Technical Changes Causing Cultural Changes. Yes and/or No.

This blog post is prompted by Clay Shirky’s argument at our 10th Annual Symposium. In his keynote speech, Shirky addressed the fast technical advancement we are experiencing globally and argued that these speedy technical changes are “causing cultural changes.” His thought-provoking point has stayed with me because I think that this cause and effect relationship deserves some untangling.

Doubtless that, as Shirky showed in his speech, as well as in his book, Here Comes Everybody, the increased access to the public fora of the internet has led to increased awareness of a vox populi able to perform organized action and carry out successful grassroots movements. The internet and sites like Facebook or Meetup has also contributed to a dramatic re-definition of the personal and the private by making public information hitherto perceived off-limits. Yet, do these changes amount to “cultural changes” indeed? Does the unprecedented flow of information via technical innovations affect our moral and ethical values, causing a profound shift in cultural norms, or does it lead “only” to changes in the way we continue to perform these values, adding speed and efficiency perhaps, without altering the basic structures of our various cultures? And shouldn’t we argue that, instead of having a unidirectional relationship between technical changes and cultural changes, these changes are mutually influential, meaning that given cultural norms also determine how technical innovations are being put to use in a given cultural context? Yes, there is a universalizing, levelling and westernizing effect that reaches across the globe affecting those with access to the internet while leaving what I assume is still the larger part of the world’s population relatively immune to such changes. And then we again end up with a rather elite western notion of things going our way without really bothering to note that while we do have a large share in the monopoly over the information highways, there are still many sideroads that remain unaffected by us.

“And with your accent, you get away with it…!”

According to my bestEST (Yes, I know that, as one of my former professors in Linguistics at the University of Pittsburgh used to say, I am “murdering the English language”!) American friend, I have a habit of talking to complete strangers and telling them rather shocking things. “Without shame,” she says, “and with your accent, you get away with it!” She thinks that if she were saying similar things as an American, people would just stare at her flabbergasted. Given that I was brought up in what Freud could easily define as a “shame culture,” where what you said or did mattered because of the ripple-effects it had on your “reputation” and the gossip that filled people’s lives determined by close family ties, I have come a long way.

Come on In
Creative Commons License photo credit: Timothy Valentine

And I think I have. (Shall I put this down as part of my Americanization, nevertheless? ;) . The fact is that I do love talking to people, and the beauty of NYC is that you meet all these people from all over the world, and they all have their life-stories to tell. What happens is that part of me talking is the sociolinguist who is used to doing research and is fascinated by history and language. It is not that I am “using” the people I talk to as my little laboratory mice to extract information from, but I do listen to what they are saying through the filter of theory. My teaching has also been shaped by a mischievous desire to shock people into awareness, so I tend to throw out ideas that students could find potentially shocking in order to get them thinking about the issues involved. (Whatever the poor instructor can do to get them off their “gadgets,” Blackberries and iphones hidden under textbook-covers.)

But I never really thought that I “get away” with things because of my accent. Of course, my American friend, the sweetest girl on earth, meant it all in the best possible way: charming person with a charming accent. Possibly, she is right, after all, she is the outside observer. I used to think it was my capacity for empathy that appealed to people, my listening skills and my willingness to meet them halfway as a human being talking to another human being. We all have an accent, even my American friends have their regional dialects, yet, true, some of us sound more foreign than others, and some of us sound more European than others. And yes, I have to say that I do notice a certain Eurocentrism among the people I talk to in the streets of NYC, a tendency to like European accent and associate more prestige with it. But then, when I go “back” to Europe, I roll my “r” like Americans do. In Spain I get away easily as an American, and, believe it or not, they like that, too. (Forget about the alleged hostility towards Americans, or maybe it is my personal charm, after all.) What bothers me, nevertheless, is that I have come to the realization, shocking in itself, that I have gradually acquired an accent in all my languages: I speak my mother tongue with an accent in the US, though I get back my native speaker fluency whenever I return and as soon as my plane hits the ground of my country, which I always experience as a small miracle. Moreover, I become exceedingly chatty in my second language as well, though that is the language I was taught to define myself against as a minority, which was the most evil and preposterous thing ideology and politics could have done to me, a child bilingual from birth.

Oh, the joys of an accented self! Have I already blogged about this? I’ll leave it up to Luke to decide, the kindest censor of all!

All about My Mother….

This is reference to one of my favorite movies directed by one of my favorite directors, Pedro Almodovar, called All about My Mother (Todo sobre mi madre, 1999). It is a hilarious comedy, and more than that, as Almodovar’s movies frequently are.

I am hijacking the title here because I am thinking a lot about my own Mother these days. (Of course this post will be my most personal ever.) So, my Mother is coming to town this summer. First time in New York City, first time in the US, and this is a big thing, really big. (Explains why I had little sleep during this past weekend, tracking my Mother, via my cell, on her way “down” to Bucharest for her visa interview, and back “home,” in the northern areas of the country. In the absence of Luke’s usual, gentle nudge, I forgot about my Cacophony rotation as well, mea culpa.)

My Mother does not speak English. She is a most successful professor of Hungarian in Romania, piling up awards of teaching excellence and shuffling her “kids” around the country from one competition to another, and they usually win, if not the first prize, than one of the remaining accolades. Her lifeline is her language and her strong ethnic identity. And now that I have started to live in the expectation of her coming, I can also understand the eternal immigrant conundrum: having parents who become a burden because they do not speak the host language.

Yet, my Mother is a charmer, and much of her charm comes from her talk, though I think she is quite a beauty as well. (Arabic has a concept of seduction through words: “samar” means literally “talking late into the night” while investing into the power of words in order to seduce the beloved. Reminder that our “Western” obsession with the body underestimates language and the communication of thoughts.) In an English-speaking environment, my Mother will lose her most important tool: her ability to reach out to people and to seduce her listeners into an appreciation of her intellect. I, on the other hand, will get the chance to be there for her with my English. Translating their mothers, daughters reach a home.

Opening Steps

Since this is my first blog post in 2010 and since the New York Flamenco Festival is ongoing right now, celebrating its 10th anniversary, of course I will write about my love affair with Flamenco and the ways it inspires many other facets of my life, including my academic work. Slowly but surely, it  has sneaked into my dissertation, and references to the dance ,and to dance theory in general, pop up in my chapters, thanks to the flexibility of my field (English) and of my adviser.

Watching  the opening night of the Festival last week, I let myself re-experience the revelation that always strikes me watching a real artist: dance is their language, and the really good dancers are the ones able to communicate through their bodies in such a way that they reach the audience. I know this might sound obvious, but I really get this message straight as I follow those perfectly executed steps that I recognize because I am doing them myself….I mean, their poor imitations.

This is what I tell the students I work at Baruch with, and all the groups I have worked with so far remembered one thing, if nothing else,  about me personally after my introductory visit to their class: that I dance Flamenco. So, I tell them about using the body for a presentation, grounding it with a sense of presence and control. Straightening the back, maintaining a posture are all important. They come in second to mastering the material, of course, but still.

Flamenco!
Creative Commons License photo credit: patrícia soransso 

And this is another thing I learned from great dancers: the beauty of mastery, of really giving your best to something. I am always inspired by students who want to do their best, and I watch them with the same respect and admiration I watch a Flamenco performance.

Your Signature Style and Trademark Word

Now, I am not sure whether I am still living in *the* fashion capital of the world, or NYC lost out to Tokyo or Milan a long time ago. Regardless, I like to tell the students, (my clients!), I am working with as a consultant about their linguistic repertoir while referring to the vocabulary of fashion.

We usually agree that a dress code is important for their in-class oral presentations. I am also big on good posture and body language, things I take from my own dance practice and things they always pick up on, with almost no exception. What I have found myself becoming increasingly aware of this semester, however, has been the particular “fillers” students use in those pauses that intervene almost as a rule during our rehearsals. They admit that, due to lack of practice, they perform impromtu most of the time, which increases their nervousness. I tell them I understand completely, we are there in order to practice and that this is part of a process; I do not expect a polished product. I notice, nevertheless, their fear of pauses, of silence and their rush to fill those gaps in time with text, noise, something. That’s when we get all those “fillers,” like “like,” “you know,” “actually,” etc. And they get repeated a good deal! At some point in the semester, I remember having a whole lot of fun with one of my groups of students: we were laughing our heads off while watching the previously recorded presentation and counting how many times one of the presenters used the word “basically.” There was a really cordial atmosphere, so nobody took the laughter personally; we all admitted we could have done the same thing, repeating a word endlessly and never realizing it. Curiously enough, the presenter himself/herself did not notice it until I pointed out the pattern. I did not talk about repetition as such, I rather called it their “trademark phrase,” but I urged them to think about other words that could spice up their linguistic wardrobe, so to say, while filling in those pauses they dread. I also reminded them of the fact that pauses are, in themselves, very effective. Presenters should pause for emphasis, for letting the audience digest the information, etc. To go back to dance, again, it is harder to dance slowly than fast and only experienced dancers dare slow it down to a pause.

I wonder now what my own “trademark phrase” is. I am sure I have one; maybe I should record myself as well and then hit the rewind button and watch, relinquishing, for once, the power I have as the eye/I of the camera.

American and World English, or Redux of a Redux

Talking in Languages
Creative Commons License photo credit: zinjixmaggir

This will probably read like the redux of a redux, or, at least, thoughts along Jennifer’s line, but I have been thinking about this since I attended a recent meeting at Baruch where a faculty member expressed concern about Baruch students not speaking Standard American English in the classroom. I was taken aback a bit for several reasons. First, though we are in a predominantly business and marketing-oriented context (versus, let’s say, my former job at Hunter, a Liberal Arts college), we do not seem to look at language as a communication tool within a global market context. I understand that we want to provide our students with solid (American) education, but they will probably work in an international context, if they do not already live there given that sheer existence in NYC is international.

The other thing is my desire to defend Baruch students. None of those I have worked with so far seemed careless about their assignment at hand, at least, when it came to oral presentations, and they did not use “slang” while presenting. Now, that they were using a more informal language among themselves, even with me, that is a different issue and anybody with any understanding of how language works would see why they do so.

While I was completing a degree in Sociolinguistics, our daily mantra was the idea of “context” and how language use always depends upon a specific language context necessitating code-switching. One qualifies as a skillful language-user being able to switch from one linguistic register to another, moving smoothly from one social context to another and being able to understand the intricacies involved.

And the Nobel goes to….

Herta Muller in 2004

Herta Muller in 2004

It is nice to receive congratulatory notes from friends upon my “countrywoman’s achievement,” as one of them reads, winning the 2009 Nobel Prize in Literature this past Thursday. Herta Muller is a relatively unknown author living in Germany and writing in German, but originally from Romania. Much of her work, according to the New York Times coverage of her nomination, deals with her experience of living under the dictatorship of the communist regime in Romania and with her position as political exile in Germany.

Is this then a Romanian Nobel Prize or a German one? We are talking about the literary award here, so wouldn’t it be fitting to take the language in which the author writes as the decisive factor? I am not sure about Ms. Muller’s current citizenship, but she has been writing in German, her mother tongue, given that she was born as member of the German minority in Romania. Would she have the same appeal had she been writing in Romanian instead? Yes, the content we communicate is the important thing, but the linguistic carrier of our message also matters; using a language with more cultural capital will probably increase the likelihood of a larger reception. After all, Emil Cioran had to emigrate to France and write in French instead of his native Romanian in order to develop such a wide appeal as one of the most important 20th century philosophers.  The same goes for Mircea Eliade or Eugene Ionesco; all expatriates, all writing in another language instead of Romanian.

Language must be part of the deal, along with the thoughts, the experiences leading to exile, exilic existence, life filtered through an exceptionally creative mind. When all these come together, you end up with an author who can reach out from relative obscurity and tell about the changing face of our world. Because a lot has changed since Ceausescu’s Romania, though the present economic and social hardships of the country are much too pressing. Yet, if we can truly celebrate Herta Muller, as the Romanian writer and recipient of this year’s Nobel Prize in Literature, we have become able to validate the idea of a more spacious Romanian national identity within a globalized Europe and world.

“VOCAT!” she said….

Last week I made my first introductory presentation in a CIS (Computer Information Systems) course. So far, I have been supporting Accounting and BPL courses, so this other capstone course was a new experience.

I walked into the classroom not expecting the student ratio: 99% male, with one female student in the class. Of course, I thought afterwards, after all I am not in my usual Humanities environment where you have the exact opposite scenario with women outnumbering men in most cases. I sensed a mild dismissal throughout my presentation, nothing major, but I did not feel like I really “got them.” I think, after years spent in the classroom, you develop a radar-like sensitivity when it comes to students. And then there was this one moment when I held their attention: I told them about VOCAT at the Institute and how it would make it possible for them not only to access their presentations online, but also to copy and save those presentations and include them into their portfolios when they apply for various job positions in the future. I also suggested that, if their group wants me to record not just their rehearsal but also the “real thing,” their actual in-class presentation, I would be happy to come to class as well. (I started doing this for a BPL course last semester, and I found it really useful pedagogically. It was the professor’s request that I would do two recordings for his students, so they can see their improvement in between the rehearsal and the presentation proper. He also wanted his students to receive CD copies of the final presentation. That was when Tom stepped in with VOCAT and saved both me and the professor a lot of coming and going with VOCAT allowing students online access to the recordings.

On yet another side note, I also have to add that the best student presentation I have ever seen so far and the one that got a straight A without any questions, occurred in that BPL class. The students had a stellar PowerPoint put together, and they were on top of the game! They were also part of an Honors class where, as the professor told me in advance, there was a healthy sense of competition, but still, I was thoroughly impressed. The thing that made their performance even more remarkable for me was the fact that, based upon their rehearsal, I really did not expect too much from them. They out-performed my expectations, and the only way I could really appreciate their work was by comparing the rehearsal recording with the recording of the in-class presentation. My only sorrow was that the professor himself would not have had time to watch both recordings and see the improvement himself. As a teacher, my highest appreciation goes with what I refer to as “sweat,” or effort and work. I like to see genius in action, of course, but what really gets me is a student’s deep desire and true attempt to do her best amidst any circumstances.)

Aha, I said to myself at the end of my introductory notes in the CIS class, so if I did not catch them this time, VOCAT will! Maybe one should give up competing with technology after all….

Reflecting on the Symposium

Planning to steal Mikhail’s thunder at our upcoming staff meeting this Wednesday, here I am/writing to open up the blog space for reflections on our symposium. Please contribute.

It was a good day, this past Friday. I think I most enjoyed its dynamic, happening quality, as if in defiance of the rain outside. And I did indeed get out of my academic bubble to look around a bit and see and hear what those non-academics think about writing. One of my favorite parts was the opening lecture, actually, Jeff Jarvis’ talk. (At the Players’ Club, Olga was telling me how much she enjoyed Peter Elbow’s talk because of its introspective quality, and I agreed with her. The upbeat, popping quality of the first speaker got me, however, and I think it was an excellent choice to start with in the morning.) At moments, I wondered at the striking American-ness of the entire speech, and I felt this with all my convoluted sense of belonging and Americanized brain. I liked the way the speaker opened up the creative act for necessary mistakes (“Everything is miscellaneous”), inherent flair (“elegant organization”), and I loved the little spiritual tag that came with the package (“Make mistakes well, and don’t be evil”). Peter Elbow, on the other hand, wanted to celebrate “the glory of writing” and that inward turn that it brings, and I was nodding big time then too.

What about you, my fellow audience-members? :)

Consultants and Therapists at Schwartz

Well, this is not exactly a post, rather a question I would like to circulate.

After our last general staff meeting, I went to the BPL workshop organized by Dusana. It was a most useful discussion we had, in the course of which, among other things, we talked about rehearsals in danger of  turning  into group therapy sessions with students. People had  brilliant ideas about balancing things out and setting aside a given amount of time in the course of each rehearsal to help students wind down. (Our own Zohra has a special technique, which we all found excellent, but, since she has the copyrights, further inquiries should be addressed to her. )

On this note, I would be curious if anybody else has a take on this. I personally find that I can relatively quickly gauge the inner dynamics of a group and vibe with them. It is the pedagogue in me who is watching the students, and  I act in the way I feel would be most productive to them. At times, I assume authority, but mostly I act like a peer who is very approachable and understanding about their issues and concerns (and, at times, they have a lot of those, related to their course, their professor, assignments, etc.). What always works is showing a great deal of respect to them. Once you grant them this respect, they will act up to it. However, besides being humane, I do not have any other more specific way of creating the atmosphere, so to say. Some people play a game, I thought about getting a bunch of fresh flowers in the rehearsal room, just to liven things up. (In my rush, I keep forgetting it, of course.)  Any other ideas? I know that professionalism is key here, but I do not think we jeopardize it by patting our students’ souls a little bit, do we? :)