve:R edition is formed of six rounds, or Revolves (effectively forming six chapters within the book), which follow the same pattern. A single 2D two-sided artwork of 21cm² is sent by post, to a number of invited artists with the request that they respond with an artwork of their own by a specific date. Thus the initial artwork sets in motion a multitude of alternative creative responses reflecting the recipients’ various ways of reading, interpreting and responding.Revolve:R: edition three (Arrow Bookworks and Intellect, 2019) follows Revolve:R, edition one (Arrow Bookworks, 2013) and Revolve:R, edition two (Arrow Bookworks, 2015). All three Revolve:R editions also function as catalogues, and artworks are available to purchase as high quality limited edition prints. Further information about the Revolve:R project, including how to purchase the prints, can be found here: www.revolve-r.comRevolve:R: edition three is a powerful and beautiful example of the power of collaborative practice, a vehicle for new artistic dialogue, and an artwork in its own right.

The social and cultural changes of the last century have transformed death from an everyday fact to something hidden from view. Shifting between the practical and the theoretical, the professional and the intimate, the real and the fictitious, this collection of essays explores the continued power of death over our lives. It examines the idea and experience of death from an interdisciplinary perspective, including studies of changing burial customs throughout Europe; an account of a“dying party” in the Netherlands; examinations of the fascination with violent death in crime fiction and the phenomenon of serial killer art; analyses of death and bereavement in poetry, fiction, and autobiography; and a look at audience reactions to depictions of death on screen. By studying and considering how death is thought about in the contemporary era, we might restore the natural place it has in our lives.

In an attempt to counteract the doom and gloom of the economic crisis and the politicians’ overused dictum that ‘there is no alternative’, this interdisciplinary collection presents a number of alternative worlds that were conceived over the course of the last century. While change at the macro level was the focus of most of the ideological struggles of the twentieth century, the real impetus for change came from the blue-sky thinking of scientists, engineers, architects, sociologists, planners and writers, all of whom imagined alternatives to the status quo.Following a roughly chronological order from the turn of the nineteenth century to the present, this book explores the dreams, plans and hopes as well as the nightmares and fears that are an integral part of alternative thinking in the Western hemisphere. The alternative worlds at the centre of the individual essays can each be seen as crucial to the history of the past one hundred years. While these alternative worlds reflect their particular cultural context, they also inform historical developments in a wider sense and continue to resonate in the present.

This book analyses intersemiotic translation, where the translator works across sign systems and cultural boundaries. Challenging Roman Jakobson’s seminal definitions, it examines how a poem may be expressed as dance, a short story as an olfactory experience, or a film as a painting. This emergent process opens up a myriad of synaesthetic possibilities for both translator and target audience to experience form and sense beyond the limitations of words. The editors draw together theoretical and creative contributions from translators, artists, performers, academics and curators who have explored intersemiotic translation in their practice. The contributions offer a practitioner’s perspective on this rapidly evolving, interdisciplinary field which spans semiotics, cognitive poetics, psychoanalysis and transformative learning theory. The book underlines the intermedial and multimodal nature of perception and expression, where semiotic boundaries are considered fluid and heuristic rather than ontological. It will be of particular interest to practitioners, scholars and students of modern foreign languages, linguistics, literary and cultural studies, interdisciplinary humanities, visual arts, theatre and the performing arts.

This book analyses intersemiotic translation, where the translator works across sign systems and cultural boundaries. Challenging Roman Jakobson’s seminal definitions, it examines how a poem may be expressed as dance, a short story as an olfactory experience, or a film as a painting. This emergent process opens up a myriad of synaesthetic possibilities for both translator and target audience to experience form and sense beyond the limitations of words. The editors draw together theoretical and creative contributions from translators, artists, performers, academics and curators who have explored intersemiotic translation in their practice. The contributions offer a practitioner’s perspective on this rapidly evolving, interdisciplinary field which spans semiotics, cognitive poetics, psychoanalysis and transformative learning theory. The book underlines the intermedial and multimodal nature of perception and expression, where semiotic boundaries are considered fluid and heuristic rather than ontological. It will be of particular interest to practitioners, scholars and students of modern foreign languages, linguistics, literary and cultural studies, interdisciplinary humanities, visual arts, theatre and the performing arts.