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174 M1r1Am ScH1cKlEr w1tH AhMeD 1sAm AlD1n and UlF Am1nDe NeGoT1At1nG OpAc1ty anD TrAnsparency 1n thE ArT AcaDeMY 176 Miriam Schickler with Ahmed Isam Aldin and Ulf Aminde — Negotiating Opacity and Transparency in the Art Academy *foundationClass was initiated at weißensee academy of art berlin in 2016. Taking advantage of new funding possibilities for projects and programs geared towards granting (re)access to so-called newcomers into high- er education, the *foundationClass’ primary goal consists of supporting artists and designers

A medium fades into the background despite its material presence (e.g. the form of technical apparatus) so that the mediatised comes to the foreground, not the medium itself. Taking this into account, it is not surprising that “transparency” of a CHI has recently been a hot topic of interface design, even from the engineering point of view. 1 See for instance Krämer 1998, pp. 73-75. 46 But some of the more recent arguments discussed in this context need to be reconsidered and called into question. The issue of “transparency”, in the design of many of the

DCS | Digital Culture and Society | Vol. 4, Issue 2 | © transcript 2019 DOI 10.14361/dcs-2018-0207 Platform Humanism and Internal Opacity The Limits of Online Service Providers’ Transparency Discourse Artur de Matos Alves Abstract This article explores the discourse on transparency put forward by online service providers (OSP). It provides critical analysis of texts accompa- nying transparency-related materials detailing disclosure and usage of user data – specifically transparency reports (TR). The aim is to explore some of the ideological dimensions of

realistic foundation for openness and transparency that are rele- vant dimensions of profane democracy. Attempting to build an applied field for the complex notion by Glissant, the book finally lays the basis for post-apartheid criticism distinct from post-colonial criticism from which it however derives its relevant methodological stances. Also, in focusing essentially on South African post-apartheid narrative, the book perhaps enunciates general rules applicable to all literatures. Good libraries in the USA, South Africa, England, and Germany will not regret to

domination in the sense that they consent to play their prescribed role as “clients of colonial edicts” (Kom, 2000, p. 9).The “coconuts” are illustrations of what Glissant calls “transparency” and which has to be dismantled beforehand if Relation has to take off. Another effect amply ironized in Dog Eat Dog is the hope which democracy is thought to bring about in the post-apartheid era. The advent of the Big Brothers 18 Cf. Fabien Eboussi Boulaga andAlainDidier Olinga, ed. LeGénocide Rwandais. Les Interrogations des Intellectuels Africains (2006). Quoted by François

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embodiment of discourse in portrayed post-apartheid South Africa ............................... 114 III-2-3- Obstacles to the embodiment of Relation: authenticity, transparency, racism in reverse .................................................................. 120 III-3- How do social representations relate to discourse and Relation? .................... 128 III-3-1- Manifestations of social representations through ideology and common sense 131 III-3-2- Social representations and the fictional narrative........................... 135 CHAPTER FOUR: Extricating Democracy

its theoretical sophistications, and enables to envision the embodiment of Relation in post-apartheid South Africa as part of a Copernican revolution because it involves the society in all directions. To be complete about this aspect on my book, I would like to systematically es- tablish how the embodiment of Relation either matches or brings about a truly in- clusive democracy for sustainable social betterment in post-apartheid South Africa. True or profane democracy gets its reliability from; it promotes openness, transparency, diversity, exchange and consensus

propre trans- parence, pour vivre avec cet autre ou construire avec lui. Le droit à l’opacité serait aujourd’hui le signe le plus évident de la non-barbarie (Glissant, 1996, pp. 71-72). The right to “opacity” mediated in post-apartheid narrative is tantamount to ef- fective autonomy or to “positive freedom”. Any culture or identity has the right to exist among all others. The “surface” of The Quiet Violence of Dreams makes use of Tshepo to clearly formulate the necessity to deconstruct transparency and assimi- latory achievements beforehand for “opacity” to take shape

couldn’t stand the weather, abso- lutely dreadful, so I moved back here first chance I got. It’s harder here, though, you have to do everything for yourself. You can’t trust anybody, not with all the crime and corruption. But ja, it’s home, what can I say (Matlwa, 2007, p. 146)? Fiks’ identity embodies the transparency by Glissant or mimicry by Bhabha. It is this condition that compels her to show to her oppressor a smiling face as if all was well. But, “the honest to God truth is” (p. 147) that, Fiks is from the family of: Gogo with her endless praying, Uncle and his

democracy does not only pertains to the fight for the achievement of a positive demo-cracy but, also to ac- knowledging all the stakeholders “the right to decide what democracy will mean” (Meckstroth, 2015, p. 2). It is so to speak an openly participative democracy by which stakeholders are fully aware of their interests and freely offer them to sane contradiction expec-ting to benefit from its curative and non-barbaric power. It is this sense of democracy that I refer to as a truly and inclusive democracy. It is achieved in society through justice, transparency, sane