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Hello, everybody.

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Welcome to the Open Translation lounge

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for the TED Found In Translation[br]sessions here at TEDGlobal in Scotland.

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Today, we have two speakers.

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First for us this week,

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we have An Xiao Mina,[br]who just left the stage minutes ago.

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And Hetain Patel, who actually[br]delivered his talk several days ago.

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Also joining us here on the stage[br]is Coco from Hong Kong,

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Shadia from Mauritius Island,[br]and Jan from the Czech Republic.

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Joining us online, over here,[br]we have Matti from Hong Kong,

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Jason from Hong Kong as well,

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Anna from Italy and Anja from Slovenia.

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- Hi.

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- Welcome.[br]I'm going to start with you, An.

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Fantastic talk,[br]thank you so much for joining us.

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Your talk was all about memes[br]as a means of expression.

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And the examples were highly localised,[br]but they're also universal.

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Everyone got them immediately.

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Could you talk about that in the context

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of having all these people[br]from around the world?

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- Sure. What's really interesting[br]to me about Internet culture

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is if we think about Hollywood -[br]I grew up partially in the Philippines,

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my family is Filipino-Chinese -

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and I remember travelling around[br]and going to the most rural areas

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of the Philippines,[br]seeing people with Coke bottles

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or watching Hollywood movies.

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There's always the sense of Hollywood[br]or mass media providing a global culture.

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What I'm interested in[br]is Internet culture.

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It's more like a ground up[br]version of that,

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it's coming from a local version.

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That's why I used the word 'street-art',[br]or hip-hop culture.

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I'm interested in how Internet culture[br]can become this bridge culture.

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Just like I can talk about[br]Arnold Schwarzenegger in rural Uganda,

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or in New York City.

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Just two days ago, I was talking[br]with an Italian, an Indian and then me -

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sounds like an intro to a joke,

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and it was because we were all talking[br]about how people in Italy, in India

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and in Uganda were all filming their[br]ministers of government falling asleep.

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That became an Internet meme.

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It suddenly became this bridge.

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"Oh, your ministers fall asleep, too!"

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And, so, I'm interested in how[br]this Internet culture

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can be a bridge culture[br]that's driven by people.

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It is incredibly local[br]and becomes a bridge for storytelling,

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and maybe even for global,[br]civic engagement, global understanding.

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Now I know a little bit more[br]about what's going on in India,

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in a way I can relate to.

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So, that's really what I hope[br]people really got from the talk.

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And kind of what I'm looking at[br]with my founding partner, Jason Li,

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with our new site called The Civic Beat,

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is can this be a bridge for storytelling,

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and then, from there,[br]active engagement online.

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And global understanding.

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- Great.

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Actually, I'd like to take[br]a question from the Skype crowd.

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Does anybody have a question[br]for An to begin with?

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- I can start,[br]but I don't think I have a question.

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I'd like to comment on this[br]activism side of the argument

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because we recently had[br]some protests in Slovenia

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and it was quite a shock because[br]a lot of people said they would be coming,

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and not a lot of people came.

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So are memes just a form[br]of online activism

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that isn't translated into public space,

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and, therefore, lacks some kind of[br]political legitimacy

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for politicians and the government?

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- That's a really great question.

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It's something I've struggled with a lot

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because it does seem like[br]we're sharing pictures of cats.

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Like, what is this doing?

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You know, one phrase I use,

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and the reason I brought in[br]this essay from Havel

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is this notion of a ladder of engagement[br]to civic expression.

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It always starts with little steps.

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And, certainly, many times,

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you see instances where people[br]are talking a lot online.

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And it doesn't seem[br]like they're engaging offline.

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But, then, over time,

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and one of my favourite examples[br]is the sunglasses meme

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that I ended the talk on,

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where everyone was wearing[br]sunglasses for Chen Guangcheng.

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OK, it seems like[br]this is just empty expression,

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it's not going anywhere,[br]nothing's happening.

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But, again, if you think about[br]the context of China,

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where there's heavy suppression[br]of any kind of political-public assembly,

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there is actually reports of people[br]wearing sunglasses

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in a form of flash mob in physical space.

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They actually went to the town[br]where Chen was being held,

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nearby where he was being held,

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and they assembled together,[br]and all wore sunglasses.

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That became a form[br]of physical public assembly.

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So, it's hard to imagine that happening[br]without first the meme popping up.

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So, it doesn't always happen that way,

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but there's so many cases where[br]we're seeing how a meme presages

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any kind of physical action or assembly[br]that it's really convinced me

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that it really is the beginning[br]of a larger engagement.

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And it might be discouraging[br]at the beginning to see people

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clicking and pointing, but I don't want[br]to see that as a dichotomy.

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If you go to a protest wearing a button,

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that meme is very much similar[br]to a button.

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It's a form of visual expression

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that we've seen in all kinds[br]of social movements in history.

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- I'd like to bring in Hetain.

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We were talking yesterday[br]about how, obviously,

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memes are a way of expressing ourselves,

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and how language actually -[br]we express ourselves in different ways.

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The idea of do we have a different[br]identity in every language that we speak.

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- Yeah, I mean, there's a lot of reasons[br]why you might feel as though

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you have a different identity[br]when you speak a different language.

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It might be due to vocabulary.

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So, from my personal experience,[br]if I'm speaking Gujarati,

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an Indian language, there's certain things

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I'm used to talking about in that language[br]with my grandmother, domestic things.

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In English, I might talk about[br]a whole different kind of things.

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In French, something else.

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So, it might be the kind of topic[br]you speak about,

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and, then, also, something[br]comes in in the vocabulary also,

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in how you think about things,[br]through different languages.

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And I actually think[br]it's not just language.

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Even with one language,[br]you kind of change who you are,

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depending who you talk to anyway.

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I guess, every day, we're performing[br]different versions of ourselves.

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- One of the most popular things I've seen[br]is Photoshop remixes of police brutality.

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There's a meme in China[br]called The Fat Cop.

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And there was a protest[br]in Shifang about pollution,

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and there's this fat cop[br]that was hitting people.

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And, obviously, very frightening.

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People took that cop and started[br]putting him into other images.

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He looked like he was running,[br]so they put him into, like, movies

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where he looks like he's chasing[br]after Tom Cruise,

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into all these weird images.

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And a really similar thing happened[br]in the United States where,

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I don't know who's from the US,

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but if you remember the pepper[br]spraying cop, the famous cop

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who was pepper spraying students[br]who were engaging in the Occupy movement.

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And he looked like he was[br]literally watering the plants.

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And, so, people took that image of him,[br]again, a terrifying image,

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and they took that terror away[br]by putting it into a context of humour,

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and started Photoshopping him[br]into images of him, like,

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watering the roses,[br]or spray-painting in a movie.

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So, those images, they break language.

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I know exactly what's going on in China,[br]I know exactly what is happening,

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even if I'm looking at a meme[br]that's coming from Egypt,

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and I don't speak the language,

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but I can see and understand it,[br]in a way, because it's a visual language,

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and that's really compelling to me.

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- I want to bring in someone from Skype.[br]Anna, I'd like to bring you.

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Do you have a question for Hetain[br]or An Xiao Mina?

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- Yes, hello.

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I was wondering if you think there's any[br]difference between memes in China

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and in the other countries,[br]just because China's Internet is censored?

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- I think we see a lot of creativity[br]because of censorship.

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A lot of the talks this week

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were talking about how creativity[br]and innovation come out of necessity.

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And, so, China's Internet[br]has two things going for it.

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It's one of the world's largest Internets.

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I think it may have recently become[br]the world's largest Internet.

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The infrastructure is there to support[br]a lot of creativity and remixing.

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Then, on the other side, it's one[br]of the world's most censored Internets.

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So, you have these two factors.

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A lot of people can be creative online,

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but then their voices[br]are stamped on more often.

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So, recently, there were images[br]of Tiananmen Square -

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I don't know if you remember[br]the infamous tank image, three tanks,

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and the man standing up to it -

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there were two images[br]that stuck out to me.

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One was someone had replaced the tanks[br]with a kitten looking at the person.

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And another one, they actually replaced[br]the tanks with rubber ducks,

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and rubber ducks had become[br]a meme earlier,

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because there's a big rubber duck[br]floating in Hong Kong,

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an art installation.

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And, so, that image is incredibly,[br]incredibly censored in China.

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But by creating these other ways,[br]putting in a cat,

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I mean, what goes more viral[br]on the Internet than a cat?

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It's a way to get the message[br]out there, really quickly.

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Of course, it got deleted pretty quickly,[br]but it also spread pretty quickly.

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So, I don't want to say[br]that their creativity is different.

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Part of my talk is that there's actually[br]a lot of really similar creativity

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around the world, but in China,[br]you do have this element of censorship

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that compels creativity[br]in more frequent cases, at least for now.

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- OK, thank you.[br]- I think, you know,

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I've only looked at three contexts -[br]at China, a little bit of Philippines,

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and Uganda, and then United States.

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And there are some similar themes.

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Police brutality tends to be actually[br]a similar theme across all of these areas.

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And growing up in Los Angeles,[br]I understand why that is.

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I saw police brutality myself.

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It's a frightening situation.

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So, using humour diffuses that,

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so, it becomes a very common way[br]to express ourselves

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and often people, especially in areas[br]where there's limited free speech,

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people will remix images of their leaders,[br]so you see a lot of that.

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But, often, it's very local.

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Some of the more compelling memes[br]coming out of Sub-Saharan Africa,

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I showed one,[br]Tweet Like A Foreign Journalist,

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where the Spanish Prime Minister[br]had said...

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The Spanish economy was tanking,

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the Spanish Prime Minister sent[br]a text message to his finance minister,

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and he said, 'Don't worry -[br]Spain is not Uganda'.

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Uganda's pounced on this.

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They started saying,[br]'Uganda is not Spain'.

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And they started posting statistics[br]about how Uganda's economy is rising,

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all these kinds of issues.

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That's something really common[br]I've seen in Sub-Saharan Africa,

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because Sub-Saharan Africa in particular[br]is misrepresented in global media

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much more often than other places.

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So, yes, there are some themes,

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but you can find very local ones[br]that are really interesting.

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- We have a question from Hong Kong.[br]Actually, Matti.

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- Do you think is this a new phenomenon,

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merged with the Internet,

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or do you have any pre-Internet samples

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of remixing, for example picture[br]of leaders, and stuff like that?

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- Oh, yeah, absolutely.

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What's new about the Internet[br]is that it's faster.

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I haven't seen anything in history[br]that's filled with such weirdness.

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I haven't seen cats and llamas[br]and dogs and pigs.

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But I was just talking with someone,

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and since we're in the UK,[br]this is appropriate,

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there's this British publisher,

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I forget the century,[br]but his name was John Wilkes.

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He was publishing[br]the North Briton newspaper.

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It was considered at the time[br]a very edgy newspaper.

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The 45th issue angered the government[br]so much that they destroyed

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all the printing presses[br]and they censored the magazine.

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And then they arrested John Wilkes.

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But, then, shortly after he's arrested,

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just like the sunflower seeds,[br]the number 45

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started popping up on walls and, again,

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this is why I bring that analogy[br]with street art,

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that there is a long history of people

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taking symbols and images[br]and putting them out

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as a way of speaking out, even when[br]that message is being suppressed.

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- I just want to bring in[br]some of our translator panellists.

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Do you have a question[br]for either Hetain or An?

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- Our president gets mocked a lot,[br]but, like, he never...

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I always thought if he can reply[br]with humour,

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it would be really nice[br]to solve the situation,

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so I'm wondering, is there any example

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of how government can handle[br]this in a rather humorous way?

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- Humorous way,[br]yeah, that's a great question.

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I don't know if any Americans here

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remember the Hillary Clinton texting meme[br]that popped up?

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That wasn't a political commentary.

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It was just her looking really bad-ass.

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She was wearing sunglasses and texting.

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And there are all kinds of joke texts[br]coming from her

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about how cool she was.

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And she just opened a Twitter account,[br]and it's that photo.

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So, I think she's doing it well.

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Granted, it wasn't criticising her,

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but she did it well[br]in terms of embracing it.

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And I think, there's certainly[br]a culture gap, a generation gap,

0:13:05.040,0:13:09.055
and I do hope that it opens up[br]a door for using humour

0:13:09.080,0:13:10.895
because I think that would be great,

0:13:10.920,0:13:13.775
if persons in power can use humour

0:13:13.800,0:13:15.955
to help talk about[br]often very difficult issues.

0:13:15.980,0:13:19.155
- We're going to have to wrap it,[br]we have to head back into session.

0:13:19.180,0:13:22.315
Thank you, An Xiao Mina, and thank you,[br]Hetain Patel, for joining us.

0:13:22.340,0:13:24.838
And thank you, all the translators.[br]Thank you very much.

0:13:24.863,0:13:27.317
(Applause)