While tutoring a class of all international students, much of my labour is devoted to negotiating the university's strictures on AI use— particularly regarding . The University takes a hard-line approach to 'unsanctioned' AI use while relying on the lucrative education export and accepting increasing numbers of international students each year. 1 2

More broadly, it seems that the work of reconciling a publicly-held and a reality which undermines it has been outsourced and coerced into the hands of casual, precarious workers. 

 I want to explore this new of communication. What does it mean when cultural (and political) authorities demand decipherment of true meaning through the creative of translating dogwhistles, algo-speak, and a language of plausible deniability?

I’ll discuss my tutoring, particularly the AI use guidelines and a recent lesson on Nicoline van Harskamp's works critiquing the dominance of 'art world English' — an irony when grading students down for less-than-perfect English.3

 I will also discuss (2005) — Nicole Kidman's character acting as a for this new ‘subject as translator’— and (2000), which both spotlights and was subject to the distrust inherent to navigating between incompatible histories. 4 5

and will provide insight to the psychological traumas this inflicts. I’ll also examine to discuss how it is the powerful, not the powerless, who are now 'writing between the lines.' 5 6 7

I’d like to present the essay in an unstable format, where words are displaced by images or ‘false friends’— words which sound like cognates, but mean something totally different: a tongue-in-cheek experiment with the artspeak habit of introducing neologisms and foreign words for credence.The finished work will experiment with the power of ‘reading between the lines’ to convey more meaning than mono-language writing would allow.

---

Bibliography