VIRTUALITY AND REALITY: AN INTERTWINING MOBIUS

This watermark does not appear in the registered version - http://www.clicktoconvert.com Kü r şa t Fa t ih Öze n ç VA 5 3 3 Ar t , Cu lt u r e , Te ch n ology Fin a l Pa pe r VI RTUALI TY AN D REALI TY: AN I N TERTW I N I N G M OBI US Realit y as one of t he m ost int rinsic m at t ers of philosophy has been discussing from t he Plat o’s I deal world t o t he virt ual environm ent s of t he cyber age. I n a m ore speculat ive point of view , realit y, had begun t o ext end w it hin t he invent ion of t he alphabet . Alphabet and so t he w rit ing is a kind of ext ension of realit y t hrough t he signs and m et aphors. What forces t he Lascaux’s inhabit ant s t o draw t he walls of Lascaux shows an analogy wit hin t he people of t he com put er age who part icipat e in com put erbased com m unit ies. Whet her it is a prim it ive draw ing or hyper t ext of t he digit al age , t he ut m ost relat ion bet ween t he hum an and his work wit hin t he ‘realit y’ of t heir t im e. But ( or separat ion) should have sim ilar relat ionship in a t im e when t he realit y is experiencing a division at first wit hin t he language, it is difficult t o cover t he realit y m at t er: The realit y it self and t he virt ual realit y as it s ext ension. Should it be accept ed easily as an ext ension or anyt hing else? How can w e approach t o t he realit y w hich is not real but virt ual? Realit y t hat ext ends, t ransform s, evolut es is recalling t he binary of t he t erm non- real, fake or ot her synonym s. Virt ual realit y , as if st at ed wit hin t he t radit ional t erm inological approach, “ is an event or ent it y t hat is real in effect but not in fact ” Hum an, as a part of t he event or ent it y called virt ual, 1 experiences a paradoxical sit uat ion wit hin t he body he owns, and t he t im e he realizes. The st at em ent t hat every ‘body’ is a space and t he spacing of t he event m akes t he space m at t er a t wo fold im port ant m at t er in t he cont ext of t he realit y w hich is virt ual. From anot her point of view, Realit y which is virt ual is, according t he forerunner of philosophical account , j ust a represent at ion of t he real world. Such an approach gives t he chance t o read t he works 1 The definition of virtual reality taken from the Webster Dictionary. 1 This watermark does not appear in the registered version - http://www.clicktoconvert.com of Van Gogh and t he works of t he Mat rix’s digit al art ist s in t he sam e cont ext . I nside or out side t he cont ext , t he deconst ruct ionist discourse’s approach t o t he realit y m at t er em ancipat es t he boundaries of realit y even w it h t he w rit ing experience w hich opens t he space of virt ual realit y. Realit y accept ed ‘virt ual’, t hrough t hese int roduct ory point s, will be analyzed as m eans of represent at ion, spat ialit y and ( de) const ruct ion m at t ers. Plat o in his Republic, act ualizes t he very first argum ent s of virt ualit y m at t er w it h t he virt ual conversat ion he writ es: “ ‘…t o get hold of a m irror and carry it around wit h you everywhere. You will soon be creat ing everyt hing ….t he sun, and t he heavenly bodies, t he eart h, yourself, and all ot her creat ures, plant s, and so on.’ ‘Yes but I ’d be creat ing appearances, not act ual real t hings ’, he said. …. ‘his creat ions are not real, according t o you, but do you agree t hat all t he sam e t here is a sense in which paint er creat es a bed?’ …. ‘so if t here is no realit y t o his creat ion, t hen it is not real; it is sim ilar t o som et hing real, but it is not act ually r eal . I t looks as t hough it ’s wrong t o at t ribut e full realit y 2 t o j oiner’s or any art isan’s product …” What he m eans by ‘act ually real’ or ‘act ual real’ t hings? What insist ed in t he act ual real is a kind of invest igat ion of represent at ion of t he bed creat ed by t he craft sm an and t he paint er. A philosophical account at t his point uses t he t erm of act ual, act ually- if it is opened- act ualizing. Paint er who draws t he bed in his canvas, can not act ualize t he realit y of t he bed, or t he bed as a realit y. Moreover, he ext ends t he realit y t hrough t he m ere ‘appearance’ despit e t he canvas can be accept ed as an act ual obj ect . At t his point , t he art work or even t he craft obj ect is virt ual in realit y. How can it be approached t o t he virt ual realit y applicat ions of t he last decade- t he range of t he invent ion of phot ography t o t he HMD( head m ount ed displays) - ? As a represent at ion m at t er, can phot ography be accept ed in t he sam e condit ion of t he canvas t hat Plat o insist ed. I n som e point s, it converges t o t he form er one, but what ent ers t o t he scene in phot ography and generally for t he last decade is t he t echnology. Act ually t echnology can not be confined t o t he m achine and com put er age, but t he relat ion bet ween t he hum an, his work and 2 Plato, “The Republic”, in David Cooper (ed.), Aesthetics The Classical Readings , Oxford: Blackwell, 2001) pp. 14-15 2 This watermark does not appear in the registered version - http://www.clicktoconvert.com t echnology gains im m ersive m eanings in t he t wo last decades wit h respect t o previous ages: A digit al art ist ’s digit al cam era has got m ore int rinsic part of his work t han t he one of t he renaissance’s art ist ’s drawing accept ed as a chem ical operation apparat us. Phot ography, which can easily be rat her t han an art or archive work, is a represent at ion of t he w orld w e surrounded. I t lacks t he act ualizat ion of space and t im e w hich m akes it virt ual in represent at ion approach. But t aking int o account t he t w ent iet h cent ury’s surrealist phot ographs how can 3 t he represent at ion approach works? This watermark does not appear in the registered version - http://www.clicktoconvert.com Fig 1.Backst age 3 Technology’s m anipulat ive side m akes t he realit y float ing in t his w ork, w hereas doubles t he represent at ion in a surreal approach. A float ing realit y w hich is com binat ion of art and t echnology should be conceived as a virt ual in it s doubling represent at ion. But how about abst ract surrealist phot ographs- for inst ance Man Ray’s s works- or im aginary virt ual w orlds creat ed by t he digit al art ist s in t he com put er gam es? I t is hard t o analyze t hese virt ualit ies from t he represent at ion m at t er. What lacks m ay be t he referent- referred relat ion of t he so- called realit y. Spat ialit y as insist ed before t ight ly relat ed w it h t he virt ual realit y. The converging relat ion bet ween body, space and t im e is furt hered by t he virt ual realit y. The role of space in t his t rio result ed in dim ensioning t o t he space & body relat ions w it hin t he cyber age. I n virt ual environm ent it is hard t o m ent ion about a ‘real’ space. There is a lack of spat ialit y as m eans of body and t echnical devices. I n order t o com prehend t he divergence of t he t echnical devices it is good t o m ent ion t he basics of virt ual realit y. Virt ual realit y, according t o t he Michael Heim , consist s of t hree basics: im m ersion, int eract ivit y and inform at ion int ensit y : " I m m ersion com es from devices t hat isolat e t he senses sufficient ly t o m ake a person feel t ransport ed t o anot her place. I nt eract ion com es from t he com put er’s light ing abilit y t o change t he scene’s point - of- view as fast as t he hum an organism can alt er it s physical posit ion and perspect ive. I nform at ion int ensit y is t he not ion t hat a virt ual world can offer special qualit ies like t elepresence and art ificial ent it ies 4 t hat show a cert ain degree of int elligent behavior .” I m m ersion is a ‘you- are- t here’ experience. I t has got several applicat ions from 3d sound st udios and 3d gam es t o t he HMD( head m ount ed displays) . I m m ersion is a physical act ualizing of t he body in t he so- called space. I t is generally a visual experience but com prising t he t angibilit y and im m ersion” hearing as well. HMDs t echnical devices dislocat ing t he space. Their 3 Brassai, Masters of Photography, 03 May 2003. <http://www.mastersphotography.com/B/brassai/brassai_house_full.html> 4 Michael Heim, Virtual Realism ,(Oxford: Oxford University Press, 1998) p.7 4 can be accept ed as “ fullt echnical side can be This watermark does not appear in the registered version - http://www.clicktoconvert.com sum m arized: “ The HMD uses t iny light - weight st ereo- binoculars t o display com put er graphics j ust inches in front of t he eyes. The earphones built int o t he helm et allow t he user t o hear only t he com put er- cont rolled sounds of t he virt ual environm ent . By shut t ing out t he prim ary world, t he HMD forces t he user t o t ake all sensory input from t he virt ual world. t he HMd allows you a choice of where t o look, but t he choice are 5 lim it ed t o t he virt ual world.” The lim it ed look in t he virt ual w orld has got a parallel st ruct ure of real w orld. I n real world, t he look which is t he prerequisit e of t he vision is qualified by t he gaze. The gaze “ 6 it self envelops t hem ( t hings surrounds t he seer) , clot hes t hem wit h it s own flesh” . There is an int ert wining relat ionship bet ween t he seer, t he seen and t he body experiencing t he vision. Every experience of vision is act ualized in t he cont ext of t he m oving looks, which t he seer w ant s t o t ouch or belonging t o t he t angibilit y of t he visible. As Merlaeu Pont y insist s: “ w e m ust habit uat e ourselves t o t hink t hat every visible is cut out in t he t angible, every t act ile being in som e m anner prom ised t o visibilit y.... t he t angible it self is not a not hingness of visibilit y, is not wit hout visual exist ence. Since t he sam e body sees and t ouches, visible and t angible belong t o t he sam e w orld. I t is a m arvel t oo lit t le not iced t hat every m ovem ent of m y eyes – even m ore, every displacem ent of m y body – has it s place in t he sam e visible universe t hat I it em ize and explore wit h t hem , as, conversely, every vision t akes place som ewhere in t he t act ile space. There is double and cr ossed sit uat ing of t he visible in t he t angible and of t he t angible in t he visible; t he t wo m aps are com plet e, and yet t hey do not m erge int o one. The t wo part s are t ot al part s and yet 7 are not superposable.” From t he Pont y’s point of view , how t he virt ual realit y can be analyzed? I n t echnical m eans , t angibilit y in t he virt ual environm ent is rest rict ed t o t he gloves. As a w earing apparat us it is covered w it h sensors w hich t ranslat es t he m oving gest ures int o coding and t hen in t he com put er processor t ranslat ed int o again the virt ual m ot ion. The t angibilit y it self is virt ualized as w ell w it hin t he help of t echnological devices. I t is not 5 Ibid., p.20 Maurice Merleau –Ponty, “The Intertwining-The Chiasm”, in Clive Cazeaux (ed.), The Continental Aesthetics Reader , (London: Routledge, 2000) p.164 7 Ibid., p.166 6 5 This watermark does not appear in the registered version - http://www.clicktoconvert.com sit uat ed in t he vision, rat her act ualized in t he vision w it h t he help of t echnology. Hands ( Body) as an experiencing subj ect of VR is virt ualized as well –from t he act ualizing point of view- t hat concludes an int ert wining sit uat ion. I nt ert wining is a kind of experience which covers bot h t he realit ies; t he real realit y and t he virt ual realit y. Paul Virilio, in I nform at ion Bom b st at es t hat t he we are not seeing an ‘end of hist ory’, but 8 we are seeing an end of geography . What he derives from t his fact is t he age of ‘large scale opt ics’ . Large- scale opt ics is a t erm inological t erm derived from t he scient ific j ouissance, like virt ual realit y derived from t he realit y. What can be underlined at t his point t hat , despit e t he new genre developm ent s accept ed as revolut ionary, t hey t ake t heir references from t he previous t erm inology. The furt hering m eaning of ‘virt ual’ lies on t he react ion t o t he t echnological developm ent s. Virt ual as a ‘fake’ is som ehow a t hreat ening sit uat ion t hat has t o be divided from t he ‘real’ realit y. The language- based alienat ion can not be j ust a sim ple react ion but a result of anxiet y w hich can be exaggerat edly furt hered t o t he Plat o’s ideas about t he poet ry and t ragedy. I t is a kind of dem on, w hich should be labeled w it h a ‘virt ual’ label and alienat ed from t he realit y it self. But t his react ion does not help t o int ervene t he effect s of t he virt ual realit y, rat her m akes it clarified and st able in t he m inds of t he people. But w ho can be t he purit ans of t he realit y? Realit y purit ans as a speculat ive t erm can not be rest rict ed t o ‘som e’ unknow n people. I t is rat her t he w hole hum anit y unconsciously or consciously has got t he fear of lacking t he realit y t hey possessed. What is neglect ed is t hat t he realit y w e experienced can be a fake as well. I nt eract ivit y in virt ual environm ent show s diversificat ion: I t can be lim it ed w it h t he inform at ion based ht m l websit es, or lim it less wit h t he sim ulat ion room s- flight sim ulat or- , or part ly int eract ive wit h t he chat room s where you experienced all t he sent im ent s- happiness, anger, love, vice versa. What different iat es t he daily life’s face t o face int eract ion wit h t his newly defined int eract ion ? I nt eract ion needs a t ranslat ion obj ect – com put er screen w hich can be defined as all t he argum ent ’s subj ect . The screen has got int erfaces. As every soft w are has got it s ow n int erface, com put er screen has got 8 Paul Virilio, The Information Bomb (London : Verso, 2000) p.9 6 This watermark does not appear in the registered version - http://www.clicktoconvert.com several faces t o int eract wit h people. Are t hese faces having ident it y? I dent it y in virt ual environm ent is m ore problem at ic t han t he real life. Just m ent ioned t hat t he com put er screen can have several faces, t he user can creat e several faces, ident it ies in t he virt ual environm ent free from rest rict ions surrounding people in t he real life. The diversit y of virt ual faces is different from t he t heat rical charact ers of a Shakespeare Play. I t is som ehow a split in t he ident it y. The subj ect experiences a split which result s in ‘decent r alizat ion’ of t he subj ect in a deconst ruct ionist discourse. Zizek in his essay classifies t he sit uat ions result in split bet w een ‘t he Self’ and ‘it s’ virt ual ‘Body’ w hich violat e t he st andard m oral- legal norm of ‘one person in one body’: Many persons in a single body ….t here is no clear hierarchy bet ween t he pluralit y of persons- no one person guarant eeing t he unit y of t he subj ect ; Many persons out side a single body ( MUD- m ult iple user dom ain- in cyberspace) Many bodies in a single person : fant asy of aliens, ‘m ult iple bodies, but one collect ive m ind’ Many bodies out side a single person : inst it ut ion….t he St at e, com pany, school….we know very w ell t hat inst it ut ion is not an act ual living ent it y w it h a w ill of it s ow n, 9 but sym bolic fict ion. ‘Many persons in a single body’ in t he virt ual environm ent of world wide web break t he boundaries of t he real world whereas fragm ent ed int o ‘it s’ so- called ident it ies. When t he int eract ivit y m at t er is evaluat ed in t he HMD’s perspect ive , anot her ext ension appears. Pont y in I nt ert wining Chiasm point s t hat “ Vision ( as is so well indicat ed by t he double m eaning of t he word) be doubled wit h a com plem ent ary vision or wit h anot her vision: m yself seen from wit hout , such as anot her would see m e inst alled in t he m idst of t he visible, occupied in considering it 10 from a cert ain spot .” Th e Self seen from t he ‘Ot her’ in real world m akes t he self defined. I n VR of t he HMD t he exist ence of t he ‘ot her’ is confined t o t he sensors w hich can only recognize you w it h t he t echnical advances. Technical advances can not give t he aura of t o be seen by t he ‘Ot her’. That is w hy it is not easy t o t alk about an aura of t he virt ual realit y despit e t he applicat ions creat e a kind of art ificial at m osphere wit hin t he Self. 9 Slavoj Zizek, The Plague of Fantasies (London: Verso, 1997 ) p.140 10 Ibid. Ponty, pp.166-167 7 This watermark does not appear in the registered version - http://www.clicktoconvert.com The inform at ion int ensit y provided by t he com put ers present t he experience of ‘t elepresence’. The t erm root ed in t he Greek word t ele, “ m eaning rem ot e, and presence, a com plex not ion t hat w e underst and int uit ively but t hat t akes effort t o unpack. We experience a low st and t elepresence when we hold a real- t im e conversat ion som eone on t he t elephone.” 11 wit h The t elepresence as it s prim it ive sound- based t elephone has expanded wit h t he addit ion of a m odem and a com put er t o t he int ernet ’s t elepresence. I nt ernet provides t he visual and audio t ransm ission t hrough t he lines. I nt ernet ’s t elepresence in t he com put er screen give t he chance t o experience t he all presences of t he w orld. I t is possible part icipat e an online course in a Canadian universit y, fall in love wit h an Eskim o girl, having pleasure wit h a Russian chick, get involved in a religious denom inat ion, vice versa. This diversificat ion of experiences rem ind t he not ion of ‘split ’ in t he VR again .t he split in t he individuals is a causat ive reflect ion of t he split in t he spat ialit y. There is no m ore geographical boundary and no m ore spat ialit y wit hin t he t radit ional norm s. What is experienced is a presence but not a real presence, you are here wit hin your body but you can be anywhere in t he world . You have becom e a m em ber of an invisible world whose ‘ cent er is everywhere and whose circum ference is now here’. The not ions t hat ‘hereness’ , ‘t here’, ‘now here’ gains new dim ensions. I s t here really a hereness in where your vision is beyond t he cont inent als in your sm all room , what is t he m eaning of nowhere in t he int ert wining spat ialit y of t he digit al age? t he not ion of nowhere is evocat es an ut opic or a dyst opic point of view t hat it is not clear t hat t here is a loss or ext ension in spat ialit y. I f a kind of loss w ould be m ent ioned, t here would be an argum ent at ive loss of horizon. Horizon as a basis of our old w orld experiences a t ransform at ion of dim ensioning in t he virt ualit y. “ When Husserl spoke of horizon of t he t hings- of t heir ext erior horizon, which everbody knows, and of t heir ‘int erior horizon’, t hat darkness st uffed wit h visibilit y of which t heir surface is but t he lim it .” 12 Term s as ext eriorit y and int eriorit y experience an invert on t he com put er screen. This invert requires a re- defining of t he horizon line. As Virilio insist s in 11 12 Ibid. Heim, p.12 Ibid.Ponty, p.175 8 This watermark does not appear in the registered version - http://www.clicktoconvert.com I nform at ion bom b t hat t he loss of t he horizon- line of geographical perspect ive im perat ively necessit at ed t he est ablishm ent of a subst it ut e horizon: ‘t he art ificial horizon’ of a screen or a m onit or, capable of perm anent ly displaying t he new preponderance of t he m edia perspect ive over t he im m ediat e perspect ive of space. 13 The art ificial horizon of screen is support ed wit hin t he apparat uses of web- cam and m icrophone which t ransm it s t he vision and t he sound spont aneously and in real- t im e. The t erm ‘real- t im e’ sounds a bit cont radict ory looking from t he virt ualit y approach. A realit y w hich is accept ed as t he ‘ot her’, when t im e considered, serves a t wo- fold realit y; a real t im e. Tim e, which seen as a secondary issue t hrough t he philosophers of spat ialit y ( Foucaoult in Of Ot her Spaces reflect s t his approach clearly) , gains priorit y in t he digit al age. Virilio is one of t he forerunners who observes t his priorit y. He denot es t he effect of t im e wit h speed. We are living in an era of speed which is such a dom inant side of t he virt ual world shaking all t he spat ialit y com prehensions. t he ext erior horizon of our w orld is deconst ruct ed w it h t he art ificial horizon of t he screen, result ing in t he vert ical clippings in our percept ion. The affect s of t he virt ual realit y if it would be accept ed as deconst ruct ion of our vision; it needs t o be a reconst ruct ion as w ell. Derrida , as t he forerunner of t he deconst ruct ionist discourse, insist s t hat deconst ruct ion can be read as a reconst ruct ion as well. VR and it s applicat ions whet her approached as t heir t ext ual- based coding inside or t heir t ext - based out side ( websit es, MUDs) a t ext ual dom inant in charact er which carries t he deconst ruct ionist s t o t he VR argum ent inevit ably: Deconst ruct ive analysis will show t hat t he virt ual is essent ial t o t he real, t hat ‘ghost s’ haunt t he full presence of t he real in t he form s of t he debt t o t he past and t he prom ise of j ust ice in t he fut ure. Derrida announces a t heory of “ haunt ology" t o indicat e t he im bricat ion of t he virt ual in t he real and declares t he foundat ion of a new int ernat ional….The t erm virt ual realit y oscillat es in Derrida’s t ext bet ween a general, t ranscendent al aspect of t he event and a part icular configurat ion of t he 14 present associat ed wit h a specific set of t echnological appar at uses. 13 Ibid.Virilio, p.14 Mark Poster, “Theorizing Virtual Reality” in Marie-Laure Ryan (ed.), Cyberspace Textuality, Computer Technology and Literary Theory (Indiana, Indiana University Press, 1999) p.50 14 9 This watermark does not appear in the registered version - http://www.clicktoconvert.com “ What is a ghost ? What is t he effect ivit y of t he presence of a spect er, t hat is, of w hat seem s t o rem ain as ineffect ive, virt ual, insubst ant ial as a 15 sim ulacrum ?” . The speculat ive ghost of Derrida in his archit ect ural reading appears as parasit es: t he parasit e is t hat which is neit her inside nor out side a house, t hat which is beyond, and yet essent ial t o, t he space…t hey can be since t hey never sim ply occupy t he space but elusively haunt it . The parasit ic st ruct ure is…everywhere, under t he nam es of ….hym en, et c….bet ween t he inside and out side…t he hym en only t akes place when it does not t ake place…locat ed bet ween present act s t hat don’t t ake place. What t akes place is only t he ent re, t he place, t he spacing, which is 16 not hing. The hym en reading as a parasit e, t he parasit e reading as a haunt ing, and t he haunt ing reading as t he virt ualit y m at t er is a inside & out side m at t er invert ed and som ehow dam ped in t he oscillat ion of t hem selves. “ Derrida everywhere looks for a cert ain ‘elsewhere’, a ‘non- sit e’, const ruct ion of ‘non- place’, or at opos.” 17 There should be an analogical Derrida’s ‘non- sit e’ and t he ‘nowhere’ of t he com put er screen which is cont inuously being redefined w it hin t he w it hin t he help of t he ‘global’ gaze of t he t echnological devices( net works, HMDs, web cam s) . An argum ent on virt ual realit y is not a hom ogenic and a one- dim ensional issue t o point out clear st at em ent s. I t ext ension, or as a can be analyzed in different perspect ives as a loss, as an ‘dim ensional beyondness’. I t has got t he pot ent ia of re- reading in Plat o’s Republic t o t he holy books of t he celest ial religions. I n t he Koran of Muslim s t here is a verse which can be read as a virt ual realit y applicat ion : “ Said one who had knowledge of t he Book: " I will bring it t o t hee before ever t hy glance ret urns t o t hee! " Then when ( Solom on) saw it placed firm ly before him …” 18 Whereas I t can be placed in t he deconst ruct ionist Marxist reading of Derrida. All t hese approaches indicat es t he need of a redefining of t he body, space and t im e relat ions in t he cont ext of philosophy. This redefining will not be a one- sided ext ension. I t is nor root ed on t he previous not ions neit her t he cyber cult ure’s unst able not ions; it 15 should be an int ert wining of t he t wo, if it Ibid. Mark Wigley, The Architecture of Deconstruction Derrida’s Haunt, (Cambridge: MIT Press, 1997) p.180 17 Ibid., p.184 18 http://www.kuranikerim.com/english/27.html, 13 June 2003. 16 10 This watermark does not appear in the registered version - http://www.clicktoconvert.com would be m et aphorically defined, a kind of m obius m et al, which produces and loops it self. 11 This watermark does not appear in the registered version - http://www.clicktoconvert.com BI BLI OGRAPH Y BOOKS Plat o, “ The Republic” , in David Cooper ( ed.) , Aest het ics The Classical Readings , Oxfor d: Blackwell, 2001) Pont y - Merleau Maurice “ The I nt ert wining- The Chiasm ” , in Clive Cazeaux ( ed.) , The Cont inent al Aest het ics Reader , ( London: Rout ledge, 2000) Post er Mark , “ Theorizing Virt ual Realit y” in Marie- Laure Ryan ( ed.) , Cyberspace Text ualit y, Com put er Technology and Lit erary Theory ( I ndiana, I ndiana Universit y Press, 1999) Virilio Paul, The I nform at ion Bom b ( London : Verso, 2000) Wigley Mark, The Archit ect ure of Deconst ruct ion Derrida’s Haunt ( Cam bridge: MI T Press, 1997) Zizek Slavoj , The Plague of Fant asies ( London: Verso,1998) I N TERN ET SOURCES Brassai, Mast er of Phot ography ht t p: / / w w w .m ast er sphot ogr aphy .com / B/ br assai/ br assai_house_full.ht m l 12 June 2003 The Holy Koran ht t p: / / w w w .k ur anik er im .com / english/ 27.ht m l, 13 June 2003. 12