1.
Singing Translations (Premium Content)
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At the BDÜ conference I went to just a few presentations -- like most of
you, I tend to get more benefit from talking to colleagues than from the actual
sessions. Still, I tried to fit as many sessions on translation technology into
my schedule as I could. With some I was frankly a little disappointed,
especially the CAT-tools-are-really-cool- or -are-really-bad presentations. However,
some were very stimulating, in particular a podium discussion titled "Who
killed creativity? Do we really need TM?" This discussion was coordinated
by Terry Oliver (who has been mentioned in this newsletter a number of times), and
he was joined on the panel by some highly distinguished and experienced
translators. Here is the write-up of this session from the proceedings:
To deny the blessings
of technology would be absurd in an age like ours which benefits so much from
the accuracy of laser surgery, the convenience of microwaved foods and the
speed of broadband access. But in all these cases we still need the skill of
the surgeon to guide the laser scalpel, the experience of the cook to set the
heat and timer on the oven, and the discernment of the individual to sift, sort
and select the information presented.
Voice recognition
and computer-assisted translation tools can no doubt offer the same advantages
of accuracy, speed and consistency. However, while it is irrefutable that
translation memory (TM) software can improve terminological consistency and
reduce confusion by standardizing forms of expression, the downside is often a
less fluent, a stilted, or even a syntactically flawed translation. For certain
types of text this signals a significant deterioration in quality of the end
result.
Translation buyers
and translators themselves need to be aware that, in many instances, the quicker
and less considered the initial translation, the more extensive and
time-consuming the process of self-editing becomes. TM tools are merely a means
to an end and not an end in themselves. As such, they do not necessarily lead
to overall cost savings on the scale that is frequently anticipated.
Like many of the
other technological aids that surround us today, TM tools relieve us of much of
the burden of our work, but they can never relieve us of our professional
responsibility for producing an end product that is in every way as fit for
purpose as it is possible for it to be.
The debate
Why is it that some
people, once they start using TM, stop creating translations that "sing"?
Does the TM approach improve process quantity at the expense of translation
quality? Does the man-machine interface actually affect the thought processes
of those using it? Is there anything we can do to prevent translation quality
suffering? Are there certain kinds of texts that TM tools should not be used
for on principle? Are people forgetting that TM tools are merely a means to an
end, not an end in themselves? These and related questions will be discussed by
a group of experienced translators who work in widely differing fields and who
range from the highly skeptical to the convinced user of TM tools.
Most of the members of the panel spoke quite strongly against the use of
translation memory technology (they actually spoke about "translation
memory tools" -- but more on that later) in their particular fields
of translation. Their arguments were so passionate that several folks
approached me afterward to ask why I hadn't stood up to say something in
defense of translation memory. The answer is that there wasn't much that could
be said.
We so often make the mistake -- and I am as guilty of it as anyone -- of
assuming that "translation" needs to be approached in a certain way.
Yes, we know that there is literary translation, and we (I) by implication
exclude that from our deliberations on how to translate. However, we (I) tend
to lump all functional translations together in one big, well, lump. The fact is
that there are so many fine and shady lines between the areas of
"functional" and "literary" translations that this
distinction may very well not make sense. For instance, panel member Chris
Durban said that her financial translations need to be not only informative but
also interesting and fun to read or the reader loses interest and puts the
unread report aside. And there are many other examples where the repeatability
and consistency that translation memory technology promises (and delivers) is
not only undesirable but actually needs to be avoided.
But then, of course, there are many, many areas of translation where
these are highly desirable traits. (There are also areas where a rough machine
translation is all that is needed if it communicates the core concepts
-- think of Microsoft's machine-translated knowledge base and the usability
approach to translation.) The fact is that the majority of translators (and this
will be especially true for subscribers of this newsletter) benefit (or could
benefit) from certain aspects of translation memory technology, provided that
they learn how to use it adequately. Yet it's also a fact that there are many
translators who feel that translation memory technology clips their wings (to
stay with the "singing" metaphor from the introduction to the panel).
Here is the only thing I would like to add to this discussion (and what
I should perhaps have added during the discussion in Berlin): We are not doing
ourselves a favor by calling tools like Trados, Transit, Swordfish,
Fortis and the many others "translation memory tools."
Granted, translation memory is a feature of these tools, but so is terminology
management, quality assurance, file
management/conversion/protection/accessibility, access to any former
translation, and on and on. Very few tools are "translation memory
tools" -- in fact, I can think of only a couple: Snowball and AnyMem.
Most of the others are tools that provide a wide range of features to aid the
translation process, creating a complete translation environment. I would also
suggest that those who -- possibly rightly -- assume that translation memory in
its core functionality (re-using perfect and fuzzy matches) hinders rather than
helps them, would benefit from some of the other features of a translation
environment tool.
Interestingly, there was a good discussion on the ATA's Language Technology Division's email list about the merits or drawbacks of the use of the term
TEnT (as in "translation environment tool"). But I gotta say that,
especially after once again seeing the misconceptions created by terms like
"translation memory tool" at the Berlin conference, I think
"TEnT" is rather helpful.
Oh, and speaking of conferences, it would be fun to see some of you in Warsaw in a couple of weeks!
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2. Dark Room!
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Every once in a while you might feel overwhelmed by all the bells and
whistles of your word processor. Yes, you could just write on the white
background of the MS Word canvas (or, for that matter, on a blue
background with white characters in Word 2003 and below -- under Tools>
Options> General), but you might find the mere
presence of menus, toolbars, and other clutter annoying. Even Word's View> Full screen option might not cut it. At those times, you
might want to look at Dark Room.
And dark it is when you first start it. Plus, it's magnificently feature-free.
Here is how the developer described it:
Dark Room is a full screen, distraction free, writing
environment. Unlike standard word processors that focus on features, Dark
Room is just about you and your text.
Basically, Dark
Room is a clone of the original WriteRoom that is an OS X (Tiger)
exclusive application. It is a child of necessity, as there were no viable
alternatives in Windows to produce the same behavior. Sure, you can kind of
emulate the behavior by jumping through a bunch of hoops in Word/Writer,
but it isn't the same.
It was really eye-opening for me to open this application for the first
time. It took me back to what it felt like when I had to write something and
all I could do was stare at a white piece of paper. Only in this case, it is
completely black (you can change that by pressing Ctrl+,) and I'm not staring at paper but at the computer
screen. So now it's all up to me. No distractions. Just me and the keyboard.
Quite honestly, I'm not sure how much this will help a translator who is
used to working with TEnTs and likes to rely on terminology, translation memory,
and formatting, but for someone who translates or writes just plain text this
is quite the experience.
In case you feel caught in the program and need a way out, Ctrl+Esc will do the trick and even
display a minimalistic menu bar. (Another
shortcut that might prove handy: Ctrl+S
to save.)
And you probably guessed this: yes, it's free
and no, there is no separate installation necessary.
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3. This 'n' That
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Uwe Scholz pointed
me some time ago to a product called NXPowerLite. This product, much like its competitors FILEminimizer Office
and PowerShrink, allows you to
compress MS Office files without losing much quality. I have admittedly
not tried any of these products, but one area where I could see an immediate
use would be to shrink PowerPoint files, which can be obscenely large,
or of course Word files.
For the obsessive-compulsive among us who just CANNOT HANDLE all these
open applications on the desktop, there is WindowTabs,
a tool for Windows XP and above that allows you to organize the
different application windows into a tabbed interface, comparable to a tabbed
browser interface, so that you can easily see what you can switch to. And if
you have an application that you want to take out of the tabbed interface, you
can just drag it out of the group (which, by the way, you can also do with almost
all browsers, except Internet Explorer).
Another thing that some browsers are good at and others are not is
something I recently stumbled on: web fonts. What? Well, we all know that the
number of fonts we can use for web pages is very limited (and, incidentally,
all owned by Microsoft). The reason for that is that a font of a web page needs
to be installed on the computer of the user who views the website or else the
computer switches to a default font which typically messes up the design of the
website.
To allow for more versatility in designing web pages, a relatively new
technology has been introduced that allows for the download of fonts alongside web
pages so that the designer of the webpage knows what font will be used,
regardless of whether the user has it installed or not. The one downside to this
is that most fonts are registered entities that belong to someone, and this
technology makes it relatively easy to share these fonts willy-nilly, thus
violating the font owner's copyright. That's why Microsoft has been rather
hesitant to support this technology (it does this only through its proprietary Embedded
OpenType fonts -- you can read here how to make this compatible with others browsers).
However, other browsers, including the newly released Firefox 3.5, Safari 3.1,
and Opera 10, support .ttf font files, making it possible to view pages
like this, this, or that. But again, this
will not work in any other of the main browsers or in lesser versions.
Some may think that this is geeky and irrelevant - but I think it's
beautiful; to tell the whole geeky truth, it makes my heart beat just a bit
faster!
(By the way, this is naturally not possible in Chinese, Japanese, or
Korean where the fonts would be too large to download.)
And to finish this whole thing with fonts and browsers off, I just found
this very clever freeware tool called FontList. This tool opens your
default browser with a list of all the fonts that are installed in your system in
their actual representation so you can have a great overview of what you have
or don't have. Alongside the individual fonts you can find little buttons that even
allow you to look at them in italics or bold.
Once you run FontList, your default
browser is started, which may or may not be a good thing. You see, in this case
it is Internet Explorer that is superior to other browsers since, unlike
them, it is able to display non-Unicode fonts alongside Unicode fonts. But, no
worries, even if Opera or Firefox are the browsers in which the
first view is generated, a copy of that file is saved in My Documents
where you can then open it in IE.
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4.
Spamolot
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There was a time when I received
between 1200 and 1500 spam messages a day. Though 99% were caught by my
anti-spam program, it was still extremely annoying. Extremely annoying! Fortunately
for me this has come down to only a couple of hundred, but they are still not
particularly welcome. So it's helpful that Czech translator and publisher of
the jobs-translators list Radek Pletka sent us a very helpful list of email addresses that you can
use to report spam, if you receive undesired mails from these providers. Here
they are:
- Yahoo: abuse@yahoo.com
- Microsoft: report_spam@hotmail.com,
report_spam@live.com, report_spam@msn.com
- eBay: spoof@ebay.com
- PayPal: spoof@paypal.com
- Google: gmail-abuse@google.com
Radek also advises you to forward not only the
email but also the header info (for those who don't know how to access the
header info, you can check here -- this list is a little outdated so if you don't find
appropriate info for your email client, you might have to google for it). Radek
has tested most of these addresses and reports quick action of the side of the
provider.
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5.
A Löve Story
(continued)
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Here is the next in the series of characters I really like. It's the one that connects The New Yorker magazine with heavy metal. Kind of.
If you have a Javascript-enabled browser, hold
your cursor over the character for a definition.
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The Last Word on the Tool Kit
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If you would like to promote this newsletter by placing a link on your website, I will in turn mention your website in a future edition of the Tool Kit. Just paste the code you find here into the HTML code of your webpage, and the little icon that is displayed on that page with a link to my website will be displayed.
Last week this reader
added a link:
www.lokanath.de
© 2009 International
Writers' Group
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