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When Football Speaks Portuguese: A Linguistic Milestone at the 2026 World Cup

2026-06-23T23:04:30.893+01:00

For just the second time ever, three Portuguese-speaking nations have qualified for the same World Cup: Brazil, Portugal, and Cape Verde. The first time this happened was in 2006, when Angola joined Brazil and Portugal on football's biggest stage. Two decades later, Cape Verde has taken up that mantle—and the story is even more remarkable.

The Debutants Stealing Hearts

Cape Verde's qualification is nothing short of a fairytale. A volcanic archipelago of ten islands off Africa's west coast with a population of just 525,000, they are the third-smallest nation by population ever to qualify for a World Cup. Only Iceland in 2018 and fellow 2026 debutants Curaçao are smaller.

Their journey was dramatic. Cape Verde secured their spot by winning Group D in African qualifying, beating powerhouse Cameroon to top spot. The decisive victory came on October 13, 2025, with a 3-0 win over Eswatini in the capital Praia, sparking wild celebrations across the island nation.

Once they arrived in North America, they didn't just make up the numbers. Cape Verde held European champions Spain to a goalless draw in their opening match, then battled to a thrilling 2-2 draw with Uruguay—keeping their knockout-stage hopes very much alive.

A 20-Year Echo of Lusophone Africa

To appreciate Cape Verde's achievement, we have to look back two decades. In 2006, Angola made their World Cup debut in Germany. The Palancas Negras (Black Antelopes) had overcome giants like Nigeria in qualifying. They were drawn in Group D alongside Portugal, Mexico, and Iran.

The Portugal-Angola match was particularly poignant. As The New York Times noted at the time, spectators "could root for the underdog and they could try to do so in soccer's sexiest language".

That generation planted a seed. Twenty years later, Cape Verde has harvested it.

Why Only Three?

With nine African qualification slots available in the expanded 48-team tournament, why did only one Lusophone African nation make it through? Other CPLP (Community of Portuguese Language Countries) members like Angola, Mozambique, and Guinea-Bissau fell short. As of June 2026, Cape Verde ranked 67th in the world, ahead of Angola (88th), Mozambique (103rd), and Guinea-Bissau (132nd). Only Cape Verde seized the moment.

More Than Just a Game

Language and football intersect in fascinating ways at this tournament. While only three nations have Portuguese as their official language, individual players from other teams speak it too—many having played for Brazilian or Portuguese clubs. The language becomes an invisible thread connecting players, fans, and nations across continents.

For Cape Verde, Portuguese is the official language, though Cape Verdean Creole is also widely spoken.

What This Means

The 2026 World Cup is being hosted across the United States, Canada, and Mexico—an unprecedented three-nation co-hosting arrangement. Into this vast, diverse landscape step three nations bound by a common tongue but representing three different continents: South America's giant (Brazil), Europe's perennial contender (Portugal), and Africa's plucky debutant (Cape Verde).

It's a reminder that football's beauty lies not just in the goals and glory, but in the stories it tells—of small islands dreaming big, of colonial histories transformed into sporting pride, and of a language that, for 90 minutes at a time, unites millions across the globe.

Obrigado, football. Thank you for the stories.

[Ramblings on Translation Theory] Translation as Metaphor for Artistic Expression: Metaphor for the art and challenge of translation

2025-09-26T01:38:00.000+01:00

Reserved rights for the image to this blog's owner.

The Literal Image

We see a classic, ornate picture frame. However, instead of a painting, the frame contains a real, three-dimensional, leafy branch. The branch doesn't just sit within the frame; it actively grows through it, bursting out of the constraints of the wooden borders.

The Metaphor for Translation

The Frame = The Target Language
The frame represents the structure, rules, and conventions of the language you are translating into (the target language). Every language has its own: Grammar and Syntax (the rigid corners of the frame); Idioms and Cultural Context (the specific artistic style of the frame (e.g., baroque, modern); Vocabulary Limits (the physical space within the frame).

The Branch = The Source Text & Its Meaning
The living branch represents the original text (the source text) with all its richness, nuance, and life.

Organic Nature: A text is not a static, dead object. It's alive with meaning, tone, rhythm, and cultural subtext.

Complexity: The branch has leaves, twigs, and direction—just as a text has layers of meaning, ambiguity, and beauty.

The "Problem" or The Act of Translation = The Branch vs. The Frame
The central tension of the image is the mismatch. You are trying to fit a living, irregular, organic entity (the source text) into a fixed, rigid, man-made structure (the target language). A straightforward, word-for-word translation is like trying to force the entire branch to fit perfectly within the frame. This is impossible without breaking the branch (losing the meaning) or breaking the frame (breaking the rules of the target language and creating nonsense).

The "Solution" or The Ideal Translation = The Branch Growing Through
The most successful translations do not try to hide this tension. Instead, they acknowledge it and find a way to let the life of the original text shine through the constraints of the new language.

A good translation:

Preserves the Life (The Branch): The core meaning, feeling, and voice of the original work are kept intact and vibrant.

Respects the New Frame (The Target Language): The translation reads naturally and follows the rules of the new language; it doesn't sound awkward or "translated."

Acknowledges the Imperfection: Just as the branch cannot be fully contained by the frame, some elements (puns, cultural specificities, unique rhythms) cannot be perfectly replicated. The translation makes a choice—sometimes it finds an equivalent, sometimes it compensates, and sometimes it lets a leaf stick out, acknowledging that something is "lost in translation."

This image illustrates that translation is not a simple act of substitution, but a dynamic process of negotiation and transformation.

A bad translation either hacks the branch to pieces to make it fit (losing all the original's beauty) or builds such an awkward, misshapen frame that the result is unreadable.

A good translation is the one we see in the image: it holds the tension beautifully. The frame is still a frame, and the branch is still a branch, but together they create a new, interesting, and authentic piece of art that honours both its source and its new home. The life of the original text bursts through the constraints of the new language.

Reflections on Translation and Cultural Mediation: Brief Notes

2024-11-11T18:49:00.000+00:00

Translation and cultural facilitation have become indispensable pillars of our globalized world, bridging linguistic and cultural divides. While these fields offer immense potential for understanding and collaboration, they also present complex challenges that demand careful navigation.

On the one hand, translation and cultural facilitation have opened up new avenues for intercultural dialogue and exchange. Through translation, we gain access to diverse perspectives, literature, and knowledge from around the globe. Cultural facilitators, in turn, play a vital role in fostering cross-cultural understanding and promoting empathy. They help bridge communication gaps, navigate cultural nuances, and facilitate meaningful interactions between individuals and groups from different backgrounds.

However, the complexities of language and culture introduce significant challenges to translation and cultural facilitation. Linguistic nuances, cultural references, and idiomatic expressions can be difficult to convey accurately across languages and cultures. Moreover, the ever-evolving nature of language and culture adds another layer of complexity. Translators and cultural facilitators must constantly adapt to new terminology, emerging cultural trends, and evolving social norms.

One of the most significant challenges in translation is the potential for misinterpretation and loss of meaning. A single word or phrase can carry multiple meanings depending on the context and cultural background. Translators must carefully consider these nuances to ensure accurate and culturally appropriate translations. Cultural facilitators, on the other hand, face the challenge of balancing cultural sensitivity with effective communication. They must be able to navigate delicate cultural issues while promoting understanding and respect for diverse perspectives.

Another challenge lies in the rapid pace of globalization and the increasing diversity of languages and cultures. This diversity necessitates specialized knowledge and skills to effectively translate and facilitate intercultural communication. Translators and cultural facilitators must stay updated on the latest developments in their fields and continuously expand their linguistic and cultural expertise.

Despite these challenges, translation and cultural facilitation remain essential for fostering global understanding and cooperation. By bridging linguistic and cultural divides, these fields contribute to a more interconnected and inclusive world. As our world becomes increasingly diverse and interconnected, the importance of translation and cultural facilitation will only continue to grow.

Translation of text on Willard Wigan

2018-11-26T11:07:00.000+00:00

Note: original English-language source from official press kit.

“Willard Wigan was born in Wolverhampton, England in 1957 and is the creator of the smallest artworks in history, as verified by Guinness World Records.

From being a traumatised and humiliated child with unrecognised learning differences, he has emerged as the most globally celebrated micro-miniaturist of all time and is literally capable of turning a spec of dust into a vision of true beauty.

To escape the constant taunts from his teachers and student peers, Wigan found solace in creating art of such minute proportions that it could not be seen with the naked eye. He adopted the belief that if his work could not be seen, then it and he could not be criticised. Often described as “nothing”, Wigan set about showing the world that there is no such thing as nothing.

“My work is a reflection of myself” says Wigan. “I wanted to show the world that the little things can have the biggest impact. At school, I couldn’t express myself and felt like “nothing.” I wanted to experiment with the world that we can’t see.”

He can create a masterpiece within the eye of a tiny sewing needle, on the head of a pin, the tip of an eyelash or on a grain of sand. Smaller than the fullstop at the end of this sentence, with some being completely invisible to the naked eye, the effect on the viewer when seen through high powered magnification is truly mesmerising.

Inspired to capture the attention and awe of his subject matter in the smallest and most microscopic of detail, Wigan imagines and creates a microscopic world that entices people to look closer.

The artists himself likens his work to “Trying to pass a pin through a bubble without bursting it” and the skill, time and dedication involved in their creation means that each piece contains the very heart and soul of its creator.

Willard, who is completely self-taught (there are no teachers) has baffled medical science and been the subject of discussion among micro-surgeons, nanotechnologists and at universities worldwide. There is no doubt he is as unique as his timeless masterpieces.

The personal sacrifice in creating such wondrous sculptures is inconceivable to most. Wigan enters a meditative state in which his heartbeat is slowed, allowing him to reduce hand tremors and sculpts between pulse beats. Even reverberation caused by outside traffic can affect Wigan’s work. This causes him to retreat to places of solitude, or to work through the night when there is minimal disruption.

His works have fascinated and amazed discerning collectors worldwide and are cherished by Royalty, Politicians and Celebrities from the worlds of show-business and sport. In July 2007 he was honoured by HM Queen Elizabeth II with an MBE for services to art.

The audiences that attend Willard’s exhibitions are amongst the most diverse of any living artist and are a huge success around the world. When exhibited in public they draw reactions of astonishment and wonder from press and public alike, frequently generating comments such as “The eighth wonder of the world”, “The most amazing thing I have ever seen” and “Truly a gift from God”

In many instances his work simply stuns viewers into silence. Others have described it as being seemingly “supernatural” and crossing the boundaries between Art and Science. It confuses the senses and such distinctions ultimately become irrelevant as viewers become lost in the sheer wonder of the inner space to which his work transports them.

His sculpture of The Statue of Liberty in the eye of a tiny sewing needle so impressed the American foundation that they placed it on display inside the real statue – only the fifth time in the great monument’s history that an artists has been allowed to exhibit there.

In 2009 Wigan’s artistic genius was formally recognised by the world-leading Technology, Entertainment and Design Institute (TED) where he was invited to be the keynote speaker during the 2009 World Conference, receiving with it a TED achievement award.

In recent years Willard has undertaken numerous motivational speaking engagements for private, corporate, charitable and educational organisations with particular emphasis on inspiring young people in schools to believe in themselves, to never give up and to keep searching for their own particular gift.

Telling his story of how he overcame childhood adversity, and being described by his teachers as “nothing”, through sheer hard work, persistence and dedication to get where he is today.

His unique abilities have also been recognised by large corporations, including Mercedes Benz and ANZ Bank, looking to associate their brand with the pinnacle of precision and intricacy and how attention to the smallest of details can make the biggest of differences to an outcome.

In January 2018 he was awarded an honorary degree by Warwick University, specifically as Doctor of Letters, in recognition of the significant contributions that he has made to art and sculpture.

A feature length Channel 4 documentary about the artist and his work was broadcast in July 2018.

As for the future, a feature film about Willard’s life story is at the scripting stage and further international exhibitions are currently being planned for 2019.

Following his late mothers guiding advice, Wigan continues to challenge himself by striving to make each work even smaller and more detailed – “The smaller your work, the bigger your name”. Wigan’s continued goal remains quite simple; to inspire others with his micro-sculptures and to encourage others to live to their fullest potential, remembering that “nothing” does not exist.

Ultimately, all who view these truly astounding treasures are filled with a sense of awe, lost for explanations but nevertheless acutely aware that their lives have in some small way been enriched by the uncanny sights they have witnessed.

It’s unpredictable how long this incredible talent will last but his unique and exclusive creations will outlive him as national treasures for generations to come.”

——————————————————————————–

My translation into Portuguese

Willard Wigan nasceu em Wolverhampton, Inglaterra, em 1957, e é o criador das mais pequenas obras de arte na história, conforme confirmado pelo Guinness World Records.

De uma criança traumatizada e humilhada com dificuldades de aprendizagem negligenciadas, emergiu como o micro-miniaturista mais celebrado a nível mundial de todos os tempos e é, literalmente, capaz de transformar um grão de pó numa visão de verdadeira beleza.

Para escapar às constantes provocações dos seus professores e colegas, Wigan encontrou consolo na criação de arte de proporções tão reduzidas que não podia ser vista a olho nu. Adotou a crença de que se seu trabalho não podia ser visto, então o seu trabalho e ele próprio não poderiam ser criticados. Muitas vezes descrito como “nada”, Wigan agarrou a tarefa de mostrar ao mundo de que não existe tal coisa como nada.

“O meu trabalho é um reflexo de mim mesmo”, diz Wigan. “Queria mostrar ao mundo que as pequenas coisas podem ter o maior impacto. Na escola, não me conseguia expressar e sentia-me como “nada”. Queria experimentar o mundo que não conseguimos ver.”

Consegue criar uma obra-prima dentro do buraco de uma pequena agulha de costura, na cabeça de um alfinete, na ponta de uma pestana ou num grão de areia. Mais pequena do que o ponto final no final desta frase, com algumas a serem completamente invisíveis a olho nu, o efeito sobre o espetador, quando vistas através de ampliação de elevada potência é verdadeiramente deslumbrante.

Inspirado pela captura da atenção e do espanto do seu tema no mais ínfimo e microscópico pormenor, Wigan imagina e cria um mundo microscópico que convida as pessoas a olharem mais de perto.

O próprio artista compara o seu trabalho a “Tentar passar um alfinete através de um balão sem o rebentar” e a habilidade, o tempo e dedicação envolvidos na sua criação, significa que cada peça contém o próprio coração e alma do seu criador.

Willard, que é totalmente autodidata (não há professores) tem confundido a ciência médica e foi objeto de discussão entre microcirurgiões, nanotecnólogos e em universidades em todo o mundo. Não há dúvida de que ele é tão único quanto as suas intemporais obras-primas.

É inconcebível para a maioria o sacrifício pessoal na criação de tais maravilhosas esculturas. Wigan entra num estado meditativo em que o seu ritmo cardíaco é abrandado, permitindo-lhe reduzir os tremores da mão e esculpir entre as batidas da pulsação. Até a reverberação causada pelo tráfego na rua pode afetar o trabalho de Wigan. Isto faz com que se retire para locais solitários, ou que trabalhe durante a noite, quando a perturbação é mínima.

Os seus trabalhos têm fascinado e surpreendido colecionadores exigentes por todo o mundo e é admirado pela realeza, políticos e celebridades do mundo do espetáculo e do desporto. Em julho de 2007, foi agraciado pela Rainha Isabel II com a Ordem do Império Britânico, pelos serviços prestados à arte.

O público que visita as exposições de Willard está entre os mais diversificados de qualquer artista vivo e são um enorme sucesso em todo o mundo. Quando exibidas em público, granjeiam reações de espanto e admiração tanto da imprensa, como do público, gerando frequentemente comentários como “A oitava maravilha do mundo”, “A coisa mais incrível que alguma vez vi” e “Um verdadeiro dom de Deus”.

Em muitos casos, o seu trabalho deixa os espetadores simplesmente mudos. Outros descreveram o seu trabalho como sendo praticamente “sobrenatural” e ultrapassando os limites entre a Arte e a Ciência. Confunde os sentidos e tais distinções tornam-se, em última análise, irrelevantes, à medida que os espetadores se perdem na maravilha que é o espaço interior para onde a sua obra os transporta.

A sua escultura da Estátua da Liberdade no olho de uma pequena agulha de costura impressionou de tal forma a fundação americana, que a colocaram em exposição dentro da estátua original – foi apenas a quinta vez na história daquele grande monumento em que foi autorizada a exposição de um artista.

Em 2009, o génio artístico de Wigan foi formalmente reconhecido pelo líder mundial Technology, Entertainment and Design Institute (TED), tendo sido convidado para ser o orador principal durante a Conferência Mundial desse ano, tendo recebido com o mesmo um prémio TED de realização.

Nos últimos anos, Willard tem realizado inúmeras palestras motivacionais para particulares, empresas, entidades e organizações de ensino, com particular ênfase nos jovens em escolas, para que acreditem em si próprios, nunca desistam e que persistam na busca do seu próprio dom especial.

Conta a sua história sobre como superou a adversidade na infância, quando era descrito pelos seus professores como “nada”, tendo chegado onde está hoje através do trabalho árduo, persistência e dedicação.

As suas capacidades únicas, que também foram reconhecidos por grandes empresas, incluindo a Mercedes-Benz e o ANZ Bank, que procuravam associar a sua marca com o auge da precisão e complexidade, e como a atenção com os pequenos detalhes pode fazer a maior das diferenças na obtenção de um resultado.

Em janeiro de 2018, recebeu um diploma honorário pela Universidade de Warwick, mais precisamente, Doutoramento em Humanidades, em reconhecimento das importantes contribuições feitas para a arte e a escultura.

Em julho de 2018, foi transmitido um documentário de longa-metragem do Canal 4 sobre o artista e a sua obra.

Quanto ao futuro, há um filme sobre Willard em fase de redação e estão a ser planeadas mais exposições internacionais para 2019.

Seguindo os conselhos da sua falecida mãe, Wigan continua a desafiar-se a si mesmo esforçando-se por fazer com que cada trabalho seja ainda mais pequeno e pormenorizado – “Quanto mais pequeno o teu trabalho, maior será o teu nome”. O objetivo contínuo de Wigan continua a ser bastante simples: inspirar outras pessoas com as suas micro-esculturas e encorajar as pessoas a viver o seu potencial ao máximo, lembrando que o “nada” não existe.

Em última análise, todos os que veem estes tesouros verdadeiramente surpreendentes são inspirados por um sentimento de admiração, confusão, mas, no entanto, com a plena consciência de que a sua vida foi, de alguma maneira, enriquecida com a incrível visão testemunhada.

É imprevisível quanto tempo este incrível talento irá perdurar, mas as suas criações únicas e exclusivas irão sobreviver-lhe enquanto tesouros nacionais para as gerações vindouras.

2015-11-05T16:40:00.000+00:00

Here's a sample from one of my latest works: a foreword to a Portuguese/ English bilingual exhibition catalogue. The exhibition is titled Animália by Portuguese photographer Nuno Horta. The original text in Portuguese was written by Miguel V. Duque, who entrusted me with the English translation... Check it out!

[the original text!]

"Animália, de Nuno Horta

De olhos bem abertos. PUM!

“Um novo mandamento vos dou: Que vos ameis uns aos outros; assim como Eu vos amei, vós também vos deveis amar uns aos outros.”

S. João 13:34

A objectiva de Nuno Horta aspira à comoção dos sentidos, à comunhão da fotografia retratista com paixões de um quotidiano que se mascara, inventando e, quiçá, reinterpretando saberes e ambições que não transcendem o Ser, antes o aprisionam em humanidade díspar entre si, em vez de os acutilar nos seus anseios mais primários: o desejo que se mistifica e animaliza como em metamorfoses que nos confortam e nos permitem o essencial dos sentidos: o Prazer.

No entanto, colore a negro – como preto fecundo do lodo deposto pelas águas do Nilo – cenários de peças de sensualidade mácula e/ou obscura: trevas ou a noite de todo o contentamento como o pigmento de Johann Conrad Dippel.

Verdade ou pecado?

Fique o espectador ante estes flashes, saboreando a abundância animália ou as tentações de Antão ou a luxúria humana ou simplesmente a beleza e a exuberância do Ser e do sermos! A Natureza na sua sublime Arte.

O transcendente no real quotidiano em Leibovitz ou Nan Goldin; o transcendente numa encenada estética artística em Witkin ou Saudek; o transcendente do real encenado numa estética artística cerebral e empírica em fotografias de Nuno Horta, num palco que também é vida e quotidiano.

Nesta colecção Animália, Nuno Horta surpreende-nos por uma atitude cénica mais simples, traduzindo uma maturidade nos temas que interpreta, decifra e exprime na sua acção fotográfica – como resultado, fotografias auto interpretativas – ao essencial, enfoque para metáforas, parábolas e mistificações como narração alegórica que traduz a devoção pelo corpo, pelo humano, pelo mito, envolvido num preceito moral que cruza, em penumbra, o Homem e a Mulher, escudados do próprio de si, dos seus devaneios ou anseios, por zoomorfoses.

Pecado versus virtude ou o seu contrário? – Na virtude o pecado omisso! – Deus ou o Demónio; o prazer ou a abstinência; a abundância ou a escassez; o Amor ou a ausência; o desejo ou a fraude; a Vida ou a Morte; o ser ou o não ser; ou, simplesmente, o sonegar ao Ser Humano da face, conferindo-lhe símbolos e mitos que o resgatam das malhas de uma qualquer condenação mundana, outorgando-lhe o direito de momentos, apenas e tanto, de animalidade, urbe ou rural, mas sempre defendidos, esses momentos, por caprichos de uma natureza extra-humana, permissiva e lasciva, para uma Alma Pura, que se resgata pelo sacrifício animal, tal Dido por Eneias, Gilgamesh por Enkidu, Pedro por Inês, ou Eu – anónimo – por Ti – ninguém ou ausência de identidade.

Em última instância, infra-humana!

A máscara dourada como maçãs de Hipómenes para seduzir Atalanta e resgatar o seu Amor, cumprindo-se o desejo de posse pela corrida que se vence: suor, cansaço e, de novo, o luxo perpectuado pelo ouro que nos inebria e entontece os sentidos. Tal macho ou fêmea ou os contrários ou os mesmos: trocas e selos de cumplicidade assumida e rejeitada, num lado a lado, nada ingénuo ou desprovido de sentidos reflectidos.

Esta colecção não é ingénua; não é apenas provocadora; também é erótica, estimulante, sedutora e sensualmente sensitiva para olhos de Alma Pura. Para gente que se assume sem tabus de mediocridade infame para o ser animal de que somos feitos ou criados.

Matéria negra que precede a Luz. Simbólica do Apocalipse ou Fiat Lux como precedência cromática da Criação. Génese e fruição de uma fecundidade artística como nuvens escuras que fecundarão a Terra, como elemento fecundado caracterizada pelo supremo dom de gerar: The Wolf & the Fox; The Fox & the Wolf; The Goat; The Pig; The Tiger; The Deer!

Masked Ball!

Ao ouvir Jocelyn Pook, Flood, reporto-me a máscaras que interpretam o duplo papel: vendar / desvendar. Ou seja, entendo a necessidade, na urbe actual, do Ser Humano se confrontar com mitos passados que se reinterpretam, numa actualidade mediática, como formas de estar, pensar e sentir de cada individuo como demiurgo, que, possuindo os seus anseios, promove a sua atuação no palco da Vida e do quotidiano.

Parafraseando Susan Sontag, in Olhando o Sofrimento dos Outros, “As intenções do fotógrafo não determinam o sentido da fotografia, que terá a sua própria carreira, impulsionada pelas paixões e fidelidades das diferentes comunidades que a utilizem”. Assim acontece com os símbolos ou parábolas, neste caso, fotografias como narração alegórica que envolve um preceito moral: Animália como função de ilustrar o desejo e a cumplicidade numa linguagem metafórica de criação do prazer e a respectiva recriação. Mas sem idolatria. Antes a linguagem de humanidade!

Animália! Tripúdio de prelúdio?

Sob a égide do ouro: o Lobo, luxúria e ambição, animal de Poder, com enorme capacidade para amar, mas com um carácter individualista e solitário; a Raposa, astuta e demónio do fogo e com capacidades únicas de sedução, na China são animais voluptuosos (curiosidade: testículos de raposa macerados no vinho eram considerados um elixir infalível de amor) e na Ásia são símbolos eróticos; o Bode, associado à luxúria e à fertilidade, está ligado a Pã, Dionísio e Zeus; o Porco, para católicos é símbolo da tentação e luxúria, impuro para judeus e muçulmanos, mas é associado também à fertilidade e à prosperidade no Antigo Egipto e no Norte da Europa; o Tigre, impetuoso e apaixonado, representa a beleza, a vaidade e a astúcia; o Veado, emblema solar de fertilidade, com forte simbolismo divino, com as suas hastes representam a Árvore da Vida e a regeneração, como fervor sexual figura ao lado de Afrodite e Adónis.

Acabo esta minha dissertação sobre este conjunto fotográfico de obras que compõem a colecção Animália, de Nuno Horta, com a onomatopeia:

PUM! – de olhos bem abertos porque somos animais… e porque não? – PUM! – caçador ou presa? – PUM! – porque cair vale a pena! PUM! Animália! PUM!

Basta pum basta!!!

Viva o Amor, viva! PIM!

VIEIRA DUQUE

Outubro de 2015"

[... and my translation into English.]

"Animália, by Nuno Horta

Eyes wide open. PUM!

“A new commandment I give unto you, That ye love one another; as I have loved you, that ye also love one another.”

John 13:34

A lens of Nuno Horta aspires to the commotion of the senses, to the communion of portrait photography with passions of a daily life that masks itself, inventing and, perhaps, reinterpreting knowledge and ambitions that do not transcend the Being, but most of all imprison it in an unequal humanity, instead of striking them in their most primary ambitions: the desire that mystifies and makes a beast of itself as in the metamorphoses that comfort and allow the essence of senses: Pleasure.

However, he colours black – like the fertile black of the mud disposed of by the waters of the Nile – scenarios with pieces of maculated and/or obscure sensuality: the darkness or the night of all the contentment as the pigment of Johann Conrad Dippel.

Truth or sin?

May the spectator remain in front of these flashes, tasting either the animal-like abundance of the temptation of Anthony, or the human lust, or simply the beauty and the exuberance of the Being and for existing! The Nature in its sublime Art.

The transcendent in the real everyday life in Leibovitz, or Nan Goldin; the transcendent in a staged artistic aesthetic in Witkin or Saudek; the transcendent of the real staged in a cerebral and empirical artistic aesthetics in the pictures of Nuno Horta, on a stage that is also life and everyday.

In this collection Animália, Nuno Horta surprises us with a more simple scenic attitude, reflecting a maturity in the themes that he interprets, deciphers and expresses in his photo action – as a result, self-interpretative photographs – the essential focus for metaphors, parables and mystifications as an allegorical narration, which translates the devotion for the body, for the human, for the myth, wrapped in a moral precept, that crosses, in the shade, Man and Woman, away from themselves, their daydreaming or longings, by means of zoomorphoses.

Sin versus virtue, or it’s the opposite way? – In virtue the omitted sin! – God or Devil; pleasure or abstinence; abundance or scarcity, Love or the absence, a desire, or fraud; Life or Death; to be or not to be; or, simply, taking away the face of the Human Being, giving it symbols and myths that rescue it from the meshes of any mundane condemnation, granting him the right to have moments, nothing much, of animal behaviour, urban or rural, but always defended, these moments, by the vagaries of permissive and lewd extra-human nature, to a Pure Soul, who is redeemed by animal sacrifice, such Dido for Aeneas, Gilgamesh for Enkidu, Pedro for Inês, or I – anonymous – for You – nobody or the absence of identity.

In the last instance, the infra-human!

The golden mask like apples of Hippomenes to seduce Atalanta and rescue his Love, fulfilling the desire of possession through the victorious race: sweat, fatigue, and, again, the luxury perpetuated in the same gold that inebriates and trick the senses. Male or female, or the opposites, or the same: exchanges and seals of assumed and rejected complicity, side-by-side, not naive or devoid of reflected senses.

This collection is not naive; it is not simply provocative; it is also erotic, stimulating, seductive, and sensually sensitive to the eyes of the Pure Soul. For people who are able to come out with no taboos of infamous mediocrity to be the animal that we are made of or created from.

Dark matter that precedes the Light. Symbolic of the Apocalypse, or Fiat Lux, as chromatic precedent to the Creation. The genesis and fruition of an artistic fertility as the dark clouds that will fertilise the Earth, the impregnated element characterized by the supreme gift of creation: The Wolf & the Fox; The Fox & the Wolf; The Goat; The Pig; The Tiger; The Deer!

Masked Ball!

While listening to Jocelyn Pook, Flood, I refer to the masks that play a double role: to hide/to disclose. That is, I understand the need, in the present day urban life, by the Human Being to be confronted by old myths, which are reinterpreted in a media-ridden reality, as ways of being, thinking and feeling by each individual as a demiurge, who promotes his/her performance on the stage of Life and of the everyday out of his/her longings.

Paraphrasing Susan Sontag, in Regarding the Pain of Others, “The photographer’s intentions do not determine the meaning of the photograph, which will have its own career, blown by the whims and loyalties of the diverse communities who have use for it.” So it is with symbols or parables, in this case, photographs as allegorical narration, which involves a moral precept: Animália with the function of illustrating the desire and complicity in a metaphorical language for the creation of pleasure and recreation. But without idolatry. Nothing but the language of mankind!

Animália! Reproaching of the prelude?

Under the aegis of the gold: the Wolf, lust, and ambition, animal of Power, with enormous capacity to love, but with an individualistic and solitary character; the Fox, cunning and fire devil, and with unique skills of seduction, in China they are voluptuous animals (fun fact: the macerated testicles of fox added to wine were considered to be an unfailing love elixir) and in Asia they are erotic symbols; the Goat, associated with lust and fertility, is connected to Pan, Dionysus and Zeus; the Pig, for Catholics is a symbol of temptation and lust, unclean to Jews and Muslims, but it is also associated with fertility and prosperity in Ancient Egypt and in the North of Europe; the Tiger, fiery and passionate, represents beauty, vanity and cunningness; the Stag, emblem of the sun, of fertility, with a strong divine symbolism, with its antlers representing the Tree of Life and regeneration, as sexual fervour stands next to Aphrodite and Adonis.

I finish my dissertation on this photographic ensemble of the works that compose the Animália collection, by Nuno Horta, with the onomatopoeia:

PUM! – eyes wide open, because we are animals… and why not? – PUM! – hunter or prey? – PUM! – because it is worth to fall! PUM! Animália! PUM!

Enough pum enough!!!

Hurrah for Love, hurray! PIM!

VIEIRA DUQUE

October 2015"

Revisiting History of Art: translation of text about a “forgotten” collection of Rembrandt original prints [from Portuguese to English]

2014-05-24T22:15:00.000+01:00

The original Portuguese text was written by Miguel V. Duque, Director of the Museum of the Foundation Dionísio Pinheiro and Alice Pinheiro, located in Águeda, Portugal. For more on the museum and some of the fine works of art it keeps, I highly recommend visiting the Google Art Project’s page of the foundation…

“Rembrandt Harmenszoon van Rijn produziu gravuras durante quase toda a sua carreira, de 1626 a 1660, até ter sido forçado a vender a sua prensa, deixando, desta forma, a gravura para um segundo plano.

Não sendo conhecido qualquer trabalho seu datado de 1649, ele volta, posteriormente, a dedicar-se à gravura, tendo sido ele mesmo a gravar parcialmente algumas das suas placas. A liberdade artística que votava à sua técnica da gravura foi fundamental para a imortalização do seu trabalho. Sempre muito envolvido em todo o processo de impressão, tendo impresso, pelo menos, os primeiros exemplares das suas gravuras. Começou por utilizar estilo baseado no desenho, que rapidamente largou para adoptar um estilo baseado na pintura, usando uma densa massa de linhas e inúmeras punções de ácido para conseguir diferentes espessuras de linhas. No final dos anos 30 do séc. XVII, revoltou-se contra a sua técnica e passou a usar uma mais simples, com menor utilização de ácido. No seu famoso “Cristo a Pregar”, trabalhou a gravura por estádios, durante os anos 40, gravura essa, que marcou o meio da sua carreira artística, e da qual emergiu o seu estilo final. Embora só tenham sobrevivido as placas dois estádios iniciais, sendo as do primeiro muito raras, evidências de muito mais estádios podem ser observadas nas impressões finais e em muitos dos desenhos que o sobreviveram até hoje.

Durante a década de 50, o auge da sua carreira como gravurista, Rembrandt produziu inúmeras ilustrações da vida de Cristo. Ao contrário do tratamento que anteriormente tinha dado ao tema, Rembrandt focou-se, daí em diante, numa abordagem mais pessoal, e mesmo intimista, do significado dos episódios bíblicos. Na “Apresentação de Jesus no Templo” podemos observar Simião, a quem “O Espírito Santo tinha revelado [...] que não morreria sem primeiro ver o Messias prometido pelo Senhor” (Lucas, 2:28), segura o Menino em direcção ao Sacerdote, enquanto o Sumo-Sacerdote, por trás deste, ostenta uma mitra e um enorme “báculo”. A Virgem e São José ajoelham-se humildemente na sombra no canto inferior esquerdo, e Ana que “ [...] chegou instante, louvava a Deus e falava do Menino a todos os que esperavam a libertação de Jerusalém” (Lucas, 2:38), aparece no canto superior direito em segundo plano. Talvez o mais experimentado gravurista de toda a História da Arte, Rembrandt combinou a gravura, a ponta seca e a água-forte para criar um efeito pictórico riquíssimo. Ao usar uma fina rede de trama no fundo e grupos de linhas paralelas nas figuras, criou uma atmosfera evocativa tal, onde as formas emergem através da meia-luz.

As 282 gravuras de Rembrandt, integrantes da Colecção de Arte do Conde do Ameal, Coimbra, fazendo parte do Leilão do Ameal, de 1921, tendo sido expostas em Lisboa/ SNI em 1948, na Grande Exposição de Gravura Antiga, organizada por Luís Reis‑Santos e vendidas, posteriormente, a Dionísio Pinheiro, entre 1956 e 1958.”

[Now follows my own English translation... your comments are highly appreciated!]

Rembrandt Harmenszoon van Rijn produced prints during almost his entire career, from 1626 to 1660, when he was forced to sell his press, leaving prints to a second plan.

No work dated from 1649 is known under his name, nevertheless he later returns to engraving and indeed some of his plates were actually partially engraved by himself. The artistic freedom that he applied to his engraving technique was essential for the immortalization of his work. He was always very involved in the whole process of printing, as he printed at least his early etchings.

He began by using a style based on hand-drawing that he rapidly quit to adopt a method based on painting using a dense mass of lines and numerous acid punctures to achieve different thickness in lines. In the late 30′s of the XVII century, he revolted against his technique and started to use a more simple with less usage of acid. In his famous “Christ Preaching”, he worked the plate by stages during the 40′s; this engraving marked the middle of his artistic career, and from which emerged his final style. Although only the plates of the two initial states have survived to our days (from the first one they are very rare), evidence of more stages can be seen in final copies and many of the prints that have survived to this day.

During the 50′s, the pinnacle of his career as a printmaker, Rembrandt produced countless illustrations of the life of Christ. Unlike the treatment that he had previously given the topic, Rembrandt focused thereafter, on a more personal approach, even intimate, about the meaning of biblical episodes. In “The Presentation of Jesus in the Temple”, we can see Simeon, to whom “had been revealed [...] by the Holy Spirit that he would not die before he had seen the Lord’s Messiah” (Luke 2:26), holding the boy towards the Priest, while the High Priest, behind him, sporting a turban and a huge “crook”. The Virgin and St. Joseph kneel humbly in the shadow at the bottom left, and Anna that “Coming up to them at that very moment, she gave thanks to God and spoke about the child to all who were looking forward to the redemption of Jerusalem.” (Luke 2:38), appears in the upper right corner in the background. Perhaps the most experienced printmaker of all History of Art, Rembrandt combined engraving, dry-point and etching to create a rich pictorial effect. By using a fine network of plot in the background and groups of parallel lines in the figures, he created such an evocative atmosphere, where forms emerge through the half-light.

The 282 prints by Rembrandt, from the Art Collection of Conde do Ameal, Coimbra, included in the Ameal Auction, in 1921; afterwards they were exhibited in Lisbon/SNI [Secretariado Nacional da Informação/National Secretariat for Information] in 1948, at the Great Exhibition of Ancient Engraving, organized by Luís Reis Santos, and later it was sold to Dionísio Pinheiro, between 1956 and 1958.

As seen on the... Google Art Project!

2013-11-09T18:44:00.000+00:00

Bridging cultural gaps would not be possible without translation... in its multiple forms.

There are a few places where translation in the broader sense is a permanent and ongoing effort and necessity, the interpretation and contextualization of historical object is a "transitional" and layered process beyond aesthetics and form vs. function factor. Museums may be one of those space-time jinxes! Now put all that into perspective in an out-of-the-box experience right here on this screen... Nice to see some paintings, decorative arts and national treasures, but what's beyond the looks? What to tell about the route and history of an exotic piece? One of the last projects I found myself immersed into was the translation of the contents for the Google Art Project presence of the Dionísio Pinheiro and Alice Cardoso Pinheiro Foundation, based in Águeda, a small-to-medium-sized Portuguese city.

This almost unnoticed museum lodges a vast collection with unique pieces in Oriental ceramics, Portuguese and European paintings, pottery and silverware, not to mention French Boulle furniture from different periods and a "lost" collection of drawings by a Dutch master... and so on and so on... In case you are in Portugal or visiting check their Facebook page right here to check their events and timetable.

And it is good to mention it was the second Portuguese museum to be invited to feature a selection of pieces, 50, but more will follow. The museum's page on Google Art Project was made available on 25 September 2013.

FREE Translation of your Resume or CV!!!

2012-10-09T21:39:00.002+01:00

With millions of people moving around the world and relocating, one of the most important tasks is having resume or curriculum vitae (CV) translation completed for job finding.

While many people can actually speak English, many do not speak it on a proficient level, or at least enough to properly translate their own resume or CV.

With just one resume translation from Portuguese to English, you can make as many copies as necessary to future needs.

It will only take one translation of a resume or CV to properly start a successful local or global job search.

We can translate your CV or resume for FREE between any of the following languages:
* English;
* Portuguese.

To get the FREE translation of your resume or CV (up to 3 pages; .doc filetype; 1,5 paragraph) you will only have to:
* Follow the blog;
* Follow us on Twitter;
* Follow us on Facebook;
* Share a positive Twitter post about our service (with blog address);
* Share a positive Facebook post about our service (with blog address);
* Promote the blog and our translation services in your favourite forum (we will validate as long as we can see it).

And the contact email is translationwithcolour@gmail.com

Are you ready to get global?

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Our cooperation with ICLEI

2012-02-16T14:28:00.001+00:00

Here you have a 2011 project highlight: our cooperation with ICLEI for the revising of its Portuguese language leaflet translated from English. It followed our linguistic assistance with me as interpreter (English «» Portuguese) to the Director of the Strategic Services of this international organisation during the course of an international seminar during June 2011.

The International Council for Local Environmental Initiatives (ICLEI) is an international association of local governments and national and regional local government organizations that have made a commitment to sustainable development.

SEO those translations... please!

2011-10-23T23:18:00.001+01:00

When we are dealing with the translation of marketing materials for the Web, such as press releases, features analysis, and usage tutorials, one of the prime priorities to bear in mind is the proper usage of particular keywords in text titles, subtitles, headers and associated tags. This is a legitimate and wise method to ensure the webpage in which the text will be included ranks high in particular websearch engines, such as the ravishing popular "word-magnet & SEO-nemesis" Google.

This is one of the strategies to bring value into the translation process and must be brought into different types of websearch optimization, consider, for instance, news search, local search, video search, and audio search. Translation for SEO must bear in mind the way search engines deploy their results and the search preferences of the target audience, which includes the words or terms used as well as the preferred search engines.

Careful and persistent work is always involved when dealing with a team of translators and designers so that no detail is forgotten while keeping content open for search engines. An example we like using is the huge void left inside PDF files, so many fields to add information which will help sort and rank your document, we are talking about fields, such as, base URL, title, author, subject, keywords, description, copyright status, and others, and all of these are accelerators for page views and website ranking...

In any case, keep an open and proactive approch towards search engine optimization while you translate or proofread texts and documents for the Web, even if there's no SEO manager to offer you guidelines and a sense of priorities for words...

Open publication - Free publishing - More from TwColour

Subtitling project: territorial marketing video for a Portuguese municipality

2011-10-04T18:57:00.001+01:00

This is our most recent project for translation and subtitling, but we also intervened to some extent in the production of this documentary. In this case the video piece is over 28 minutes long and features a medium-sized Portuguese municipality (something like 50.000 inhabitants in 350 km2) in central Portugal. The original language is Portuguese.

Check it for yourself!

Translation with Colour® now available at Thumbtack.com

2011-09-17T13:55:00.006+01:00

Making yourself seen in the midst of a crowd is not at all that easy. Try to etch in your mind a huge squre full with people - in this case translators or wannabe translators - all of them waving a sign telling the language pairs they work with. The client goes to a balcony equipped with binoculars watching out for the right person... How to sort the right professional for that urgent translation in order to close the contract? Now imagine you try to go local with this type of search! It's the needle in the haystack...

The solution comes in the form of Thumbtack.com. This nifty website is the ultimate meeting point for people offering services and their clients. What's best Thumbtack is a free service!

The service provider can grant all the details about his/her work (such as description of services, rates, information about the trade, the "do-and-don'ts",...), telling how he/she stands out from the crowd of professionals, curious, and DIY translators around the block. Reviews, testimonials, links, and question and answers (like a FAQ) are included for added assurance on the transaction.

Consider Thumbtack.com for your service needs... locally!

We can tell in the beginning we were a bit skeptic, but after the first contacts by prospective customers requesting quotes and awarding jobs... Yes, after this you know Thumbtack.com works.

We take this opportunity to talk about Translation with Colour® and about the work we love to do, that is, translation! Now also at Thumbtack.com: Translation with Colour

We are on-schedule, ethical, reliable and cost-effective.

We translate the following language pairs and directions:
» Spanish to English,
» Spanish to Portuguese,
» Portuguese to French,
» Italian to Portuguese,
» Italian to English,
» Italian to French,
» French to Portuguese,
» Portuguese to English,
» English to Portuguese,
» English to French,
» French to English.

We have over 20 years' experience in translating corporate, business-to-business and institutional documents in 5 different languages. Job completion targets are based on method and discipline towards clientâ€™s needs. Corporate assignments are completed, keeping in mind the global market and the desired outcomes for the client, so that our services bring value to the organization from a cost-effective point of view.

Our translation experience encompasses documents such as operating agreements, company registration documents, contracts, import certificates, bank letters, resolutions, certificates of authority, government documents, bid applications for funding, and other legal and administrative documents. Our writing and translating activity is indeed very diverse, as it also includes software localization, audio transcription and translation, video subtitling (captions), contents production and localization, in text types such as press releases, reports, blog entries, text rewriting, and other.

Consider us for all your needs related with our working languages for translation, proofreading, subtitling, article (re)writing.

We are on-schedule, ethical, reliable and cost-effective.

Top-notch conference interpreting assignment last June!

2011-07-06T22:57:00.000+01:00

June 2011 saw another English/Portuguese interpreting assignment being trusted to Translation with Colour®.
The background for the two days - 6 and 7 June - was the Environment & Sustainability Week promoted by a Portuguese local government which included a conference on the role and responsibilities of municipal authorities for sustainable development. The audience of this seminar was mainly composed by political decision-makers and senior technical staff.

The individuality I was personally assisting was ICLEI expert and United Nations Secretary-General's Adviser, Mr. Ruud Schuthof, during the Portuguese language presentations, while consecutive interpreting had to be performed for the audience in the hall, which included Spanish-language native speakers. This context demanded extra care in pronunciation and use of the microphone as the interpreting was made not from the booth but on open view from the chairman's table.

Interesting, challenging and rewarding!

Video subtitling project... electric cycling for a sustainable future!

2011-05-09T23:26:00.000+01:00

This is our latest English-language subtitling project and once again we bring value into a sustainable development project, in this specific case it refers to electrical cycling along with dedicated pathways.The video runs for 1 minute and 55 seconds, but it will not take this time for you to understand it took less to finish the minute task... and this post!

Next entry will feature impressions on our most recent extended translation assignment on the role of institutions of higher-learning in the development of small to medium-sized cities, i.e. cities which want to run up ... stay tuned!

Translation of a Paper about Municipal Programmes for the Senior Population

2011-04-23T17:45:00.000+01:00

This short assignment was completed an year ago; it was another translation of a Portuguese language paper into English for an international seminar in Spain.

The text deals with the experience of a Portuguese municipality in improving socialization and physical exercise programmes for the senior population in its vast and assymetric territory. Very interesting reading for ideas!

Open publication - Free publishing - More culture

"Too-much-business-English-bla-bla-bla-for-the-under-medium-sized-Portuguese-city"?... can be!

2011-03-31T23:17:00.006+01:00

By now you are no longer confused by the title: yes, it's true, the picture above was shot in Portugal. And no, you're wrong, English is not an official language in the land of Camões, not even a second language for any matter [... despite efforts by government officials to increase teaching of the Albion idiom to the most recent generations in elementary schools]. Simply the fad of English academic and professional titles has reached a new level: a bank (four letters, mind this!) has been elevated to a four English words coumpound. What for??? Check some of the theories: make the place look more professional and respectable; look "smart"; branch targeted at foreigners (?!!!), ...
The fact that one can find this in the present economic context in an under-medium-sized Portuguese city might give the impression the IMF has already began its "reality show" in those shores.

Another research paper translated into the Portuguese language

2011-02-05T20:31:00.000+00:00

Translation with Colour®'s involvement with academic research is not new and this assignment is another evidence of this trend. The original article was written in English and focused on the Triple Helix Model for development, which involves academic institutions and associated research units, companies and the business sector, and the (local) administrations.

About the article itself one must point out that the writing style is what one can expect from an advanced academic piece of writing: neither simple nor eloquent; the paragraphs are long but concepts and ideas are well articulated, with subordination and coordination following smoothly. Don't know if the final English text was reviewed by an (a native) English teacher at the university but the English language used was well above average, considering the variety of vocabulary, grammar flawlessness, word collocation, and overall text organisation and pragmatics of English language. One final note: the authors of the research paper are two Portuguese university teachers in the University of Aveiro.

Open publication - Free publishing - More development

RTP - PORTUGUESE NATIONAL RADIO BROADCAST feat. LUIS ARRUDA aka TRANSLATION WITH COLOUR

2010-06-15T18:13:00.001+01:00

It's been quite a while from my previous post... Truth is that I've been quite busy with different projects and other job related chores (I want to much to post about these!). But I could not let go without posting about the live interview i had today from RTP, the Portuguese national radio, on my work assignment as an expatriate translator-interpreter in Barbados.

You may listen to the interview (very short: a bit over 2 minutes) right here.

The interview is in Portuguese language...

Don't trip on acronyms!...

2010-03-27T18:46:00.003+00:00

One of the best known traps in translation process is the treatment of acronyms: the way the language mediator interprets and manages a row of letters referring to a company, institution, technological process, entity, country, product, measuring units, etc, etc, etc. I'm telling nothing new here, of course, but the fact is that when you trade between languages, when you translate acronyms you can stumble upon fowl language or rather coarse slang in all possible shades...
One of the last assignments I had dealt with Private Institutions for Social Solidarity, which is the English counterpart for the Portuguese Instituições Particulares de Solidariedade Social (IPSS)... now figure the English acronym for this. But this is nothing compared to other "fine" examples I don't dare jot about here... exposure would be the best word to describe it...
So, keep an open eye for those naughty acronyms, if you don't want to get exposed.

Translation with Colour® brings value into environmental project

2010-02-03T15:18:00.029+00:00

Another great translation project into the English language by Translation with Colour® was finally launched. The subject area was not new but the scope and audience are definitely global. The project consisted in translating the Portuguese language website dedicated to the largest freshwater lake in the Iberian Peninsula, aka Pateira de Fermentelos, into English. The website was promoted by the local authorities and it is available in Portuguese and English.

January 20 was the date chosen by the Mayor of Águeda to present the website and the local and regional media were there. Our previous project concerning this lake had also caught the attention of both the local and national media and the online buzzing stations.

As you can see below, the message about the new multilingual website has gone beyond the local boundaries, which means the website had a good reception by the audience. Please don't hesitate in reaching us if you have any other clipping about this project or if either you or your organisation is interested in receiving more details about either this website, its mentors or translator. Simply write to translationwithcolour@gmail.com

Assignment for the Portuguese One-Stop Shop Business Portal

2010-01-20T15:23:00.001+00:00

Today I have finished translating into English a series of texts for the Portuguese Administration online One-Stop Shop for Businesses. In order not to escape terminological consistency I had to research quite a bit, e.g. the English translation already in use of the names of different government agencies and services, especially related with taxes, gambling, permits and licenses.
What is really interesting in all this process is that there is not a single place where one may find a public resource outlining nomenclatures and other linguistic data which might help harmonise translation and terminology in the universe of Portuguese public administration. But why should one be surprised? After all Portugal is one of the few countries in European Union (and beyond) which has not granted translators their legal rights. For instance, in Portugal one will not find sworn translators, which indicates the translator's work is not respected as one can not legally certify his/her own work, which can only be made according to law by a notary, a lawyer, chambers of commerce... Technological and cultural leaps forward require recognised linguistic mediators.

Translation with Colour®: The reason behind our name

2009-12-03T15:42:00.005+00:00

One of the things I get asked most often about Translation with Colour® is the reason behind this name (which is, by the way, a registered trademark…). “Why should translation have colour?”, “what do you mean with this?”, “are you a translator who does design?”, and others alike are the typical mind-bogging questions quizzing colleagues, visitors, and clients on the first contact either online or on meetings.

I can’t even forget the episode in Saint Petersburg, Russia, at the famous Frikadel’ki restaurant, when an Israeli lady was puzzled with what she was trying to read on my Translation with Colour® t-shirt. After tilting her head left and right it didn’t take long till she addressed me. I explained Translation with Colour®’s was my translation venture and contrary to what she thought I was not a designer (despite I had made the design).

“But why Translation with Colour®?”

There is a language called Geez (some give it as extinct), which developed in what is nowadays Eritrea and northern Ethiopia in the Horn of Africa. This was the language of the Ethiopian Imperial Court and Kingdom of Aksum. This language is still used in by the Ethiopian Orthodox Tewahedo Church, the Eritrean Orthodox Tewahedo Church, the Ethiopian Catholic Church, and also the Beta Israel Jewish community.

One of the less described and known features of the Geez language is that its writing, especially what on what concerns official letters and religious writings, was ciphered or protected using colours which altered meaning of texts, offering different possibilities for understanding the true message. Only the initiated would plunge into the different layers of a given text. To make the matters more complicated Geez makes use of an alphasyllabary aka abugida (a Geez word itself) writing system based on consonants, developed for this language alone, but afterwards adopted by other languages in the region.

Now it’s clear how translation might get a colourful shade from an original text. In any case, ciphered texts are word of the day and a sign of the times we live in. In any case, languages, texts and ideas are charged in such a way with diverse and intense layers of meaning, offering no other solution than Translation with Colour®.

How to improve translation time? An how-to guide containing 7 easy steps. [Part 3/3]

2009-11-06T20:53:00.000+00:00

Step #5 :: Do not cut on communication expenses. What I mean is that one must keep all communication gates open: it will allow better and faster communication with fellow translators, specialists, and customers. This will not only cater for a faster translation process, but also more efficient marketing, while assuring an image of credibility and availability for future projects.

Step #6 :: Discipline. Translation is “many things”. Some say it’s an art, others to it as a craft, others defend one must have a vocation for it, and so on. When we are talking about fast and optimal quality translation services we finally understand it is a job to be made by professionals who are target-focused people who make all efforts to deliver an output which makes no compromise with quality. This requires discipline. There is no other explanation but discipline for the Herculean efforts translators go through to deliver documents in the different working languages (also known as procedural languages) in international organizations (such as the United Nations, the African Union, or the World Trade Organization) or summits (for instance, minutes and final declarations issued in multilateral meetings). The translator is often the person who turns off the light at the office, even when the day is breaking...

Step #7 :: This tour-de-force on faster translation could not be finished without mentioning the working environment. This is especially true for those who work at home, as it is more easily controlled. The environment should fit your needs for space, light and noise level. On a very special personal note, I can’t forget the time I was working on a construction project as both translator and interpreter: the batches of documents I had to work on didn’t care about the scorching temperatures, and the concrete mixers and jumping jacks working close-by. Always do your best to guarantee the best working conditions, maximise the questions about safety, comfort and ergonomics. If the neighbor is testing your patience with renovation works, consider relocating those hours to the public library, most offer free broadband access, better than average dictionaries and source books, and at campus you may even find cabinets where you may work alone.

These tips are guidance for the professional translator who wishes to offer the best and fastest translation service. Some of these ideas will make you score big with clients, because deadlines are a real issue in the translation business and they can put one ahead of the competition. We hope you don’t have any excuses to postpone. If you have a work to do, just do it!

How to improve translation time? An how-to guide containing 7 easy steps. [Part 2/3]

2009-10-16T14:31:00.005+01:00

Step #2 :: Saving time by process automation technology is another speed booster in productivity; therefore the best solution is to increase your skills and tools in translation assets management. No matter what the size of your business the way you manage simple and routine tasks in fundamental to become more competitive as you and your associates/partners save time for what’s really important and your core business: professional quality translation services. Proper management of translation assets allows the user to gain control and get value from huge amounts of translated or localized data in an unsurpassable way. Translation memories, terminology databases, glossaries, localized mixed media (intricate contents, such as, graphics, video, sound, and other), and even style books become an added value for your operations and projects completion deadlines.

Step #3 :: Team work is a basic skill in a globalised marketplace. Every translator offering conscious professional service knows and recognises his/her limits in every subject area, therefore a faster service will only be possible if special difficulties or text idiosyncrasies are dealt with in a streamlined fashion by contacting fellow translators or specialists. In any case don’t think twice if either the circumstances allow you to keep a close contact with the author of the source text or you can work in-house for the duration of the project which will be crucial for highly specialized texts with a short deadline.

Step #4 :: There was a time when training in translation and related areas was an on-going process, which is still true though, but nowadays the variants in professional service are manifold. The true translator takes the challenge and not only trains himself/herself but also looks for the best sources of information and know-how. An example will illustrate better: how can you cope with the details of high-end computer-assisted translation software without any previous background? A fairly good computer user will be able to master it after some time, but again: do you have time to waste with the trial and error method? Taking a planned training program will certainly open the doors to new knowledge and know-how, while at the same allowing one to create better networking opportunities with translation and technology-wise peers.

Step #5 :: ...
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Media covers Field Guide about the "Pateira de Fermentelos"

2009-10-14T20:53:00.013+01:00

Our most recent publication has caught the attention of both the local and regional media and the online buzzing stations. As you can see below, the echoes about the book's release have reached different locations, which means the edition has met a wide audience. Please don't hesitate in reaching us if you have any other clipping about this edition or if either you or your organisation are interested in receiving more details about either this book, its author or translator. Simply write to translationwithcolour@gmail.com