r:Terhi Marttila

Speak outa playful interactive artwork about migration with a radical openness to the World

Terhi Marttila ¹
Interactive Technologies Institute / LARSyS
FEUP / Porto University / Portugal
[Faculdade de Engenharia / Universidade do Porto]
terhim@gmail.com

Patrícia Gouveia
Interactive Technologies Institute / LARSyS
FBAUL / Lisbon University / Portugal
[Faculdade de Belas-Artes / Universidade de Lisboa]
p.gouveia@belasartes.ulisboa.pt

In the interactive artwork Speak Out Terhi Marttila asks us to think about how we deny the right to speak to those that we consider outside our group, outside our border or those we perceive on the margins. The colonial gaze disdains those who think differently or have differing worldviews. In contrast, the post-colonial gaze renounces those who want to speak on our behalf, thereby preventing us from saying what we think.

Tackling the global discriminatory border problems, according to Walter D. Mignolo, means embracing a pluriversal, not a universal mindset ². Pluriversality or diversality ³ avoids dichotomies, dualistic mindsets, binary thoughts, or ways of thinking. This notion of pluriversality proposes multiple possible worlds for life in a globalized environment, with the aim to combat the colonial assertion that subordinate groups are less human than their sovereigns, therefore less able to speak for themselves. ⁴

These emancipatory, poetical and political alternative discourses ⁵ do not think of the margin as a peripheral space, one of loss and deprivation, but rather propose the margin as a space of resistance, possibility, and creativity where new critical discourses take place. Through a radical openness to the world, these discourses challenge the oppressive boundaries established between race, gender, sex, and class, suggesting that oppression shapes resistance and that we should pay attention to multiple world views. ⁶

However, by embracing diversity, democracy opens up to chaos and risk, to multiple tensions, desires, volatile states, an inherent consequence of living with freedom. The dualistic antithesis, suggests Hans Jonas, does not lead to an increase in vital traits by concentrating on one side, but rather to the death of both sides, as they have been separated from their living center. The exclusion of life, in the inheritance of dualism, is an ontology of death that has a double face and creates unsolvable problems. ⁷ Life connects organisms with the environment in a myriad of ways, dots in an abstract metaphorical perspective in the Speak Out artwork. Organism and environment both form a system that determines the basic concept of life. Life has, in this context, a bipolar integrative behavior between organism and environment. ⁸

What characterizes living organisms is its autopoietic organization. Different living beings are distinguishable because they have different structures, even though these structures are organized in the same manner, stated Chilean researchers in biology, Maturana and Varela, observing that the border is simply a membrane in a dynamic process. ⁹ Distributed life and comprehension remind us “that we as a group might understand something that none of us individually could fully understand.” ¹⁰ Together we can help build a shared vision with the aim of solving the human challenges on planet Earth. In a radical openness to the world, quoting Achille Mbembe vision about decolonization, it is considered that the Earth belongs to everyone and not only to those who colonialized it ¹¹ . How do we compose the “we” in a global world? You can only help change things if you have the right to Speak Out.

When speech is denied you have no voice, you cannot Speak Out. You become a puppet in a fictional world where only those who are assigned the right to speak have a voice. Following Mbembe, we must develop a new political body that appeals to responsibility in the creation of a sustainable future, a survival guide to rebuild life in times of extremes.

The geographical division understood as a border or membrane, Grada Kilomba tells us, can distinguish between the upper or lower world, the good and the bad, the acceptable and the unacceptable, our group and the group of the “others”, preventing contagion or infection. For Kilomba, symbolically, the membrane that separates two worlds reminds her of the white gloves that black people had to wear when they touched the white world. ¹² White gloves, like a membrane or a border, segregated streets, or spaces, are constructed fictions about somatic contagion.

Knowledge spaces can also be infected by ironical and cynical ¹³ denials. Caroline Criado Perez suggests, “the irony of excluding women’s voices when it all goes wrong is that it is exactly in these extreme contexts that old prejudices are least justified, because women are already disproportionately affected by conflict, pandemic and natural disaster.” ¹⁴ Women tend to dominate the figures of those who die in natural disasters and meanwhile, climate change is making our world more dangerous and susceptible to these natural disasters. ¹⁵ The process of silencing women’s voices is well alive in twenty-first century academia. As Gina Rippon states, “women working in academia were much more likely to use self-silencing, assessed by an adaptation of a ´Silencing of the Self´ questionnaire to capture self-silencing in academic contexts, than to speak out (risking confrontation) or to seek help.” ¹⁶ Again and again you cannot Speak Out. You became a puppet in a fictional or make-believe world. ¹⁷

Following Silvia Federici’s historical approach, in the early European modern period and colonial America, the witch hunt did not destroy the resistance of the colonized. Due mainly to the struggle of women, the relationship of American Indians with the land, local religions, and nature, survived persecution, and it was, for more than five hundred years, a source of anti-colonial and anti-capitalist resistance. This is extremely important for us, at a time when a new assault on the resources and the way of life of the indigenous populations is being carried out across the planet. We need to rethink how the conquerors fought to subdue the peoples they colonized and what allowed the latter to subvert that plan and, against the destruction of their social and physical universe, create a new historical reality. ¹⁸

For that purpose, Terhi Marttila creates Speak Out, a playful toy which invites the interactor/player to mix bodies, people, that when together, as bullet points in a colorful screen world, open a space for reflection about possible forms of the future for the good of Gaia, the mother Earth. To be contemporary is to have no territory or to be trans territorial, a resident or a foreigner everywhere. There is a dematerialization, and the strange and the familiar become equivalent in an incessant search for inhabiting the uninhabitable. ¹⁹

The current refugee crisis reveals, according to Byung-Chul Han, that the European Union is nothing more than a commercial economic union that seeks its own advantage, as opposed to a rational construction, a reasoned "alliance of peoples" that defends universal values such as human dignity. Quoting Kant, Han suggests that it has become a neoliberal space of commerce, incapable of "hospitality" without conditions. ²⁰

The voice, claims Han, “is something that returns from the other world. (…) What has been excluded and repressed returns as a voice. (…) In a society in which the negativity of repression and denial give way more and more to permissiveness and affirmation, less and less voices will be heard. On the other hand, the noise of the identical grows.” ²¹ Voices, as ghosts, come to haunt us and to remind us that “the task of art and poetry is to stop perception from mirroring, to open perception to the nearby, to the other, to the different.” ²²

In Speak Out your voice echoes through the machine, like a murmur that allows the player to enunciate possible sentences that are transformed into texts. Perhaps one day these voices will be able to leave the mirror and the digital egotistical bubbles and be heard as a wall of desires, vulnerabilities, and anxieties. Because we do care to listen to them, to hear what they tell us, and in a paradoxical way the mirror could transform itself into an open portal to a murmur stone, telling us instead of secrets, enigmas.

Terhi Marttila starts with the following arts-based research questions: Have you ever thought about what it would feel like if you were born into circumstances where you could not move beyond the enclosed space randomly assigned to you at birth? What if you could change your fate simply by refreshing the browser window, by clicking on (Ctrl-R)? Or by changing the rules of the entire world?

Let us hope for the creation of a more diverse type of humanity, one opposed to sexism, racism, homophobia, and class oppression, remembering the wishes of bell hooks. ²³ A humanity that respects nature's processes with humility and integrity. Where human beings are able to listen to each other without shouting. Where we can cooperate and take advantage of our differences with an open capacity to hear other people’s concerns. Let us just hope, Speak Out!

Starting with the notions of Osmosis, a natural phenomenon that occurs when two substances that are separated by a porous or poorly permeable membrane are obliged to mix to achieve balance, and Diffusion, a natural fluid spill, where particles intermingle because of their random and spontaneous movement or, in dissolved substances, the process of movement from areas of high concentration to areas of low concentration. Speak Out invites us to see the natural world and its tendency to seek balance, harmony. Isn’t it curious that, in nature, when two substances are separated by a dividing structure that only lets certain things through, some particles will be forced through to the other side so that the system is balanced again (osmosis)?

For that matter, another question arises: could the movement of humanity, as a species, be understood as an act of the natural world to seek balance? In nature, particles naturally get mixed up with each other because of their random movement through the air. When dissolved in water in liquid form, particles are pushed away from areas with lots of particles to areas with less particles and more space, again driven by the necessity of the system to seek balance (diffusion).

In the natural drift there is a balance between the individual and the collective, insofar as the organisms, when structurally coupled in higher order units, which have their own domain of existence, include the maintenance of these structures in the dynamics of their own maintenance. In the animal kingdom nothing happens in competition, but in adaptation. ²⁴

In the Speak Out book of rules you can use the arrow keys on the keyboard to move You, your avatar in the system, and you can also click to create places that are attractive. Attractive places are organized according to abstract categories like nothing, opportunity, love, study, dignity, freedom, peace, exploration, and a better life, and more mundane ones such as a job offer, the proximity of a supermarket or a flower shop, the affordability of a piece of land or the existence of a safe space. If you refresh the page (Ctrl-R) you recast the dice, i.e., you can play between the relational dichotomic situation: where You are born and where You are allowed to move. Scroll over a particle to learn what it is looking for.

Speak Out resonates with Grada Kilomba's words, saying that abstraction is, of course, a very important dimension of knowledge production, but it can also be problematic because it transforms into abstractions the subjective experiences of everyday racism. It imposes an abstract terminology on experience, and therefore objectifies subjectivities. In that way subjective accounts become a way of silencing their voices, in order to objectify them in universal terminologies. ²⁵

Marttila's Speak Out has six different passports according to a diverse color palette: monochromatic, analogous, complementary, open borders, exile, and universal. Monochromatic means that Your movement is limited to where You were born. Analogous means that Your movement is allowed in zones of similar colors. Complementary signifies that Your movement is allowed only to your exact opposite zone. In Triad you are allowed to move within a union of the most dissimilar colours. Open Borders translates to Your movement not being restricted to any zone; you can play freely. In Exile you are allowed anywhere except your home.

Be aware that if you want something to change you must Speak Out. So, please, keep the Speak Out button pressed to record your speaking. You will see what you say appear on the screen. The experience is available in portuguese and english. Let’s play!

Speak Out book of rules

If the player does not do anything, the world will simply fill up with particles. If the player clicks to create attractive places, they will notice that particles from all over the world begin to surge towards these places. Only those particles that are able to cross the border will go to the place. The player can change the border rules and try to help all the particles reach their destiny. But every time the border rules are changed, all particles will be affected. Someone who was happily at their destiny might be driven out again. The player can try to keep everyone in the world happy, by creating destinies and, with the control of the borders, making these destinies accessible to everybody who is born into the world.

Once a particle reaches its destiny and thus has its desires fulfilled, the particle disappears from the world. This feature brings a kind of infinite and impossible game dynamics to the piece since new particles are always being born. Particles are always born with a desire, with a destiny, with something they are looking for, with something that moves them.

Some notes about technical requirements in Speak Out

This artwork utilizes the Web Speech API, which is an experimental HTML5 standard. Because the API is still experimental, most browsers have not yet implemented the standard. For this reason, the artwork only works seamlessly in Google Chrome for Desktop. A more tech-savvy user may access the work using the latest version of Mozilla Firefox, by following the instructions available here ²⁶ .

Voice interfaces are slowly making their way into our homes and everyday lives, usually in the guise of either Google Assistant, Siri (Apple), Alexa (Amazon) and Cortana (Microsoft). But the use of these voice interfaces is loaded with security and privacy concerns because recorded audio is sent to corporate servers for analysis by the speech recognition engine. In fact, each of these corporations have been reported to use humans to manually listen to and transcribe recorded audio in order to further train and thereby improve their speech recognition engines.

This is a problem because the above-mentioned voice interfaces have predominantly been designed to be constantly alert for the respective wakewords such as “OK Google...” or “Alexa...”. Because other human vocalizations or parts of speech might sound similar to these wakewords, the speech recognition, and thereby the audio capture, are sometimes triggered unintentionally by users.

In the summer of 2019, a wave of reports were published detailing some of these privacy breaches by the major players apple ²⁷ , google ²⁸ , amazon ²⁹ and microsoft ³⁰ . Reporters gained access, through anonymous employees who felt the need to speak out, to audio recordings accessible to these human transcribers. Recordings included sensitive information such as a street address or telephone number, private family scenes and other audio recordings of moments which users never intended to share with other human listeners.

For this reason, it was a prime consideration in the implementation of the voice interface and speech recognition in Speak out that it be designed such that the user has the final control over when they are being listened to. Thus, speech recognition is only active while the user keeps the “speak out”-button pressed. If the user is not pressing the button, the system is not recording audio. If the user is pressing the button, the system is recording audio, and the user will see the transcript of their speech appear on the screen. The user thus gives their consent to audio capture in the form of a physical gesture (the act of pressing down the button) which can hardly be done unintentionally.

So, what does the future of speech recognition technology look like, and will we forever be constrained by these privacy concerns? No, because the news reports from 2019 brought the privacy concerns to light and caused enough public outcry to inspire some of the corporations to stop having their employees listen to users’ audio recordings ³¹ . Since, most have gone back to having employees listen to recordings, however, only if the user opts-in to this type of use of their data ³² .

True to its Manifesto and pledge for a healthy internet ³³ , the Mozilla foundation commits to respect the security and data of its users. For this reason, the currently in beta stage Firefox Voice -project ³⁴, looks promising from the perspective of user privacy. Although Firefox Voice sends captured audio onwards to googles speech-to-text servers, it instructs the server not to save the audio on googles servers. A future version of Firefox Voice is to use firefox’s own speech recognition engine.

Also, the latest Google Pixel phones are shipped with an offline speech recognition engine ³⁵ , meaning that an extremely small and highly optimized speech recognition engine processes captured audio directly on the device without sending it to a server to be processed. This is a promising trend as well. Both Firefox Voice and Googles offline recognition only work in the English language.

The speech recognizers only work in English because high-performing speech recognition requires on the order of 10,000 hours of high-quality spoken audio in any one language, as well as accurate transcriptions of this material. This material is used to train neural networks ³⁶ . This is why the development of speech recognizers tends to rest in the hands of wealthy corporations, and the reason why corporations such as google are steps ahead of competition.

As is true in many aspects of our market-driven world, corporate interests and the promise of profit drive the development of speech interfaces also. For this reason, major market areas and their languages will be likely to be the first ones to have high performing speech recognition engines. The citizens of these focal points of global power will therefore also be, poetically speaking, the first ones to be able to Speak Out.

However, as a counterforce to the commercial players, the Mozilla Foundation takes a ground-up approach with its Common Voice project ³⁷ in which anyone can both contribute recorded speech as well as volunteer to manually verify whether the recordings match the audio transcript. The foundation works with local actors to organize events where anybody can participate to contribute to the voice database.

The purpose of the project is to try to amass these 10,000 hours of voice recordings and transcriptions in any language in the world, so that all languages can eventually be supported. This database is also free for anybody to download and use for training their own neural network for speech recognition.

¹This work was financially supported by: Operation NORTE-08-5369-FSE-000049 co funded by the European Social Fund (FSE) through NORTE 2020 - Programa Operacional Regional do NORTE.
²Mignolo, W. D., (2011), The Darker Side of Western Modernity, Global Futures, Decolonial Options, Duke University Press Durham & London, p. 23.³Ibid., p. 222.⁴Kilomba, G., (2020), Memórias da Plantação, Episódios de racismo quotidiano, Orpheu Negro (2ª edição), Lisboa, p. 48.⁵Ibid., pp. 58-9.⁶Ibid., pp. 67-8.⁷Jonas, H., (2004), O Princípio da Vida, Fundamentos para uma biologia filosófica, Editora Vozes, Petrópolis, p. 31.⁸Ibid., p. 57.⁹Maturana, H., R. & Varela, F. J., (2005 [1984]), A Árvore do Conhecimento, as bases biológicas da compreensão humana, Editora Palas Athena, São Paulo, pp. 54 e 55.¹⁰Dennett, D. C., (2017), From Bacteria to Bach and Back, The Evolution of Minds, Penguin Books, p. 375.¹¹Theory from the Margins in conversation with Prof. Achille Mbembe about his forthcoming book, Out of the Dark Night: Essays on Decolonization, Retrieved November 28, 2020, from: https://www.youtube.com/watch?v=sWHYQ6CqP20.¹²Kilomba, G., (2020), Memórias da Plantação, Episódios de racismo quotidiano, Orpheu Negro (2ª edição), Lisboa, p. 186.¹³Sloterdijk, P., (2011 [1983]), Crítica da Razão Cínica, Edições Relógio de D’Água Editores, Lisboa.¹⁴Perez, C. C., (2019), Invisible Women, exposing data bias in a world designed for men, Chatto & Windus, London, p. 296.¹⁵Ibid., p. 300.¹⁶Rippon, G., (2019), The Gendered Brain, the new neuroscience that shatters the myth of the female brain, The Bodley Head, London, p. 297.¹⁷Two French movies, À voix haute - La force de la parole (Stéphane de Freitas and Ladj Ly, 2016), and Le Brio (Yvan Attal, 2017) claim an emancipatory education that stimulates the power of the speech. After the classic Mr. Smith Goes to Washington (Frank Capra, 1939).¹⁸Federici, S., (2020), Calibã e a Bruxa, as mulheres, o corpo e a acumulação original, Orpheu Negro, Lisboa, p. 319.¹⁹Gouveia, P., (2019), “Play and games for a resistance culture” [“Brincadeiras e jogos para uma cultura da resistência”], In Playmode Exhibition Publication, Fundação EDP, MAAT Museum, Lisboa, p. 18.²⁰Han, B.-C., (2018), A Expulsão do Outro, Edições Relógio de Água, Lisboa, p. 26.²¹Ibid., p. 68-69.²²Ibid., p. 78.²³hooks, b., (2020), Teoria Feminista, da margem ao centro, Orpheu Negro, Lisboa, p. 131.²⁴Gouveia, P., (2010), Digital Arts and Games, Aesthetics and Design of Playful Experiences [Artes e Jogos Digitais, Estética e Design da Experiência Lúdica], Ed. Universitárias Lusófonas (11), ISBN: 978-972-8881-84-9, Lisboa, p. 174.²⁵Kilomba, G., (2020), Memórias da Plantação, Episódios de racismo quotidiano, Orpheu Negro (2ª edição), Lisboa, p. 91.²⁶VV.AA., (2020), Enabling Web Speech API in Firefox, Entry in the Mozilla Wiki, Retrieved November 20, 2020, from: https://wiki.mozilla.org/Web_Speech_API__Speech_Recognition#How_can_I_use_it.3F.²⁷Hern, A., (2019), Apple contractors 'regularly hear confidential details' on Siri recordings, Online article in The Guardian, Retrieved November 20, 2020, from: https:// www.theguardian.com/technology/2019/jul/26/apple-contractors-regularly-hearconfidential-details-on-siri-recordings.²⁸Verheyden, T., Baert, D., Van Hee, L., and Van Den Heuvel, R., (2019), Google employees are eavesdropping, even in your living room, VRT NWS has discovered, Online article in VRT NWS, Retrieved November 20, 2020, from: https://www.vrt.be/vrtnws/en/2019/07/10/ google-employees-are-eavesdropping-even-in-flemish-living-rooms/.²⁹Day, M., Turner, G. and Drozdlak, N., (2019), Amazon Workers Are Listening to What You Tell Alexa, Online article in Bloomberg, Retrieved November 20, 2020, from: https:// www.bloomberg.com/news/articles/2019-04-10/is-anyone-listening-to-you-on-alexa-a-globalteam-reviews-audio.³⁰Cox, J., (2019), Revealed: Microsoft Contractors Are Listening to Some Skype Calls, Online article in Vice, Retrieved November 20, 2020, from: https://www.vice.com/en/article/ xweqbq/microsoft-contractors-listen-to-skype-calls.³¹Brodkin, J., (2019), Apple and Google temporarily stop listening to Siri and OK Google queries, Online article in Ars Technica, Retrieved November 20, 2020, from: https:// arstechnica.com/tech-policy/2019/08/apple-and-google-temporarily-stop-listening-to-siriand-ok-google-queries/.³²Bohn, D., (2020), Google is sending a complicated privacy email to everyone — here’s what it means, Online article in The Verge, Retrieved November 20, 2020, from: https:// www.theverge.com/2020/8/5/21354805/google-email-audio-privacy-opt-in-human-reviewersassistant.³³VV.AA., (2020), The Mozilla Manifesto Addendum - Pledge for a Healthy Internet, Page on the Mozilla Foundation website, Retrieved November 20, 2020, from: https:// www.mozilla.org/en-US/about/manifesto/.³⁴VV.AA., (2020), Firefox Voice, Website of the project, Retrieved November 20, 2020, from: https://voice.mozilla.org/firefox-voice/.³⁵Coldewey, D., (2019), Google’s new voice recognition system works instantly and offline (if you have a Pixel), Online article in Techcrunch, Retrieved November 20, 2020, from: https:// techcrunch.com/2019/03/12/googles-new-voice-recognition-system-works-instantly-andoffline-if-you-have-a-pixel.³⁶Beaufays, F., (2015), The neural networks behind Google Voice transcription, Blogpost on Google AI Blog, Retrieved November 20, 2020, from: https://ai.googleblog.com/2015/08/theneural-networks-behind-google-voice.html.³⁷VV.AA., (2020), Mozilla Common Voice, Website of the project, Retrieved November 20, 2020, from: https://commonvoice.mozilla.org/en.

ACKNOWLEDGMENTSThis research was funded by ITI / LARSyS / FBAUL / FEUP.
This work was financially supported by: Operation NORTE-08-5369-FSE-000049
co funded by the European Social Fund (FSE) through NORTE 2020 - Programa Operacional Regional do NORTE.

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