[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:11.28,0:00:14.76,Default,,0000,0000,0000,,Hello and welcome to The Coop a HEN\NHangout
Dialogue: 0,0:00:14.76,0:00:20.76,Default,,0000,0000,0000,,and we're so happy to welcome you\Nall to the first session of 2025.
Dialogue: 0,0:00:20.84,0:00:24.56,Default,,0000,0000,0000,,So we are the organizers of The Coop.
Dialogue: 0,0:00:24.56,0:00:27.76,Default,,0000,0000,0000,,So I'm T Braun, Franklin Bonivento van Grieken
Dialogue: 0,0:00:27.80,0:00:29.56,Default,,0000,0000,0000,,...
Dialogue: 0,0:00:29.56,0:00:32.00,Default,,0000,0000,0000,,Denise Rogers Valenzuela,
Dialogue: 0,0:00:32.00,0:00:34.88,Default,,0000,0000,0000,,and we are the curators of The Coop.
Dialogue: 0,0:00:34.88,0:00:40.44,Default,,0000,0000,0000,,and we work in consultation with Laura\NLevin and Tracy Tidgwell and Firmo Pompeu
Dialogue: 0,0:00:40.44,0:00:45.64,Default,,0000,0000,0000,,will be doing Portuguese\NEnglish interpretation today.
Dialogue: 0,0:00:45.72,0:00:49.76,Default,,0000,0000,0000,,So to activate the translation,\Nyou select the globe
Dialogue: 0,0:00:49.76,0:00:54.80,Default,,0000,0000,0000,,icon at the bottom of your screen,\Nand if you don't see it, click on more.
Dialogue: 0,0:00:54.84,0:00:57.72,Default,,0000,0000,0000,,And it's called interpretation\Nso you can listen.
Dialogue: 0,0:00:57.72,0:01:00.60,Default,,0000,0000,0000,,So Denise is holding up to show.
Dialogue: 0,0:01:00.60,0:01:03.20,Default,,0000,0000,0000,,You can listen to the original audio
Dialogue: 0,0:01:03.20,0:01:07.36,Default,,0000,0000,0000,,or English or Portuguese,\Nand you'll hear two voices
Dialogue: 0,0:01:07.36,0:01:11.92,Default,,0000,0000,0000,,during the interpretation,\Nthe original speaker and Firmo.
Dialogue: 0,0:01:12.00,0:01:16.12,Default,,0000,0000,0000,,But if that's too much sensory\Nstimulation, you can always select mute
Dialogue: 0,0:01:16.12,0:01:20.28,Default,,0000,0000,0000,,original audio and you can switch\Nbetween those two options
Dialogue: 0,0:01:20.28,0:01:24.36,Default,,0000,0000,0000,,during the event, and this information\Nwe pasted in the chat.
Dialogue: 0,0:01:24.44,0:01:31.24,Default,,0000,0000,0000,,And if you have any tech issues or questions, you can message Denise in the chat.
Dialogue: 0,0:01:31.32,0:01:33.48,Default,,0000,0000,0000,,Yes, and also
Dialogue: 0,0:01:33.48,0:01:36.96,Default,,0000,0000,0000,,we will have closed captioning in English
Dialogue: 0,0:01:37.12,0:01:43.16,Default,,0000,0000,0000,,and to activate the captions\Nyou click on the three dots
Dialogue: 0,0:01:43.24,0:01:45.60,Default,,0000,0000,0000,,or where it says "more".
Dialogue: 0,0:01:45.60,0:01:51.28,Default,,0000,0000,0000,,And if you can't see the captions,\Nwhich is like two ccs in a little box
Dialogue: 0,0:01:51.36,0:01:54.76,Default,,0000,0000,0000,,and also at the bottom.
Dialogue: 0,0:01:54.84,0:01:55.08,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,0:01:55.08,0:01:58.48,Default,,0000,0000,0000,,And if you have any questions,\Njust message me.
Dialogue: 0,0:01:58.56,0:01:58.84,Default,,0000,0000,0000,,Yeah,
Dialogue: 0,0:01:58.84,0:02:02.04,Default,,0000,0000,0000,,and finally,\Nwe want to let you know that we will be
Dialogue: 0,0:02:02.04,0:02:05.32,Default,,0000,0000,0000,,recording\Ntoday's event for archival purposes,
Dialogue: 0,0:02:05.40,0:02:08.52,Default,,0000,0000,0000,,and The Coop is an online gathering\Nwhere we invite guests involved
Dialogue: 0,0:02:08.52,0:02:13.60,Default,,0000,0000,0000,,with the Hemispheric Encounters Network\Nand beyond for a conversation.
Dialogue: 0,0:02:13.68,0:02:18.28,Default,,0000,0000,0000,,And although many of you are involved\Nwith Hemispheric Encounters,
Dialogue: 0,0:02:18.36,0:02:23.08,Default,,0000,0000,0000,,the Hemispheric Encounters\NNetwork or HEN for short
Dialogue: 0,0:02:23.16,0:02:27.00,Default,,0000,0000,0000,,is a growing network\Nof activists, artists,
Dialogue: 0,0:02:27.08,0:02:32.16,Default,,0000,0000,0000,,academics, students and community\Norganizations from across the Americas
Dialogue: 0,0:02:32.24,0:02:36.16,Default,,0000,0000,0000,,that explore hemispheric performance\Nas a methodology,
Dialogue: 0,0:02:36.20,0:02:42.08,Default,,0000,0000,0000,,a pedagogical strategy,\Nand a tool for social change.
Dialogue: 0,0:02:42.16,0:02:42.76,Default,,0000,0000,0000,,And if
Dialogue: 0,0:02:42.76,0:02:45.84,Default,,0000,0000,0000,,you would like to hear about future\Nsessions of The Coop, you can follow
Dialogue: 0,0:02:45.88,0:02:49.64,Default,,0000,0000,0000,,Hemispheric Encounters on Instagram\Nat HemiEncounters.
Dialogue: 0,0:02:49.64,0:02:50.80,Default,,0000,0000,0000,,And if you would like to see
Dialogue: 0,0:02:50.80,0:02:55.24,Default,,0000,0000,0000,,any past sessions or something you lost, \Nyou can view them on the HEN website.
Dialogue: 0,0:02:55.32,0:02:58.15,Default,,0000,0000,0000,,You can also get in touch with us\Nvia email at
Dialogue: 0,0:02:58.16,0:03:01.72,Default,,0000,0000,0000,,the.coop.hangout@gmail.com
Dialogue: 0,0:03:01.76,0:03:03.48,Default,,0000,0000,0000,,I will paste these links in the chat.
Dialogue: 0,0:03:03.48,0:03:04.52,Default,,0000,0000,0000,,So, no worries.
Dialogue: 0,0:03:04.52,0:03:06.76,Default,,0000,0000,0000,,You don't have to memorize\Nall this information,
Dialogue: 0,0:03:06.76,0:03:09.76,Default,,0000,0000,0000,,so, to be in touch.
Dialogue: 0,0:03:09.84,0:03:10.32,Default,,0000,0000,0000,,Okay.
Dialogue: 0,0:03:10.32,0:03:15.28,Default,,0000,0000,0000,,And before we hear from our speakers,\Nwe want to offer a land acknowledgment.
Dialogue: 0,0:03:15.36,0:03:17.88,Default,,0000,0000,0000,,So today, obviously we're gathered online.
Dialogue: 0,0:03:17.88,0:03:21.08,Default,,0000,0000,0000,,So we're all in different territories\Nand each with their own
Dialogue: 0,0:03:21.08,0:03:28.00,Default,,0000,0000,0000,,original caretakers and their particular\Niterations of colonialism unfolding.
Dialogue: 0,0:03:28.08,0:03:29.24,Default,,0000,0000,0000,,But Franklin and I
Dialogue: 0,0:03:29.24,0:03:33.00,Default,,0000,0000,0000,,are presently in Tiohtià:ke\Nor what is known as Montreal.
Dialogue: 0,0:03:33.00,0:03:36.88,Default,,0000,0000,0000,,So, today\NI'll just speak from that perspective.
Dialogue: 0,0:03:36.96,0:03:42.44,Default,,0000,0000,0000,,So, Montreal corresponds to the unceded\Nterritory of the Kanien'kéha people,
Dialogue: 0,0:03:42.52,0:03:46.00,Default,,0000,0000,0000,,and the name of this territory\Nin Kanien'kéha is Tiohtià:ke,
Dialogue: 0,0:03:46.00,0:03:49.84,Default,,0000,0000,0000,,which means broken in two since\Nthis is an island
Dialogue: 0,0:03:49.84,0:03:53.60,Default,,0000,0000,0000,,that's crossed by two rivers\Nand has been a gathering place
Dialogue: 0,0:03:53.60,0:03:58.00,Default,,0000,0000,0000,,for many First Nations\Npeople and continues to be so.
Dialogue: 0,0:03:58.08,0:04:01.64,Default,,0000,0000,0000,,And we acknowledge\Nthat our acknowledgment is faulty
Dialogue: 0,0:04:01.64,0:04:04.80,Default,,0000,0000,0000,,and that land acknowledgments in\Ngeneral are very fraught.
Dialogue: 0,0:04:04.80,0:04:09.16,Default,,0000,0000,0000,,But as hosts of this event,\Nwe still want to express gratitude
Dialogue: 0,0:04:09.24,0:04:14.56,Default,,0000,0000,0000,,to the original hosts of this land\Nand these waters, the Kanien'kéha people
Dialogue: 0,0:04:14.64,0:04:19.08,Default,,0000,0000,0000,,and remind ourselves\Nof the material relations and histories
Dialogue: 0,0:04:19.08,0:04:24.16,Default,,0000,0000,0000,,that enable our offline lives\Nand this virtual gathering to happen.
Dialogue: 0,0:04:24.24,0:04:27.72,Default,,0000,0000,0000,,And I'm sure today's conversation\Nwill offer insightful
Dialogue: 0,0:04:27.72,0:04:30.48,Default,,0000,0000,0000,,perspectives on these issues.
Dialogue: 0,0:04:30.56,0:04:31.80,Default,,0000,0000,0000,,Yeah, regularly.
Dialogue: 0,0:04:31.80,0:04:33.36,Default,,0000,0000,0000,,We also have here Tracy
Dialogue: 0,0:04:33.36,0:04:37.16,Default,,0000,0000,0000,,Tidgwell, who I would like to acknowledge\Nand send all the good vibes to Vernada,
Dialogue: 0,0:04:37.16,0:04:39.48,Default,,0000,0000,0000,,her cat is not having the best time.
Dialogue: 0,0:04:39.48,0:04:42.68,Default,,0000,0000,0000,,So, now let's turn to our guest, and today
Dialogue: 0,0:04:42.68,0:04:46.56,Default,,0000,0000,0000,,we will have a conversation\Nabout the exhibition Invento o Cais
Dialogue: 0,0:04:46.56,0:04:49.68,Default,,0000,0000,0000,,at Sesc Niterói, curated by Julia
Dialogue: 0,0:04:49.72,0:04:54.80,Default,,0000,0000,0000,,Naidin, Fernando Codeço and Daniel \NToledo, which showcases works by 14
Dialogue: 0,0:04:54.80,0:04:59.24,Default,,0000,0000,0000,,artists from CasaDuna’s residencies \Nin Atafona Beach,
Dialogue: 0,0:04:59.32,0:05:04.40,Default,,0000,0000,0000,,one of the world's most climate\Nvulnerable regions in Rio de Janeiro.
Dialogue: 0,0:05:04.48,0:05:08.00,Default,,0000,0000,0000,,Through reflections of marine erosion,\Nthe artworks
Dialogue: 0,0:05:08.00,0:05:11.80,Default,,0000,0000,0000,,explore the environment, collective\Nand process based perspective
Dialogue: 0,0:05:11.88,0:05:15.76,Default,,0000,0000,0000,,reinterpreting erosion,\Nnot just as destruction,
Dialogue: 0,0:05:15.84,0:05:20.56,Default,,0000,0000,0000,,but as a catalyst for new ways of seeing,\Nadapting and acting in the world.
Dialogue: 0,0:05:20.64,0:05:24.84,Default,,0000,0000,0000,,Joining the conversation are curators\NJulia Naidin, and Fernando Codeço,
Dialogue: 0,0:05:24.84,0:05:28.28,Default,,0000,0000,0000,,as well as researcher Sérgio Pereira Andrade,\Na professor
Dialogue: 0,0:05:28.32,0:05:33.00,Default,,0000,0000,0000,,in the Department of Arts and Culture\Nof Theater Studies at the University
Dialogue: 0,0:05:33.08,0:05:36.92,Default,,0000,0000,0000,,of Amsterdam in the Netherlands.
Dialogue: 0,0:05:36.92,0:05:40.44,Default,,0000,0000,0000,,We also have Shauna Janssen,\Nprofessor of performance
Dialogue: 0,0:05:40.68,0:05:44.04,Default,,0000,0000,0000,,creation in the Department of Theater \Nof Concordia University of Montreal,
Dialogue: 0,0:05:44.28,0:05:47.68,Default,,0000,0000,0000,,and Laura Levin, director\Nand a professor,
Dialogue: 0,0:05:47.68,0:05:51.44,Default,,0000,0000,0000,,from Hemispheric Encounters,\Nfrom York University.
Dialogue: 0,0:05:51.44,0:05:55.40,Default,,0000,0000,0000,,So please, Fernando, Julia,\Ntell us more about all this wonderful
Dialogue: 0,0:05:55.48,0:06:02.92,Default,,0000,0000,0000,,project and all yours, welcome everybody.
Dialogue: 0,0:06:03.00,0:06:03.68,Default,,0000,0000,0000,,Okay.
Dialogue: 0,0:06:03.68,0:06:06.60,Default,,0000,0000,0000,,So, good afternoon to you all.
Dialogue: 0,0:06:06.60,0:06:11.48,Default,,0000,0000,0000,,I'm Julia, I will try to speak in English,\Nbut if I have any problems,
Dialogue: 0,0:06:11.52,0:06:15.92,Default,,0000,0000,0000,,we have Firmo here to help us.
Dialogue: 0,0:06:16.00,0:06:18.52,Default,,0000,0000,0000,,First, I'd like also to thank you all
Dialogue: 0,0:06:18.52,0:06:22.20,Default,,0000,0000,0000,,for receiving us\Nto talk about the exposition.
Dialogue: 0,0:06:22.28,0:06:26.32,Default,,0000,0000,0000,,It's a joy\Nfor us to be able to share this with you.
Dialogue: 0,0:06:26.40,0:06:29.40,Default,,0000,0000,0000,,We were really happy with the result
Dialogue: 0,0:06:29.64,0:06:33.60,Default,,0000,0000,0000,,of this exposition,\Nand we think that it
Dialogue: 0,0:06:33.80,0:06:38.28,Default,,0000,0000,0000,,is a way of showing you parts of the work\Nthat we've been doing there.
Dialogue: 0,0:06:38.36,0:06:42.20,Default,,0000,0000,0000,,In the more concrete,
Dialogue: 0,0:06:42.28,0:06:44.48,Default,,0000,0000,0000,,how can I say, visible
Dialogue: 0,0:06:44.48,0:06:47.48,Default,,0000,0000,0000,,way, so
Dialogue: 0,0:06:47.64,0:06:53.28,Default,,0000,0000,0000,,we can, we can just start
Dialogue: 0,0:06:53.36,0:06:55.40,Default,,0000,0000,0000,,rolling the
Dialogue: 0,0:06:55.40,0:06:57.12,Default,,0000,0000,0000,,the PowerPoint.
Dialogue: 0,0:06:57.12,0:07:00.16,Default,,0000,0000,0000,,This is a great introduction
Dialogue: 0,0:07:00.16,0:07:04.32,Default,,0000,0000,0000,,for you to know that in the last year\Nwe received
Dialogue: 0,0:07:04.40,0:07:09.96,Default,,0000,0000,0000,,more than 16 artists and researchers\Nthere in Atafona
Dialogue: 0,0:07:10.04,0:07:12.36,Default,,0000,0000,0000,,sharing interests
Dialogue: 0,0:07:12.36,0:07:15.96,Default,,0000,0000,0000,,in thinking about how arts
Dialogue: 0,0:07:16.04,0:07:19.68,Default,,0000,0000,0000,,(IN PORTUGUESE interference)
Dialogue: 0,0:07:19.84,0:07:23.40,Default,,0000,0000,0000,,(IN PORTUGUESE interference) in some territories
Dialogue: 0,0:07:23.48,0:07:26.80,Default,,0000,0000,0000,,and also to be able to communicate
Dialogue: 0,0:07:26.88,0:07:31.08,Default,,0000,0000,0000,,about the situation,\Nexpanding the narratives
Dialogue: 0,0:07:31.20,0:07:34.20,Default,,0000,0000,0000,,that's not really
Dialogue: 0,0:07:34.44,0:07:38.60,Default,,0000,0000,0000,,localize it in\Nthe territory to amplify this,
Dialogue: 0,0:07:38.68,0:07:41.32,Default,,0000,0000,0000,,this debate.
Dialogue: 0,0:07:41.32,0:07:44.60,Default,,0000,0000,0000,,So, for this exposition,
Dialogue: 0,0:07:44.60,0:07:48.40,Default,,0000,0000,0000,,we made a selection of artists,
Dialogue: 0,0:07:48.48,0:07:54.76,Default,,0000,0000,0000,,and, especially from some specific groups\Nthat have been there.
Dialogue: 0,0:07:54.84,0:08:01.00,Default,,0000,0000,0000,,One specific with Daniela Toledo in 2022
Dialogue: 0,0:08:01.08,0:08:04.32,Default,,0000,0000,0000,,and another one with Hernández
Dialogue: 0,0:08:04.32,0:08:08.56,Default,,0000,0000,0000,,It was on visual erosions, in 2018
Dialogue: 0,0:08:08.64,0:08:12.16,Default,,0000,0000,0000,,and also with a group of
Dialogue: 0,0:08:12.24,0:08:15.16,Default,,0000,0000,0000,,a school of arts in Rio
Dialogue: 0,0:08:15.16,0:08:19.24,Default,,0000,0000,0000,,that's called Escola Sem Sítio, \Nwe can translate
Dialogue: 0,0:08:19.24,0:08:25.24,Default,,0000,0000,0000,,maybe as "School of Non-place", in 2019.
Dialogue: 0,0:08:25.32,0:08:29.92,Default,,0000,0000,0000,,So, we will show you a bit of 14 works
Dialogue: 0,0:08:30.00,0:08:35.20,Default,,0000,0000,0000,,that we'd decided to arrange\Nin this exposition.
Dialogue: 0,0:08:35.28,0:08:40.79,Default,,0000,0000,0000,,So, Fernando, if you can just pass again.
Dialogue: 0,0:08:43.96,0:08:46.88,Default,,0000,0000,0000,,As a methodology of work there,
Dialogue: 0,0:08:46.88,0:08:50.84,Default,,0000,0000,0000,,we always try to
Dialogue: 0,0:08:50.92,0:08:54.16,Default,,0000,0000,0000,,put ourselves as mediations
Dialogue: 0,0:08:54.24,0:08:58.20,Default,,0000,0000,0000,,in between the artist\Nand the territory
Dialogue: 0,0:08:58.20,0:09:01.44,Default,,0000,0000,0000,,as we were living there\Nfor the last seven years.
Dialogue: 0,0:09:01.52,0:09:03.08,Default,,0000,0000,0000,,So, we receive them.
Dialogue: 0,0:09:03.08,0:09:07.00,Default,,0000,0000,0000,,And most of all, we,
Dialogue: 0,0:09:07.08,0:09:08.36,Default,,0000,0000,0000,,we put
Dialogue: 0,0:09:08.36,0:09:15.04,Default,,0000,0000,0000,,our focus on a experience with the ambiance,\Nwith the atmosphere, with the erosion,
Dialogue: 0,0:09:15.12,0:09:19.20,Default,,0000,0000,0000,,and also with the wood part\Nof the environment,
Dialogue: 0,0:09:19.20,0:09:24.24,Default,,0000,0000,0000,,of the pleasure that the environment\Nstill can offer there.
Dialogue: 0,0:09:24.32,0:09:29.44,Default,,0000,0000,0000,,So, our mediation focused on listening
Dialogue: 0,0:09:29.52,0:09:33.52,Default,,0000,0000,0000,,to the people who lived there, and who deal
Dialogue: 0,0:09:33.56,0:09:36.92,Default,,0000,0000,0000,,with erosion, and to learn
Dialogue: 0,0:09:37.00,0:09:41.92,Default,,0000,0000,0000,,living with the erosion, and to adapt to
Dialogue: 0,0:09:42.00,0:09:46.00,Default,,0000,0000,0000,,the climate crisis that the territory
Dialogue: 0,0:09:46.08,0:09:50.44,Default,,0000,0000,0000,,has been living with for the last 17 years.
Dialogue: 0,0:09:50.52,0:09:56.44,Default,,0000,0000,0000,,So we have\Nthere people who already lost
Dialogue: 0,0:09:56.52,0:10:01.56,Default,,0000,0000,0000,,not one house,\Nbut sometimes five houses, seven houses.
Dialogue: 0,0:10:01.64,0:10:07.96,Default,,0000,0000,0000,,And how do people adapt to this and create\Na conviviality with this process?
Dialogue: 0,0:10:08.04,0:10:10.16,Default,,0000,0000,0000,,We think there's a,
Dialogue: 0,0:10:10.16,0:10:16.84,Default,,0000,0000,0000,,there's some same kind of pedagogical experience\Nin this
Dialogue: 0,0:10:16.92,0:10:18.44,Default,,0000,0000,0000,,conviviality
Dialogue: 0,0:10:18.44,0:10:20.76,Default,,0000,0000,0000,,with erosion,
Dialogue: 0,0:10:20.76,0:10:22.76,Default,,0000,0000,0000,,and we think that this is
Dialogue: 0,0:10:22.76,0:10:26.44,Default,,0000,0000,0000,,an important message\Nfor artists to receive.
Dialogue: 0,0:10:26.52,0:10:29.76,Default,,0000,0000,0000,,So, our work\Nthere, as you will be able to see,
Dialogue: 0,0:10:29.84,0:10:36.96,Default,,0000,0000,0000,,it's not focus on only works in
Dialogue: 0,0:10:37.04,0:10:38.88,Default,,0000,0000,0000,,a special,
Dialogue: 0,0:10:38.88,0:10:42.32,Default,,0000,0000,0000,,separate ambiance\Nfor the artist to create,
Dialogue: 0,0:10:42.40,0:10:45.68,Default,,0000,0000,0000,,but also in the, in the beach,
Dialogue: 0,0:10:45.72,0:10:49.72,Default,,0000,0000,0000,,in the sea, in the river, with people.
Dialogue: 0,0:10:49.80,0:10:53.52,Default,,0000,0000,0000,,It's what we like to think
Dialogue: 0,0:10:53.52,0:10:56.96,Default,,0000,0000,0000,,as a contextual art, environmental
Dialogue: 0,0:10:57.00,0:11:02.44,Default,,0000,0000,0000,,art that is created and builded,\Nin the context,
Dialogue: 0,0:11:02.52,0:11:06.68,Default,,0000,0000,0000,,not in solitude experience,
Dialogue: 0,0:11:06.76,0:11:10.84,Default,,0000,0000,0000,,so there you have some images\Nof those experiences,
Dialogue: 0,0:11:10.84,0:11:15.48,Default,,0000,0000,0000,,of walking around,\Nand just feeling the territory.
Dialogue: 0,0:11:15.56,0:11:19.84,Default,,0000,0000,0000,,We believe a lot\Nin the kind of information
Dialogue: 0,0:11:19.92,0:11:22.72,Default,,0000,0000,0000,,that the experience can bring
Dialogue: 0,0:11:22.72,0:11:25.72,Default,,0000,0000,0000,,to the creative process.
Dialogue: 0,0:11:25.72,0:11:33.08,Default,,0000,0000,0000,,So, Fernando, you can pass again, please.
Dialogue: 0,0:11:33.16,0:11:36.76,Default,,0000,0000,0000,,There is an image of some process\Nof artists.
Dialogue: 0,0:11:36.76,0:11:40.44,Default,,0000,0000,0000,,It's one image of inside the house,\Nas you can see.
Dialogue: 0,0:11:40.60,0:11:44.20,Default,,0000,0000,0000,,But then you can see\Nalso some of the collections
Dialogue: 0,0:11:44.28,0:11:48.40,Default,,0000,0000,0000,,that artists used to do in the beach.
Dialogue: 0,0:11:48.48,0:11:55.12,Default,,0000,0000,0000,,In the\Nthe right side, you can see those small...
Dialogue: 0,0:11:55.20,0:12:00.40,Default,,0000,0000,0000,,a word in English that I don't know is \N("Brick" WORD IN PORTUGUESE), Firmo.
Dialogue: 0,0:12:00.48,0:12:03.48,Default,,0000,0000,0000,,The small
Dialogue: 0,0:12:03.72,0:12:06.24,Default,,0000,0000,0000,,things that people use to buy houses.
Dialogue: 0,0:12:06.24,0:12:10.44,Default,,0000,0000,0000,,And when the houses are destroyed\Nby the process
Dialogue: 0,0:12:10.52,0:12:13.04,Default,,0000,0000,0000,,of erosion with the sea.
Dialogue: 0,0:12:13.04,0:12:15.72,Default,,0000,0000,0000,,The sea and the erosion process,
Dialogue: 0,0:12:15.72,0:12:21.04,Default,,0000,0000,0000,,do some sculpturing, this word
Dialogue: 0,0:12:21.24,0:12:24.52,Default,,0000,0000,0000,,that I miss. ( "Brick" PORTUGUESE WORD)
Dialogue: 0,0:12:24.60,0:12:26.76,Default,,0000,0000,0000,,Is the basis of the houses.
Dialogue: 0,0:12:26.76,0:12:29.08,Default,,0000,0000,0000,,Brick, yes. Thank you.
Dialogue: 0,0:12:29.08,0:12:32.56,Default,,0000,0000,0000,,And yes, so
Dialogue: 0,0:12:32.64,0:12:38.88,Default,,0000,0000,0000,,there you can see,\Nyou can have an estimate of time
Dialogue: 0,0:12:38.96,0:12:41.88,Default,,0000,0000,0000,,that the brick is rolling
Dialogue: 0,0:12:41.88,0:12:44.80,Default,,0000,0000,0000,,in the sea, and in the beach.
Dialogue: 0,0:12:44.80,0:12:47.68,Default,,0000,0000,0000,,And we have different sizes of these bricks.
Dialogue: 0,0:12:47.68,0:12:50.52,Default,,0000,0000,0000,,So it's a
Dialogue: 0,0:12:50.52,0:12:53.88,Default,,0000,0000,0000,,it's an interesting process\Nthat one of the artists
Dialogue: 0,0:12:53.96,0:12:57.96,Default,,0000,0000,0000,,made, not only him,\Nbut it's an interesting process
Dialogue: 0,0:12:58.00,0:13:03.40,Default,,0000,0000,0000,,to think about how time processes \Ndestruction also.
Dialogue: 0,0:13:03.48,0:13:06.44,Default,,0000,0000,0000,,And in the other side, we have an artist
Dialogue: 0,0:13:06.44,0:13:09.80,Default,,0000,0000,0000,,that worked a lot photographing, and after
Dialogue: 0,0:13:09.80,0:13:14.84,Default,,0000,0000,0000,,making collages, with the
Dialogue: 0,0:13:14.92,0:13:16.35,Default,,0000,0000,0000,,I don't know if collage
Dialogue: 0,0:13:16.35,0:13:20.04,Default,,0000,0000,0000,,is the right word,\Nbut making together
Dialogue: 0,0:13:20.12,0:13:24.60,Default,,0000,0000,0000,,different photographs,\Ncutting and rearranging to
Dialogue: 0,0:13:24.76,0:13:30.52,Default,,0000,0000,0000,,to think differently about the images\Nand the imagination that can,
Dialogue: 0,0:13:30.60,0:13:36.64,Default,,0000,0000,0000,,that can be created\Nwhen we reorganize the images.
Dialogue: 0,0:13:36.72,0:13:40.04,Default,,0000,0000,0000,,So, you can pass.
Dialogue: 0,0:13:40.04,0:13:42.88,Default,,0000,0000,0000,,There were in a
Dialogue: 0,0:13:42.88,0:13:44.28,Default,,0000,0000,0000,,in a specific place.
Dialogue: 0,0:13:44.28,0:13:48.96,Default,,0000,0000,0000,,It's a bar, and also atelie,\Nand also a house.
Dialogue: 0,0:13:49.04,0:13:51.96,Default,,0000,0000,0000,,Where lived a
Dialogue: 0,0:13:51.96,0:13:55.20,Default,,0000,0000,0000,,great friend of ours, Nico.
Dialogue: 0,0:13:55.28,0:14:00.59,Default,,0000,0000,0000,,And his place was amazing\Nbecause he created, he lived there.
Dialogue: 0,0:14:00.59,0:14:03.74,Default,,0000,0000,0000,,It was, his house
Dialogue: 0,0:14:03.80,0:14:08.84,Default,,0000,0000,0000,,was the bar where he sells drinks,\Nbut there
Dialogue: 0,0:14:08.92,0:14:12.56,Default,,0000,0000,0000,,he works with the material of the land,
Dialogue: 0,0:14:12.56,0:14:15.84,Default,,0000,0000,0000,,as well, to build
Dialogue: 0,0:14:15.92,0:14:20.68,Default,,0000,0000,0000,,a really specific place\Ntotally created by him.
Dialogue: 0,0:14:20.76,0:14:24.04,Default,,0000,0000,0000,,And he also has this conception
Dialogue: 0,0:14:24.04,0:14:29.08,Default,,0000,0000,0000,,of creating with what the earth gives,
Dialogue: 0,0:14:29.16,0:14:32.00,Default,,0000,0000,0000,,with what the sea brings,
Dialogue: 0,0:14:32.00,0:14:35.32,Default,,0000,0000,0000,,and re-imaginating functions
Dialogue: 0,0:14:35.40,0:14:39.52,Default,,0000,0000,0000,,and images with all that,
Dialogue: 0,0:14:39.60,0:14:43.96,Default,,0000,0000,0000,,most of the time, people see only as garbage.
Dialogue: 0,0:14:44.04,0:14:46.92,Default,,0000,0000,0000,,So, it was a specific place
Dialogue: 0,0:14:46.92,0:14:51.84,Default,,0000,0000,0000,,that we normally take the artist\Nthere to amplify
Dialogue: 0,0:14:51.92,0:14:55.24,Default,,0000,0000,0000,,their perspectives of art
Dialogue: 0,0:14:55.32,0:14:57.92,Default,,0000,0000,0000,,and what we can use
Dialogue: 0,0:14:57.92,0:15:03.80,Default,,0000,0000,0000,,to recreate the materials.
Dialogue: 0,0:15:03.88,0:15:07.76,Default,,0000,0000,0000,,So, you can go, Fer, please.
Dialogue: 0,0:15:12.56,0:15:13.12,Default,,0000,0000,0000,,There
Dialogue: 0,0:15:13.12,0:15:17.64,Default,,0000,0000,0000,,is Daniele Toledo, which is also an artist
Dialogue: 0,0:15:17.64,0:15:20.64,Default,,0000,0000,0000,,and was the creator exposition
Dialogue: 0,0:15:20.80,0:15:24.68,Default,,0000,0000,0000,,there, he has written "future" in the sand.
Dialogue: 0,0:15:24.76,0:15:28.20,Default,,0000,0000,0000,,But what seems to be the sand there, in\Nthis image,
Dialogue: 0,0:15:28.28,0:15:35.08,Default,,0000,0000,0000,,was actually the rest of a street.
Dialogue: 0,0:15:35.16,0:15:36.76,Default,,0000,0000,0000,,How can I say this word in English?
Dialogue: 0,0:15:36.76,0:15:42.40,Default,,0000,0000,0000,,Also, (CONCRETO PORTUGUESE WORD).
Dialogue: 0,0:15:42.48,0:15:44.20,Default,,0000,0000,0000,,Yes, concrete of the street.
Dialogue: 0,0:15:44.20,0:15:50.24,Default,,0000,0000,0000,,It used to be a street,\Nbut the sea has already destroyed.
Dialogue: 0,0:15:50.32,0:15:54.16,Default,,0000,0000,0000,,This specific area used to have like
Dialogue: 0,0:15:54.24,0:15:56.88,Default,,0000,0000,0000,,four kilometers ahead.
Dialogue: 0,0:15:56.88,0:16:02.56,Default,,0000,0000,0000,,And now what is happened in this beach
Dialogue: 0,0:16:02.64,0:16:06.92,Default,,0000,0000,0000,,is that all the city is going backwards.
Dialogue: 0,0:16:07.00,0:16:10.84,Default,,0000,0000,0000,,As the sea advances in the city,
Dialogue: 0,0:16:10.84,0:16:17.00,Default,,0000,0000,0000,,The city is building,\Nrebuilding itself back,
Dialogue: 0,0:16:17.08,0:16:19.80,Default,,0000,0000,0000,,like the sea came, and the
Dialogue: 0,0:16:19.80,0:16:22.80,Default,,0000,0000,0000,,the constructions go backwards.
Dialogue: 0,0:16:22.96,0:16:27.40,Default,,0000,0000,0000,,And there, I don't know, if you can see
Dialogue: 0,0:16:27.99,0:16:31.36,Default,,0000,0000,0000,,this area where we have a limit\Nbetween the sand
Dialogue: 0,0:16:31.56,0:16:35.20,Default,,0000,0000,0000,,and where it's written "future".
Dialogue: 0,0:16:35.28,0:16:39.80,Default,,0000,0000,0000,,So, it's like a catastrophic image "future",
Dialogue: 0,0:16:39.88,0:16:44.56,Default,,0000,0000,0000,,but also invites us to think about
Dialogue: 0,0:16:44.64,0:16:45.56,Default,,0000,0000,0000,,"future."
Dialogue: 0,0:16:45.56,0:16:49.80,Default,,0000,0000,0000,,And what can we do in this case.
Dialogue: 0,0:16:49.88,0:16:52.56,Default,,0000,0000,0000,,But is a work that Daniel
Dialogue: 0,0:16:52.56,0:16:56.76,Default,,0000,0000,0000,,have been doing in different places
Dialogue: 0,0:16:56.84,0:17:00.24,Default,,0000,0000,0000,,and he's been thinking about this as a
Dialogue: 0,0:17:00.44,0:17:05.60,Default,,0000,0000,0000,,as a crisis, as a problematic\Nand he's been reaching this
Dialogue: 0,0:17:05.60,0:17:07.44,Default,,0000,0000,0000,,in so many spaces.
Dialogue: 0,0:17:07.44,0:17:10.44,Default,,0000,0000,0000,,And there, he chooses this one.
Dialogue: 0,0:17:10.56,0:17:15.32,Default,,0000,0000,0000,,And I think it was a specific work.
Dialogue: 0,0:17:15.32,0:17:18.60,Default,,0000,0000,0000,,It was not what is in its position but
Dialogue: 0,0:17:18.60,0:17:22.12,Default,,0000,0000,0000,,we choose to show to you
Dialogue: 0,0:17:22.20,0:17:25.20,Default,,0000,0000,0000,,because of this limited experience.
Dialogue: 0,0:17:25.44,0:17:30.96,Default,,0000,0000,0000,,That these were written in\Nthis place, can bring to us.
Dialogue: 0,0:17:31.04,0:17:32.56,Default,,0000,0000,0000,,You can
Dialogue: 0,0:17:32.64,0:17:39.24,Default,,0000,0000,0000,,go ahead, Fernando, please.
Dialogue: 0,0:17:39.32,0:17:43.72,Default,,0000,0000,0000,,There you have some experience of
Dialogue: 0,0:17:43.80,0:17:47.42,Default,,0000,0000,0000,,video works that were there,
Dialogue: 0,0:17:47.44,0:17:54.68,Default,,0000,0000,0000,,in the image above, is Fernanda Branco, and
Dialogue: 0,0:17:54.76,0:18:00.24,Default,,0000,0000,0000,,she stayed there repeatedly, with these
Dialogue: 0,0:18:00.32,0:18:03.00,Default,,0000,0000,0000,,roots of trees
Dialogue: 0,0:18:03.00,0:18:07.04,Default,,0000,0000,0000,,and did a kind of dance
Dialogue: 0,0:18:07.12,0:18:12.64,Default,,0000,0000,0000,,where she goes backwards\Nand then she got into this tree
Dialogue: 0,0:18:12.72,0:18:15.28,Default,,0000,0000,0000,,and then
Dialogue: 0,0:18:15.28,0:18:18.00,Default,,0000,0000,0000,,she danced in this root
Dialogue: 0,0:18:18.00,0:18:22.48,Default,,0000,0000,0000,,and we have a video of this performance\Nin the exposition
Dialogue: 0,0:18:22.56,0:18:25.56,Default,,0000,0000,0000,,and it's a powerful video.
Dialogue: 0,0:18:25.64,0:18:28.52,Default,,0000,0000,0000,,Maybe you can see it in another moment,\Nif you'd like
Dialogue: 0,0:18:28.52,0:18:31.52,Default,,0000,0000,0000,,we can talk to her and maybe send to you,
Dialogue: 0,0:18:31.52,0:18:35.84,Default,,0000,0000,0000,,because it's a kind of fusion\Nbetween
Dialogue: 0,0:18:35.92,0:18:38.92,Default,,0000,0000,0000,,between the body and the root,
Dialogue: 0,0:18:38.96,0:18:44.00,Default,,0000,0000,0000,,with the sea that came in the root,\Nwhile she was there.
Dialogue: 0,0:18:44.08,0:18:48.28,Default,,0000,0000,0000,,So, it's really sensitive work, as well.
Dialogue: 0,0:18:48.36,0:18:51.36,Default,,0000,0000,0000,,You can pass, Fer, please.
Dialogue: 0,0:18:55.72,0:18:58.92,Default,,0000,0000,0000,,This is inside Nico's house,\Nas you can see.
Dialogue: 0,0:18:58.92,0:19:04.00,Default,,0000,0000,0000,,I was telling you that he built everything\Nand each small part of this bar
Dialogue: 0,0:19:04.04,0:19:09.72,Default,,0000,0000,0000,,was created by him with any material\Nthat you can imagine.
Dialogue: 0,0:19:09.80,0:19:13.40,Default,,0000,0000,0000,,Like, there's no limits to
Dialogue: 0,0:19:13.48,0:19:19.12,Default,,0000,0000,0000,,what is a basis for a creation.
Dialogue: 0,0:19:19.20,0:19:24.04,Default,,0000,0000,0000,,And there is another residence,\N_________, that spend
Dialogue: 0,0:19:24.04,0:19:28.84,Default,,0000,0000,0000,,a few days with us there\Nand made some performance
Dialogue: 0,0:19:28.92,0:19:32.24,Default,,0000,0000,0000,,in this bar.
Dialogue: 0,0:19:32.32,0:19:34.20,Default,,0000,0000,0000,,And then ______ was able
Dialogue: 0,0:19:34.20,0:19:38.84,Default,,0000,0000,0000,,to take some photos\Nand in the exposition we
Dialogue: 0,0:19:38.92,0:19:43.72,Default,,0000,0000,0000,,we could put these photos in there,\Nin a (Wallpaper in PORTUGUESE).
Dialogue: 0,0:19:43.80,0:19:48.16,Default,,0000,0000,0000,,I don't know if you know,\NI need help to translate (Wallpaper in PORTUGUESE).
Dialogue: 0,0:19:48.24,0:19:51.00,Default,,0000,0000,0000,,There's word for it in English.
Dialogue: 0,0:19:51.00,0:19:53.76,Default,,0000,0000,0000,,"Wallpaper."
Dialogue: 0,0:19:53.76,0:19:55.32,Default,,0000,0000,0000,,Wallpaper, maybe.
Dialogue: 0,0:19:55.32,0:19:56.92,Default,,0000,0000,0000,,Thank you, Mari.
Dialogue: 0,0:19:56.92,0:19:59.56,Default,,0000,0000,0000,,I think it's wheat based-
Dialogue: 0,0:19:59.56,0:20:03.04,Default,,0000,0000,0000,,"Wheat based posters."
Dialogue: 0,0:20:03.12,0:20:04.96,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:20:04.96,0:20:08.44,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:20:08.52,0:20:11.32,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:20:11.32,0:20:14.52,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:20:14.60,0:20:19.60,Default,,0000,0000,0000,,Wheat based posters. (PORTUGUESE)
Dialogue: 0,0:20:20.72,0:20:24.80,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:20:24.80,0:20:28.36,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:20:28.44,0:20:31.44,Default,,0000,0000,0000,,There's no point to
Dialogue: 0,0:20:31.56,0:20:36.00,Default,,0000,0000,0000,,maintain the structure \Nand the integrity of the work.
Dialogue: 0,0:20:36.16,0:20:39.32,Default,,0000,0000,0000,,It's to be able to do fast
Dialogue: 0,0:20:39.32,0:20:43.60,Default,,0000,0000,0000,,and it can be destroyed fast as well.
Dialogue: 0,0:20:43.68,0:20:47.12,Default,,0000,0000,0000,,And there was some good images
Dialogue: 0,0:20:47.12,0:20:50.92,Default,,0000,0000,0000,,in this\Nthat we can put in the exposition, also.
Dialogue: 0,0:20:51.00,0:20:53.98,Default,,0000,0000,0000,,So, Fer, you can move.
Dialogue: 0,0:20:58.12,0:20:59.20,Default,,0000,0000,0000,,There is
Dialogue: 0,0:20:59.20,0:21:02.94,Default,,0000,0000,0000,,Mariana Moraes who just joined\Nthe meeting with us
Dialogue: 0,0:21:02.96,0:21:06.92,Default,,0000,0000,0000,,helping with the translation and\Nshe was doing
Dialogue: 0,0:21:06.92,0:21:10.36,Default,,0000,0000,0000,,this is performance
Dialogue: 0,0:21:10.44,0:21:12.96,Default,,0000,0000,0000,,with- I don't know this word, as well.
Dialogue: 0,0:21:12.96,0:21:17.24,Default,,0000,0000,0000,,(PORTUGUSE WORD), who can help me?
Dialogue: 0,0:21:17.32,0:21:20.24,Default,,0000,0000,0000,,Is a material of the fishermen that they use to-
Dialogue: 0,0:21:20.24,0:21:22.84,Default,,0000,0000,0000,,"Fish net"
Dialogue: 0,0:21:23.56,0:21:24.36,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,0:21:27.12,0:21:30.52,Default,,0000,0000,0000,,It's the traditional way
Dialogue: 0,0:21:30.60,0:21:35.12,Default,,0000,0000,0000,,in which fishermen work, not like the big
Dialogue: 0,0:21:35.20,0:21:37.96,Default,,0000,0000,0000,,structure of fishing.
Dialogue: 0,0:21:37.96,0:21:39.84,Default,,0000,0000,0000,,Fish net, yes.
Dialogue: 0,0:21:39.84,0:21:44.44,Default,,0000,0000,0000,,And also Mariana,\Nafter this performance,
Dialogue: 0,0:21:44.52,0:21:48.52,Default,,0000,0000,0000,,in the other side of the screen,\Nyou can see the process
Dialogue: 0,0:21:48.52,0:21:52.44,Default,,0000,0000,0000,,of the video performance that she made there
Dialogue: 0,0:21:52.52,0:21:55.20,Default,,0000,0000,0000,,in 2022.
Dialogue: 0,0:21:55.20,0:21:57.68,Default,,0000,0000,0000,,And this video went to the exposition.
Dialogue: 0,0:21:57.68,0:22:00.68,Default,,0000,0000,0000,,Not the performance with the fish net,
Dialogue: 0,0:22:00.88,0:22:04.76,Default,,0000,0000,0000,,but also you can see the ambiance.
Dialogue: 0,0:22:04.84,0:22:08.08,Default,,0000,0000,0000,,And we wanted to show you a bit of the
Dialogue: 0,0:22:08.16,0:22:10.80,Default,,0000,0000,0000,,the visual of the environment there
Dialogue: 0,0:22:10.80,0:22:15.40,Default,,0000,0000,0000,,and how we always are trying to
Dialogue: 0,0:22:15.48,0:22:18.76,Default,,0000,0000,0000,,to make the works,
Dialogue: 0,0:22:18.84,0:22:22.64,Default,,0000,0000,0000,,being created in the territory,
Dialogue: 0,0:22:22.72,0:22:25.72,Default,,0000,0000,0000,,not in a isolated form.
Dialogue: 0,0:22:25.76,0:22:28.02,Default,,0000,0000,0000,,You can pass, Fer, please.
Dialogue: 0,0:22:30.92,0:22:34.44,Default,,0000,0000,0000,,Okay, there is Tetsuya,
Dialogue: 0,0:22:34.52,0:22:37.84,Default,,0000,0000,0000,,he is also a video artist
Dialogue: 0,0:22:37.92,0:22:41.20,Default,,0000,0000,0000,,and he works with
Dialogue: 0,0:22:41.28,0:22:44.72,Default,,0000,0000,0000,,old films and
Dialogue: 0,0:22:44.80,0:22:48.36,Default,,0000,0000,0000,,there in this image that you can see
Dialogue: 0,0:22:48.44,0:22:54.80,Default,,0000,0000,0000,,he was burying\Nthe film in the sand,
Dialogue: 0,0:22:54.88,0:22:58.28,Default,,0000,0000,0000,,"burying", like (Bury in PORTUGUESE).
Dialogue: 0,0:22:58.36,0:23:02.52,Default,,0000,0000,0000,,And then the sand,\Nand though
Dialogue: 0,0:23:02.56,0:23:06.48,Default,,0000,0000,0000,,the small animals and different lives
Dialogue: 0,0:23:06.48,0:23:10.24,Default,,0000,0000,0000,,in the sand interfere in the film
Dialogue: 0,0:23:10.32,0:23:14.84,Default,,0000,0000,0000,,and after he processes this and passes
Dialogue: 0,0:23:14.88,0:23:18.60,Default,,0000,0000,0000,,this film in the the exposition.
Dialogue: 0,0:23:18.68,0:23:21.64,Default,,0000,0000,0000,,So, you have a very specific image
Dialogue: 0,0:23:21.64,0:23:25.68,Default,,0000,0000,0000,,as results of these and he worked there-
Dialogue: 0,0:23:25.68,0:23:30.64,Default,,0000,0000,0000,,This image is in the sand with the sea\Ninterfering, as well, as you can see.
Dialogue: 0,0:23:30.64,0:23:33.64,Default,,0000,0000,0000,,But he also put the film
Dialogue: 0,0:23:33.88,0:23:36.88,Default,,0000,0000,0000,,inside the river for a few days
Dialogue: 0,0:23:37.12,0:23:40.04,Default,,0000,0000,0000,,and then it was passed by the fishes,
Dialogue: 0,0:23:40.04,0:23:43.96,Default,,0000,0000,0000,,the vegetals, I don't know-
Dialogue: 0,0:23:44.04,0:23:47.16,Default,,0000,0000,0000,,Everything in the sea,\Nthe animal life
Dialogue: 0,0:23:47.40,0:23:51.76,Default,,0000,0000,0000,,that interfere in the film\Nand then is beautiful to see the results.
Dialogue: 0,0:23:52.00,0:23:56.36,Default,,0000,0000,0000,,And we could put in the exposition, also.
Dialogue: 0,0:23:56.44,0:23:58.24,Default,,0000,0000,0000,,Fer, pass it, please.
Dialogue: 0,0:24:00.44,0:24:01.60,Default,,0000,0000,0000,,That's Victor.
Dialogue: 0,0:24:01.60,0:24:05.08,Default,,0000,0000,0000,,He's a painter and he is also an actor.
Dialogue: 0,0:24:05.16,0:24:09.28,Default,,0000,0000,0000,,He used to work \Nwith the group theater.
Dialogue: 0,0:24:09.36,0:24:12.84,Default,,0000,0000,0000,,But as we know that\Nhe paints, we invited him
Dialogue: 0,0:24:12.84,0:24:16.00,Default,,0000,0000,0000,,also to a residence and ask him to
Dialogue: 0,0:24:16.00,0:24:21.52,Default,,0000,0000,0000,,to make some paintings in houses\Nthat are already abandoned
Dialogue: 0,0:24:21.60,0:24:24.12,Default,,0000,0000,0000,,by the the old
Dialogue: 0,0:24:24.12,0:24:25.76,Default,,0000,0000,0000,,owners.
Dialogue: 0,0:24:29.64,0:24:32.92,Default,,0000,0000,0000,,And there, he's performing.
Dialogue: 0,0:24:33.00,0:24:37.40,Default,,0000,0000,0000,,Performing, with these
Dialogue: 0,0:24:37.48,0:24:40.48,Default,,0000,0000,0000,,I don't know, "flags".
Dialogue: 0,0:24:40.72,0:24:42.20,Default,,0000,0000,0000,,Flags. Yes.
Dialogue: 0,0:24:42.20,0:24:47.64,Default,,0000,0000,0000,,This white flag, that's Carol Valansi,\Nanother,
Dialogue: 0,0:24:47.64,0:24:50.28,Default,,0000,0000,0000,,artist that was with us,
Dialogue: 0,0:24:50.28,0:24:54.00,Default,,0000,0000,0000,,and this day was,\Nas you can see, a cloudy day,
Dialogue: 0,0:24:54.08,0:24:58.24,Default,,0000,0000,0000,,sort of raining day with strong wind.
Dialogue: 0,0:24:58.32,0:25:07.09,Default,,0000,0000,0000,,So, I don't know, these white flags,\Nhave an
Dialogue: 0,0:25:07.44,0:25:11.64,Default,,0000,0000,0000,,I don't know, something like a peace sign.
Dialogue: 0,0:25:11.88,0:25:18.76,Default,,0000,0000,0000,,But in this environment with no peace,
Dialogue: 0,0:25:18.84,0:25:22.32,Default,,0000,0000,0000,,in an\Nenvironment that is always in tension
Dialogue: 0,0:25:22.40,0:25:26.40,Default,,0000,0000,0000,,with the nature,\Nis always in this conflict
Dialogue: 0,0:25:26.52,0:25:32.44,Default,,0000,0000,0000,,between the building of the city\Nand the sea
Dialogue: 0,0:25:32.44,0:25:36.40,Default,,0000,0000,0000,,that is coming inside the city\Nand making this destruction,
Dialogue: 0,0:25:36.60,0:25:41.80,Default,,0000,0000,0000,,So, in this specific context,\Nthis white flag don't bring us
Dialogue: 0,0:25:41.88,0:25:46.92,Default,,0000,0000,0000,,exactly the best energy, but instead,
Dialogue: 0,0:25:47.00,0:25:50.40,Default,,0000,0000,0000,,like a conflict with this symbol.
Dialogue: 0,0:25:50.48,0:25:54.98,Default,,0000,0000,0000,,You can go ahead, Fer, please.
Dialogue: 0,0:25:58.12,0:25:58.64,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,0:25:58.64,0:26:04.56,Default,,0000,0000,0000,,This is a part of the educational program\Nthat we do there, as well.
Dialogue: 0,0:26:04.64,0:26:09.56,Default,,0000,0000,0000,,This is a group of students\Nthat we receive with the teacher
Dialogue: 0,0:26:09.80,0:26:15.20,Default,,0000,0000,0000,,that teaches there and knows the work\Nand is always in contact
Dialogue: 0,0:26:15.32,0:26:20.76,Default,,0000,0000,0000,,with us to bring some students\Nfor us to talk about this relation
Dialogue: 0,0:26:20.84,0:26:25.76,Default,,0000,0000,0000,,between art and education\Nand what are the possibilities
Dialogue: 0,0:26:25.88,0:26:30.76,Default,,0000,0000,0000,,of art\Nto talk about the environmental crisis.
Dialogue: 0,0:26:30.84,0:26:33.36,Default,,0000,0000,0000,,It's hard to talk about what's there.
Dialogue: 0,0:26:33.36,0:26:36.24,Default,,0000,0000,0000,,Even though they lived in this.
Dialogue: 0,0:26:36.24,0:26:40.48,Default,,0000,0000,0000,,Their daily lives is a sensible subject
Dialogue: 0,0:26:40.56,0:26:44.32,Default,,0000,0000,0000,,because, you know,\Nobviously is the reality.
Dialogue: 0,0:26:44.32,0:26:48.72,Default,,0000,0000,0000,,But it's\Na sad subject, it's a trauma.
Dialogue: 0,0:26:48.80,0:26:52.36,Default,,0000,0000,0000,,It's a living trauma,\Nthe daily situation.
Dialogue: 0,0:26:52.44,0:26:55.44,Default,,0000,0000,0000,,So sometimes we discover that
Dialogue: 0,0:26:55.68,0:26:58.80,Default,,0000,0000,0000,,art helps to talk about these
Dialogue: 0,0:26:58.80,0:27:01.80,Default,,0000,0000,0000,,and to deal with the trauma of the
Dialogue: 0,0:27:02.00,0:27:06.08,Default,,0000,0000,0000,,the losing,\Nlosing of houses, losing of memories.
Dialogue: 0,0:27:06.16,0:27:11.64,Default,,0000,0000,0000,,So, this kind of pedagogical function
Dialogue: 0,0:27:11.68,0:27:17.36,Default,,0000,0000,0000,,of art, to talk about environmental\Ncrisis is important to us, as well.
Dialogue: 0,0:27:17.44,0:27:19.20,Default,,0000,0000,0000,,Fer, please.
Dialogue: 0,0:27:24.04,0:27:26.32,Default,,0000,0000,0000,,This is Sarojini,
Dialogue: 0,0:27:26.32,0:27:31.00,Default,,0000,0000,0000,,it's an artist from India, that in the end,
Dialogue: 0,0:27:31.08,0:27:36.00,Default,,0000,0000,0000,,went there to work with us\Nand make a video performance, as well.
Dialogue: 0,0:27:36.08,0:27:38.84,Default,,0000,0000,0000,,Fernando, pass it, please.
Dialogue: 0,0:27:44.00,0:27:49.36,Default,,0000,0000,0000,,This is part\Nof a frame of the video work
Dialogue: 0,0:27:49.36,0:27:54.00,Default,,0000,0000,0000,,that I've done there,\NI've been working with archives there.
Dialogue: 0,0:27:54.00,0:27:57.04,Default,,0000,0000,0000,,Thinking about
Dialogue: 0,0:27:57.04,0:27:58.84,Default,,0000,0000,0000,,something in between
Dialogue: 0,0:27:58.84,0:28:02.24,Default,,0000,0000,0000,,how can we make a private, archive
Dialogue: 0,0:28:02.28,0:28:06.08,Default,,0000,0000,0000,,a public archive, and vice versa.
Dialogue: 0,0:28:06.16,0:28:09.04,Default,,0000,0000,0000,,With this complex
Dialogue: 0,0:28:09.04,0:28:14.00,Default,,0000,0000,0000,,and political and delicate issue\Nlike what is a private archive
Dialogue: 0,0:28:14.00,0:28:19.60,Default,,0000,0000,0000,,and how public can this be,\Nto facilitate us
Dialogue: 0,0:28:19.68,0:28:24.76,Default,,0000,0000,0000,,to talk about things that are political. \NThat touch everybody.
Dialogue: 0,0:28:24.76,0:28:29.56,Default,,0000,0000,0000,,This lady, she made an archive\Nfollowing the sea,
Dialogue: 0,0:28:29.56,0:28:32.56,Default,,0000,0000,0000,,destroying this building\Nin front of her house.
Dialogue: 0,0:28:32.64,0:28:37.04,Default,,0000,0000,0000,,And they made a small documentary about it
Dialogue: 0,0:28:37.12,0:28:39.84,Default,,0000,0000,0000,,which is called "Concrete Sea."
Dialogue: 0,0:28:39.84,0:28:44.88,Default,,0000,0000,0000,,And, Fernando, maybe I think,
Dialogue: 0,0:28:44.92,0:28:50.24,Default,,0000,0000,0000,,Can you put another image,\Nbut I think that maybe,
Dialogue: 0,0:28:50.32,0:28:53.60,Default,,0000,0000,0000,,I can pass the words now.
Dialogue: 0,0:28:53.68,0:28:57.44,Default,,0000,0000,0000,,Yes. For you to talk\Nabout the exposition properly,
Dialogue: 0,0:28:57.44,0:29:01.48,Default,,0000,0000,0000,,and then we can lead to talk a bit more
Dialogue: 0,0:29:01.56,0:29:04.16,Default,,0000,0000,0000,,in the conversation.
Dialogue: 0,0:29:04.24,0:29:11.00,Default,,0000,0000,0000,,I will mute my microphone.
Dialogue: 0,0:29:11.08,0:29:13.88,Default,,0000,0000,0000,,(PORTUGUESE DIALOGUE).
Dialogue: 0,0:29:13.88,0:29:18.36,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:18.36,0:29:22.52,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:22.52,0:29:23.48,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:23.48,0:29:29.04,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:29.08,0:29:32.04,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:32.04,0:29:33.28,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:33.28,0:29:37.96,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:37.96,0:29:41.72,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:41.80,0:29:44.96,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:44.96,0:29:49.44,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:49.52,0:29:55.40,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:55.40,0:29:57.40,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:29:57.40,0:30:00.40,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:00.64,0:30:04.24,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:04.32,0:30:07.12,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:07.12,0:30:11.92,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:11.92,0:30:16.16,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:16.16,0:30:19.40,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:19.40,0:30:21.36,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:21.36,0:30:26.16,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:26.24,0:30:27.64,Default,,0000,0000,0000,,(PORTUGUESE)
Dialogue: 0,0:30:27.64,0:30:32.08,Default,,0000,0000,0000,,Make me to think about art history,\Nabout concrete art.
Dialogue: 0,0:30:35.52,0:30:40.37,Default,,0000,0000,0000,,And this material has a \Nghost-like character
Dialogue: 0,0:30:40.48,0:30:42.56,Default,,0000,0000,0000,,That's how I see
Dialogue: 0,0:30:42.56,0:30:44.68,Default,,0000,0000,0000,,the act of fishing.
Dialogue: 0,0:30:44.68,0:30:48.92,Default,,0000,0000,0000,,Fishing has this presence \Nin Brazilian history.
Dialogue: 0,0:30:49.00,0:30:51.48,Default,,0000,0000,0000,,It also has an important role
Dialogue: 0,0:30:51.48,0:30:54.92,Default,,0000,0000,0000,,to play in terms of economy.
Dialogue: 0,0:30:55.00,0:30:57.08,Default,,0000,0000,0000,,Paolo Victor also works the that.
Dialogue: 0,0:30:57.08,0:31:06.40,Default,,0000,0000,0000,,As you can see, this is a window that\Nhe found at the beach, in Atafona
Dialogue: 0,0:31:06.40,0:31:11.28,Default,,0000,0000,0000,,Here we can see Daniel's\Nwork in the background.
Dialogue: 0,0:31:11.36,0:31:13.48,Default,,0000,0000,0000,,He also works with material found
Dialogue: 0,0:31:13.48,0:31:17.68,Default,,0000,0000,0000,,in the beach.
Dialogue: 0,0:31:17.76,0:31:20.32,Default,,0000,0000,0000,,So, this is a whole part of \Nthe exhibition made,
Dialogue: 0,0:31:20.32,0:31:25.32,Default,,0000,0000,0000,,with material found on the beach,
Dialogue: 0,0:31:25.40,0:31:28.72,Default,,0000,0000,0000,,And there is a dialogue\Nbetween this materials found on the beach
Dialogue: 0,0:31:28.72,0:31:33.28,Default,,0000,0000,0000,,and with the traditional and modern
Dialogue: 0,0:31:33.36,0:31:35.49,Default,,0000,0000,0000,,modern works.
Dialogue: 0,0:31:38.64,0:31:42.60,Default,,0000,0000,0000,,Daniel also works with collages.
Dialogue: 0,0:31:42.68,0:31:44.52,Default,,0000,0000,0000,,He uses wood.
Dialogue: 0,0:31:44.52,0:31:47.52,Default,,0000,0000,0000,,You can see some of them in the background
Dialogue: 0,0:31:47.68,0:31:49.08,Default,,0000,0000,0000,,and he grows them.
Dialogue: 0,0:31:49.08,0:31:53.16,Default,,0000,0000,0000,,He uses the plastic\Nfrom pop bottles to
Dialogue: 0,0:31:53.20,0:31:57.04,Default,,0000,0000,0000,,to make this montage.
Dialogue: 0,0:31:57.12,0:32:02.56,Default,,0000,0000,0000,,We can see here some video work.
Dialogue: 0,0:32:02.64,0:32:03.84,Default,,0000,0000,0000,,This is part of the video
Dialogue: 0,0:32:03.84,0:32:06.84,Default,,0000,0000,0000,,that's part of the exhibition.
Dialogue: 0,0:32:06.88,0:32:09.48,Default,,0000,0000,0000,,We'll also see some of Isabella's work.
Dialogue: 0,0:32:09.48,0:32:12.76,Default,,0000,0000,0000,,We'll see them in more detail later.
Dialogue: 0,0:32:12.76,0:32:16.04,Default,,0000,0000,0000,,Here, you can see some of her work.
Dialogue: 0,0:32:16.04,0:32:21.08,Default,,0000,0000,0000,,This is a type of root,\Nbut it's actually made of latex.
Dialogue: 0,0:32:21.16,0:32:22.72,Default,,0000,0000,0000,,This is the one that you see
Dialogue: 0,0:32:22.72,0:32:26.84,Default,,0000,0000,0000,,towards the center of the photo.
Dialogue: 0,0:32:26.92,0:32:30.72,Default,,0000,0000,0000,,There's something else in the background\Nthat has a more aggressive character.
Dialogue: 0,0:32:30.72,0:32:36.36,Default,,0000,0000,0000,,It's made of glass and in clay.
Dialogue: 0,0:32:36.44,0:32:40.56,Default,,0000,0000,0000,,Beside her work,\Nyou can see Tais's work here.
Dialogue: 0,0:32:41.80,0:32:44.80,Default,,0000,0000,0000,,This is work made in a studio.
Dialogue: 0,0:32:44.92,0:32:48.52,Default,,0000,0000,0000,,The goal is to bring the atmosphere, parts
Dialogue: 0,0:32:48.52,0:32:54.24,Default,,0000,0000,0000,,of the landscape\Nthat they saw and tried to capture.
Dialogue: 0,0:32:54.32,0:32:59.76,Default,,0000,0000,0000,,You can see Luciano's\Nphotos up on the wall.
Dialogue: 0,0:32:59.84,0:33:02.04,Default,,0000,0000,0000,,This is part of the meeting with Luciano's
Dialogue: 0,0:33:02.04,0:33:04.20,Default,,0000,0000,0000,,and Nico's bar.
Dialogue: 0,0:33:08.04,0:33:09.64,Default,,0000,0000,0000,,This is Rafael's work,
Dialogue: 0,0:33:09.64,0:33:12.64,Default,,0000,0000,0000,,and that's Cara's work.
Dialogue: 0,0:33:12.80,0:33:16.16,Default,,0000,0000,0000,,So, this was a very quick\Nwalk through the exhibition,
Dialogue: 0,0:33:16.20,0:33:19.64,Default,,0000,0000,0000,,but now we can\Nlook at them in more detail.
Dialogue: 0,0:33:19.72,0:33:23.72,Default,,0000,0000,0000,,So, this is Daniel's installation
Dialogue: 0,0:33:23.72,0:33:27.68,Default,,0000,0000,0000,,Here, the detail shows how \Nhe added these pieces
Dialogue: 0,0:33:27.68,0:33:31.04,Default,,0000,0000,0000,,together using a plastic bottle.
Dialogue: 0,0:33:31.12,0:33:33.80,Default,,0000,0000,0000,,All the elements were found on the beach.
Dialogue: 0,0:33:33.80,0:33:37.04,Default,,0000,0000,0000,,This is my work.
Dialogue: 0,0:33:37.12,0:33:40.96,Default,,0000,0000,0000,,This is how I attach the net.
Dialogue: 0,0:33:41.04,0:33:43.28,Default,,0000,0000,0000,,It shows the idea of creating
Dialogue: 0,0:33:43.28,0:33:47.20,Default,,0000,0000,0000,,these geometric forms
Dialogue: 0,0:33:47.28,0:33:49.38,Default,,0000,0000,0000,,and adding the Brazilian\Nneo-concretism.
Dialogue: 0,0:33:59.20,0:34:02.40,Default,,0000,0000,0000,,This material is very abundant.
Dialogue: 0,0:34:02.48,0:34:04.68,Default,,0000,0000,0000,,The the nets fall apart
Dialogue: 0,0:34:04.68,0:34:08.68,Default,,0000,0000,0000,,and the fishermen just throw them out.
Dialogue: 0,0:34:08.76,0:34:12.92,Default,,0000,0000,0000,,I have made a lot of work with it\Nbecause this is the kind of material
Dialogue: 0,0:34:12.92,0:34:16.00,Default,,0000,0000,0000,,that's very dangerous for marine life
Dialogue: 0,0:34:16.00,0:34:19.84,Default,,0000,0000,0000,,when it's back in the ocean.
Dialogue: 0,0:34:19.92,0:34:23.32,Default,,0000,0000,0000,,So, there is an attempt to
Dialogue: 0,0:34:23.40,0:34:27.34,Default,,0000,0000,0000,,to take care of this material,\Nto repurpose them.
Dialogue: 0,0:34:31.84,0:34:37.08,Default,,0000,0000,0000,,Now, the crabs.
Dialogue: 0,0:34:37.16,0:34:39.28,Default,,0000,0000,0000,,There is a relationship to life
Dialogue: 0,0:34:39.28,0:34:44.52,Default,,0000,0000,0000,,and to how erosion comes in.
Dialogue: 0,0:34:44.52,0:34:46.76,Default,,0000,0000,0000,,So, all I'm doing is putting it together.
Dialogue: 0,0:34:46.76,0:34:51.48,Default,,0000,0000,0000,,I'm finding the bricks and these\Niron broads and I'm putting them together.
Dialogue: 0,0:34:51.48,0:34:56.16,Default,,0000,0000,0000,,So, they kind of remind us\Nof these creatures,
Dialogue: 0,0:34:56.24,0:35:00.64,Default,,0000,0000,0000,,creatures that live in the\Nthe mangroves in Atafona.
Dialogue: 0,0:35:00.68,0:35:05.40,Default,,0000,0000,0000,,This is Paulo,\Nbeside the window that he painted.
Dialogue: 0,0:35:07.24,0:35:10.24,Default,,0000,0000,0000,,The work remounts to the idea\Nthat the sea is coming back,
Dialogue: 0,0:35:10.48,0:35:15.04,Default,,0000,0000,0000,,it's a popular idea with the locals,\Nespecially with the fisher people.
Dialogue: 0,0:35:15.12,0:35:18.12,Default,,0000,0000,0000,,This idea that the sea is reclaiming
Dialogue: 0,0:35:18.16,0:35:22.68,Default,,0000,0000,0000,,what belongs to it.
Dialogue: 0,0:35:22.76,0:35:23.72,Default,,0000,0000,0000,,In fact,
Dialogue: 0,0:35:23.72,0:35:28.76,Default,,0000,0000,0000,,that piece of land at some point, already\Nbelonged to the sea.
Dialogue: 0,0:35:28.84,0:35:32.24,Default,,0000,0000,0000,,Scientifically speaking, that's also true.
Dialogue: 0,0:35:32.32,0:35:35.00,Default,,0000,0000,0000,,So that's what it says.
Dialogue: 0,0:35:35.00,0:35:36.24,Default,,0000,0000,0000,,The sea is coming back.
Dialogue: 0,0:35:36.24,0:35:39.20,Default,,0000,0000,0000,,You can see this in the painting.
Dialogue: 0,0:35:39.20,0:35:42.20,Default,,0000,0000,0000,,This is also beautiful work\Nthat was present.
Dialogue: 0,0:35:42.44,0:35:45.44,Default,,0000,0000,0000,,This is Rafael's work.
Dialogue: 0,0:35:45.68,0:35:48.48,Default,,0000,0000,0000,,He organized these pieces of bricks
Dialogue: 0,0:35:48.48,0:35:52.52,Default,,0000,0000,0000,,on top of notebooks.
Dialogue: 0,0:35:52.60,0:35:56.32,Default,,0000,0000,0000,,He invites us to think about
Dialogue: 0,0:35:56.32,0:36:00.16,Default,,0000,0000,0000,,a type of geological writing.
Dialogue: 0,0:36:00.20,0:36:04.96,Default,,0000,0000,0000,,Also, about the process of the artist.
Dialogue: 0,0:36:05.04,0:36:07.44,Default,,0000,0000,0000,,We are creating a language
Dialogue: 0,0:36:07.44,0:36:12.04,Default,,0000,0000,0000,,through the erosion.
Dialogue: 0,0:36:12.12,0:36:16.32,Default,,0000,0000,0000,,This is part of the reference.
Dialogue: 0,0:36:16.40,0:36:18.72,Default,,0000,0000,0000,,This is Isabella's work.
Dialogue: 0,0:36:18.72,0:36:23.68,Default,,0000,0000,0000,,You can see it in a close up,\Nvery delicate work.
Dialogue: 0,0:36:23.76,0:36:28.60,Default,,0000,0000,0000,,She uses glass, ceramics, latex.
Dialogue: 0,0:36:28.64,0:36:32.28,Default,,0000,0000,0000,,And here is the same work,\Nfrom a different perspective.
Dialogue: 0,0:36:32.36,0:36:34.67,Default,,0000,0000,0000,,This is Tetsuya's work.
Dialogue: 0,0:36:38.12,0:36:42.32,Default,,0000,0000,0000,,This is a film that he collected\Nfrom an old file.
Dialogue: 0,0:36:42.40,0:36:44.96,Default,,0000,0000,0000,,He buried this on the sand.
Dialogue: 0,0:36:44.96,0:36:47.12,Default,,0000,0000,0000,,Money sack sand.
Dialogue: 0,0:36:47.12,0:36:52.08,Default,,0000,0000,0000,,This is a specific kind of sand\Nthat's present there.
Dialogue: 0,0:36:52.16,0:36:56.72,Default,,0000,0000,0000,,It's a low radiation sand.
Dialogue: 0,0:36:56.80,0:37:00.45,Default,,0000,0000,0000,,Let's watch this now.
Dialogue: 0,0:37:15.68,0:37:18.24,Default,,0000,0000,0000,,This is Thais work,
Dialogue: 0,0:37:18.24,0:37:22.20,Default,,0000,0000,0000,,also a very intricate, very delicate work.
Dialogue: 0,0:37:22.28,0:37:24.48,Default,,0000,0000,0000,,Very beautiful, it's very alive.
Dialogue: 0,0:37:24.48,0:37:27.48,Default,,0000,0000,0000,,She creates this dynamic between salt,
Dialogue: 0,0:37:27.48,0:37:30.68,Default,,0000,0000,0000,,glass and iron.
Dialogue: 0,0:37:30.76,0:37:36.20,Default,,0000,0000,0000,,The salt kind of erodes\Nthe iron that holds up the glass.
Dialogue: 0,0:37:36.28,0:37:39.84,Default,,0000,0000,0000,,You can see this and the image,\Nthe one on the left was when she
Dialogue: 0,0:37:39.84,0:37:42.72,Default,,0000,0000,0000,,first put it together.
Dialogue: 0,0:37:42.80,0:37:46.00,Default,,0000,0000,0000,,And this\Nis later, showing the corrosion
Dialogue: 0,0:37:46.08,0:37:50.88,Default,,0000,0000,0000,,that salt caused in the work.
Dialogue: 0,0:37:50.96,0:37:54.64,Default,,0000,0000,0000,,This is Joao Racy's work.
Dialogue: 0,0:37:54.72,0:37:59.48,Default,,0000,0000,0000,,It's a still video, still image.
Dialogue: 0,0:37:59.88,0:38:03.20,Default,,0000,0000,0000,,He filmed the window of a house
Dialogue: 0,0:38:03.20,0:38:07.28,Default,,0000,0000,0000,,that's actually being buried by the sand.
Dialogue: 0,0:38:07.36,0:38:09.40,Default,,0000,0000,0000,,There's a little bit of movement
Dialogue: 0,0:38:09.40,0:38:12.22,Default,,0000,0000,0000,,in the plants here,
Dialogue: 0,0:38:14.76,0:38:16.64,Default,,0000,0000,0000,,So, we created this,
Dialogue: 0,0:38:16.64,0:38:22.08,Default,,0000,0000,0000,,we had a TV in the back\Nto bring by this idea of a window.
Dialogue: 0,0:38:22.16,0:38:27.48,Default,,0000,0000,0000,,This is Caroline's work,
Dialogue: 0,0:38:27.56,0:38:28.84,Default,,0000,0000,0000,,We also saw this
Dialogue: 0,0:38:28.84,0:38:32.28,Default,,0000,0000,0000,,during Julia's presentation.
Dialogue: 0,0:38:32.36,0:38:36.84,Default,,0000,0000,0000,,She has a huge flag that she brings\Nto the meeting place
Dialogue: 0,0:38:36.92,0:38:42.04,Default,,0000,0000,0000,,between the river and the sea.
Dialogue: 0,0:38:42.12,0:38:47.72,Default,,0000,0000,0000,,She made this work here\Nby creating these stamps,
Dialogue: 0,0:38:47.80,0:38:51.36,Default,,0000,0000,0000,,postal stamps.
Dialogue: 0,0:38:51.44,0:38:53.48,Default,,0000,0000,0000,,It reminds a little bit of a video, right,
Dialogue: 0,0:38:53.48,0:38:57.32,Default,,0000,0000,0000,,because you can see the flag movement\Nalong the way.
Dialogue: 0,0:38:57.40,0:38:58.48,Default,,0000,0000,0000,,And here is the flag.
Dialogue: 0,0:38:58.48,0:39:03.52,Default,,0000,0000,0000,,We installed it\Non the outside of the exhibition,
Dialogue: 0,0:39:03.52,0:39:08.20,Default,,0000,0000,0000,,Here, can see Lu by Lu's work.
Dialogue: 0,0:39:08.28,0:39:11.28,Default,,0000,0000,0000,,This is her meeting with makeup.
Dialogue: 0,0:39:11.48,0:39:14.48,Default,,0000,0000,0000,,And then we paste post again
Dialogue: 0,0:39:14.72,0:39:18.76,Default,,0000,0000,0000,,here she glued them on the outside.
Dialogue: 0,0:39:18.84,0:39:20.88,Default,,0000,0000,0000,,She talked a bit about her meeting
Dialogue: 0,0:39:20.88,0:39:24.28,Default,,0000,0000,0000,,with Nico in Atafona.
Dialogue: 0,0:39:24.28,0:39:27.84,Default,,0000,0000,0000,,Lu who is an activist, a trans artist,
Dialogue: 0,0:39:28.08,0:39:31.76,Default,,0000,0000,0000,,a black person,
Dialogue: 0,0:39:31.84,0:39:34.84,Default,,0000,0000,0000,,and she adds all of that to her work,
Dialogue: 0,0:39:34.88,0:39:38.91,Default,,0000,0000,0000,,as a trans woman in Brazil.
Dialogue: 0,0:39:41.20,0:39:42.60,Default,,0000,0000,0000,,It's important to her
Dialogue: 0,0:39:42.60,0:39:48.12,Default,,0000,0000,0000,,to share these moments,
Dialogue: 0,0:39:48.20,0:39:52.04,Default,,0000,0000,0000,,moments\Nwhere she can express her artistry,
Dialogue: 0,0:39:52.08,0:39:57.28,Default,,0000,0000,0000,,her subjectivity,
Dialogue: 0,0:39:57.36,0:39:59.52,Default,,0000,0000,0000,,and she was able to share a lot of her
Dialogue: 0,0:39:59.52,0:40:01.83,Default,,0000,0000,0000,,thinking with us.
Dialogue: 0,0:40:04.64,0:40:05.52,Default,,0000,0000,0000,,Here the videos,
Dialogue: 0,0:40:05.52,0:40:09.76,Default,,0000,0000,0000,,we are not going to be able\Nto watch them now,
Dialogue: 0,0:40:09.84,0:40:13.60,Default,,0000,0000,0000,,but I'd like to tell you, here\Nthe videos that are present there.
Dialogue: 0,0:40:13.68,0:40:15.84,Default,,0000,0000,0000,,Fernando Branco's video.
Dialogue: 0,0:40:15.84,0:40:19.50,Default,,0000,0000,0000,,Julia talked about it, Julia's video.
Dialogue: 0,0:40:19.56,0:40:23.68,Default,,0000,0000,0000,,Mariana's and Sarojini's.
Dialogue: 0,0:40:23.76,0:40:24.96,Default,,0000,0000,0000,,So, there you have.
Dialogue: 0,0:40:24.96,0:40:28.44,Default,,0000,0000,0000,,I tried to stay on point.
Dialogue: 0,0:40:28.52,0:40:30.32,Default,,0000,0000,0000,,So, we have enough time to talk.
Dialogue: 0,0:40:30.32,0:40:33.64,Default,,0000,0000,0000,,I hope this gives you a general view
Dialogue: 0,0:40:33.72,0:40:35.29,Default,,0000,0000,0000,,of the exhibition
Dialogue: 0,0:40:39.88,0:40:41.56,Default,,0000,0000,0000,,We had to choose.
Dialogue: 0,0:40:41.56,0:40:45.67,Default,,0000,0000,0000,,Through many artists\Nthat came through Casa Duna.
Dialogue: 0,0:40:51.16,0:40:54.16,Default,,0000,0000,0000,,I hope that this gives you\Nan idea of the work that we did.
Dialogue: 0,0:40:54.36,0:40:56.68,Default,,0000,0000,0000,,I'd like to thank you.
Dialogue: 0,0:40:56.68,0:41:00.97,Default,,0000,0000,0000,,And I want to open the floor\Nso we can continue the conversation.
Dialogue: 0,0:41:10.00,0:41:11.76,Default,,0000,0000,0000,,It's my turn?
Dialogue: 0,0:41:11.76,0:41:14.76,Default,,0000,0000,0000,,Okay.
Dialogue: 0,0:41:16.64,0:41:21.48,Default,,0000,0000,0000,,Thank you for what you brought to us\Ntoday.
Dialogue: 0,0:41:21.48,0:41:24.48,Default,,0000,0000,0000,,Fernando, Julia.
Dialogue: 0,0:41:24.52,0:41:27.00,Default,,0000,0000,0000,,I have had the opportunity to visit
Dialogue: 0,0:41:27.00,0:41:28.96,Default,,0000,0000,0000,,Atafona with both of you.
Dialogue: 0,0:41:28.96,0:41:36.20,Default,,0000,0000,0000,,I was able to witness\Nthe work that you developed there.
Dialogue: 0,0:41:36.28,0:41:37.20,Default,,0000,0000,0000,,I think it's important
Dialogue: 0,0:41:37.20,0:41:44.32,Default,,0000,0000,0000,,to share this to this\Ngroup that's with us today.
Dialogue: 0,0:41:44.40,0:41:47.32,Default,,0000,0000,0000,,I'm reinforcing\Nsomething that I see in your work, right?
Dialogue: 0,0:41:47.32,0:41:49.60,Default,,0000,0000,0000,,There's this persistence.
Dialogue: 0,0:41:49.60,0:41:51.36,Default,,0000,0000,0000,,You've been there for eight years now.
Dialogue: 0,0:41:51.36,0:41:56.72,Default,,0000,0000,0000,,You've been there since 2017,
Dialogue: 0,0:41:56.80,0:41:58.76,Default,,0000,0000,0000,,so it's been eight years.
Dialogue: 0,0:41:58.76,0:42:00.93,Default,,0000,0000,0000,,in the work.
Dialogue: 0,0:42:04.84,0:42:12.76,Default,,0000,0000,0000,,I know how important this is to you
Dialogue: 0,0:42:12.84,0:42:13.92,Default,,0000,0000,0000,,and you know,
Dialogue: 0,0:42:13.92,0:42:18.52,Default,,0000,0000,0000,,and this is also a counterposition\Nas to other works
Dialogue: 0,0:42:18.52,0:42:21.52,Default,,0000,0000,0000,,that visit Atafona that come and go
Dialogue: 0,0:42:21.52,0:42:26.56,Default,,0000,0000,0000,,or make a spectacle out of it.
Dialogue: 0,0:42:26.64,0:42:29.64,Default,,0000,0000,0000,,This is an erosion process
Dialogue: 0,0:42:29.64,0:42:35.00,Default,,0000,0000,0000,,that's 60 years long.
Dialogue: 0,0:42:35.08,0:42:37.84,Default,,0000,0000,0000,,It has been sped up
Dialogue: 0,0:42:37.84,0:42:42.16,Default,,0000,0000,0000,,due to industrial activity\Nin the area.
Dialogue: 0,0:42:48.80,0:42:55.24,Default,,0000,0000,0000,,There is a violent process that's been
Dialogue: 0,0:42:55.32,0:42:57.36,Default,,0000,0000,0000,,getting aggravated
Dialogue: 0,0:42:57.36,0:43:01.48,Default,,0000,0000,0000,,through interventions of abuses
Dialogue: 0,0:43:01.52,0:43:04.52,Default,,0000,0000,0000,,on the environment.
Dialogue: 0,0:43:04.56,0:43:08.48,Default,,0000,0000,0000,,And this shows the many ways that artists
Dialogue: 0,0:43:08.56,0:43:11.92,Default,,0000,0000,0000,,and art can also produce,
Dialogue: 0,0:43:12.00,0:43:16.60,Default,,0000,0000,0000,,they can also use some of this process\Nfor their work.
Dialogue: 0,0:43:16.68,0:43:19.68,Default,,0000,0000,0000,,I think what we're trying to do\Nis to show
Dialogue: 0,0:43:19.80,0:43:26.12,Default,,0000,0000,0000,,an option to think about a continuity,
Dialogue: 0,0:43:26.20,0:43:31.76,Default,,0000,0000,0000,,a process of creating connections.
Dialogue: 0,0:43:31.84,0:43:33.24,Default,,0000,0000,0000,,You have this work
Dialogue: 0,0:43:33.24,0:43:37.72,Default,,0000,0000,0000,,of environmental awareness\Nwith the community.
Dialogue: 0,0:43:37.80,0:43:41.60,Default,,0000,0000,0000,,You work with the Landless Movement
Dialogue: 0,0:43:41.68,0:43:43.29,Default,,0000,0000,0000,,in Brazil.
Dialogue: 0,0:43:48.48,0:43:49.72,Default,,0000,0000,0000,,Oh, I'm sorry.
Dialogue: 0,0:43:49.72,0:43:52.32,Default,,0000,0000,0000,,There is a lady that's an activist.
Dialogue: 0,0:43:52.32,0:43:53.56,Default,,0000,0000,0000,,I forget her name.
Dialogue: 0,0:43:53.56,0:43:56.83,Default,,0000,0000,0000,,Please forgive me.
Dialogue: 0,0:44:08.16,0:44:09.84,Default,,0000,0000,0000,,Yes. Yeah, I can hear you.
Dialogue: 0,0:44:09.84,0:44:10.76,Default,,0000,0000,0000,,I'm sorry.
Dialogue: 0,0:44:10.76,0:44:13.00,Default,,0000,0000,0000,,There was there was a pause there.
Dialogue: 0,0:44:13.00,0:44:14.86,Default,,0000,0000,0000,,So, yes.
Dialogue: 0,0:44:19.40,0:44:23.36,Default,,0000,0000,0000,,You've been working on different\Nfronts, right?
Dialogue: 0,0:44:23.44,0:44:29.00,Default,,0000,0000,0000,,Academic research, art, art research.
Dialogue: 0,0:44:29.08,0:44:32.76,Default,,0000,0000,0000,,You were working on your postdoctorate.
Dialogue: 0,0:44:32.76,0:44:38.08,Default,,0000,0000,0000,,You work with a theater group,
Dialogue: 0,0:44:38.16,0:44:42.12,Default,,0000,0000,0000,,Grupo ______, a Russian group.
Dialogue: 0,0:44:42.20,0:44:45.20,Default,,0000,0000,0000,,But I have a question.
Dialogue: 0,0:44:49.56,0:44:52.32,Default,,0000,0000,0000,,My question is related to this choice
Dialogue: 0,0:44:52.32,0:44:55.32,Default,,0000,0000,0000,,to not make a spectacle
Dialogue: 0,0:44:55.44,0:44:59.72,Default,,0000,0000,0000,,of the erosion process.
Dialogue: 0,0:44:59.80,0:45:03.60,Default,,0000,0000,0000,,It's a choice not to romanticize\Nthis process.
Dialogue: 0,0:45:03.60,0:45:05.76,Default,,0000,0000,0000,,Can you talk about that?
Dialogue: 0,0:45:05.84,0:45:08.16,Default,,0000,0000,0000,,How do you see this process
Dialogue: 0,0:45:08.16,0:45:12.40,Default,,0000,0000,0000,,of avoiding
Dialogue: 0,0:45:12.48,0:45:16.08,Default,,0000,0000,0000,,making a spectacle
Dialogue: 0,0:45:16.08,0:45:19.39,Default,,0000,0000,0000,,or to avoid romanticizing that.
Dialogue: 0,0:45:21.36,0:45:24.36,Default,,0000,0000,0000,,The event
Dialogue: 0,0:45:24.44,0:45:26.40,Default,,0000,0000,0000,,I create _____
Dialogue: 0,0:45:26.40,0:45:30.64,Default,,0000,0000,0000,,right, that uses the line from the song
Dialogue: 0,0:45:30.72,0:45:35.52,Default,,0000,0000,0000,,of creating something,\Nof recreating something,
Dialogue: 0,0:45:35.52,0:45:43.36,Default,,0000,0000,0000,,something that needs\Nto be constantly re-created.
Dialogue: 0,0:45:43.44,0:45:49.20,Default,,0000,0000,0000,,Then, there is an idea to keep creating
Dialogue: 0,0:45:49.20,0:45:52.71,Default,,0000,0000,0000,,and recreating.
Dialogue: 0,0:45:54.96,0:45:56.52,Default,,0000,0000,0000,,There is
Dialogue: 0,0:45:56.52,0:46:00.88,Default,,0000,0000,0000,,there are\Nmany, many layers.
Dialogue: 0,0:46:00.96,0:46:04.36,Default,,0000,0000,0000,,And this erosion is very symbolic.
Dialogue: 0,0:46:04.44,0:46:07.60,Default,,0000,0000,0000,,How do you understand\Nthis non romanticizing,
Dialogue: 0,0:46:07.60,0:46:12.20,Default,,0000,0000,0000,,this erosion process, this not
Dialogue: 0,0:46:12.28,0:46:16.96,Default,,0000,0000,0000,,looking at this process\Nas something exotic,
Dialogue: 0,0:46:17.04,0:46:19.16,Default,,0000,0000,0000,,but also not making it,
Dialogue: 0,0:46:19.16,0:46:22.80,Default,,0000,0000,0000,,you know, a doomsday kind of scenario.
Dialogue: 0,0:46:22.80,0:46:28.04,Default,,0000,0000,0000,,Can you talk about that?
Dialogue: 0,0:46:28.12,0:46:33.44,Default,,0000,0000,0000,,Shall we comment on this?
Dialogue: 0,0:46:33.52,0:46:37.76,Default,,0000,0000,0000,,I guess it's better to\Nto hear all the questions first
Dialogue: 0,0:46:37.84,0:46:39.00,Default,,0000,0000,0000,,and then we'll answer.
Dialogue: 0,0:46:39.00,0:46:40.66,Default,,0000,0000,0000,,at the end.
Dialogue: 0,0:46:52.56,0:46:53.36,Default,,0000,0000,0000,,Hi everyone,
Dialogue: 0,0:46:53.36,0:46:54.64,Default,,0000,0000,0000,,Hi, yes.
Dialogue: 0,0:46:56.04,0:46:57.40,Default,,0000,0000,0000,,I'll be brief.
Dialogue: 0,0:46:57.40,0:47:00.00,Default,,0000,0000,0000,,Can everybody hear me?
Dialogue: 0,0:47:00.00,0:47:00.52,Default,,0000,0000,0000,,Great.
Dialogue: 0,0:47:00.52,0:47:03.12,Default,,0000,0000,0000,,Okay.
Dialogue: 0,0:47:03.12,0:47:05.12,Default,,0000,0000,0000,,Well, I mean, I wanted to,
Dialogue: 0,0:47:05.12,0:47:08.16,Default,,0000,0000,0000,,first of all, say thank you to Julia\Nand Fernando
Dialogue: 0,0:47:08.16,0:47:11.16,Default,,0000,0000,0000,,for presenting this
Dialogue: 0,0:47:11.32,0:47:13.92,Default,,0000,0000,0000,,amazing work and,
Dialogue: 0,0:47:13.92,0:47:17.12,Default,,0000,0000,0000,,you know, maybe picking up a little bit on
Dialogue: 0,0:47:17.20,0:47:19.80,Default,,0000,0000,0000,,what Sergio is commenting on about\Nhow do you do this
Dialogue: 0,0:47:19.80,0:47:23.72,Default,,0000,0000,0000,,work and be in community and not
Dialogue: 0,0:47:23.80,0:47:26.96,Default,,0000,0000,0000,,so into romanticizing the work.
Dialogue: 0,0:47:26.96,0:47:30.96,Default,,0000,0000,0000,,And I mean, I don't know if I have much\Nas much of a question or a comment,
Dialogue: 0,0:47:30.96,0:47:35.32,Default,,0000,0000,0000,,but what I was struck by is this tension
Dialogue: 0,0:47:35.40,0:47:37.04,Default,,0000,0000,0000,,and drawing attention and mobilizing
Dialogue: 0,0:47:37.04,0:47:40.80,Default,,0000,0000,0000,,publics and community\Naround this tension of
Dialogue: 0,0:47:40.92,0:47:47.64,Default,,0000,0000,0000,,of these culture-nature,\Nnature-culture dynamics, and
Dialogue: 0,0:47:47.72,0:47:52.20,Default,,0000,0000,0000,,especially with some of the earlier\Nwork you were sharing, Julia,
Dialogue: 0,0:47:52.28,0:47:54.56,Default,,0000,0000,0000,,kind of\Nthinking about, even just from the images
Dialogue: 0,0:47:54.56,0:47:58.36,Default,,0000,0000,0000,,and through this screen,\Nthere's this, that some of these artworks
Dialogue: 0,0:47:58.36,0:48:01.36,Default,,0000,0000,0000,,are conjuring
Dialogue: 0,0:48:01.60,0:48:04.27,Default,,0000,0000,0000,,feelings of tenderness\Nfor me
Dialogue: 0,0:48:04.27,0:48:07.00,Default,,0000,0000,0000,,ritual mourning.
Dialogue: 0,0:48:07.08,0:48:11.68,Default,,0000,0000,0000,,And I started to think about, like this\Nkind of process of ritual, of witnessing
Dialogue: 0,0:48:11.76,0:48:16.12,Default,,0000,0000,0000,,that's happening on the site as well.
Dialogue: 0,0:48:16.20,0:48:18.24,Default,,0000,0000,0000,,So I'm just wondering if, that for me
Dialogue: 0,0:48:18.24,0:48:22.04,Default,,0000,0000,0000,,has something to do\Nwith kind of countering,
Dialogue: 0,0:48:22.12,0:48:24.88,Default,,0000,0000,0000,,making the spectacle and,
Dialogue: 0,0:48:24.88,0:48:27.72,Default,,0000,0000,0000,,and kind of thinking about this witnessing\Nor these actions.
Dialogue: 0,0:48:27.72,0:48:30.12,Default,,0000,0000,0000,,I don't know if that's\Nwhat you've been witnessing
Dialogue: 0,0:48:30.12,0:48:35.20,Default,,0000,0000,0000,,'Cause you're so embedded and embodying\Nthat site, and have been for a long time.
Dialogue: 0,0:48:35.20,0:48:40.64,Default,,0000,0000,0000,,So, I think it's it's a\Nit's a question of thinking about
Dialogue: 0,0:48:41.48,0:48:46.36,Default,,0000,0000,0000,,do you see this work as a kind of ritual\Nor mourning or witnessing?
Dialogue: 0,0:48:46.36,0:48:50.31,Default,,0000,0000,0000,,And I think when we see images of \Nthe water, you know, immediately,
Dialogue: 0,0:48:50.31,0:48:55.08,Default,,0000,0000,0000,,you start to kind of feel like\Nwe're in the rhythm of this erosion
Dialogue: 0,0:48:55.08,0:48:58.96,Default,,0000,0000,0000,,and witnessing in this kind of a\Nstill life form and in the documentation.
Dialogue: 0,0:48:59.04,0:49:01.68,Default,,0000,0000,0000,,So, I don't know if that's really\Na question as much as it is a comment.
Dialogue: 0,0:49:01.68,0:49:08.20,Default,,0000,0000,0000,,I really find the work\Nin the project really moving.
Dialogue: 0,0:49:08.28,0:49:11.00,Default,,0000,0000,0000,,So, I wonder\Nif you could speak a little bit to that,
Dialogue: 0,0:49:11.00,0:49:15.72,Default,,0000,0000,0000,,and the other question\NI had was to what degree the locals
Dialogue: 0,0:49:15.80,0:49:19.96,Default,,0000,0000,0000,,and the community are embedded\Nand working with-
Dialogue: 0,0:49:20.16,0:49:23.96,Default,,0000,0000,0000,,If you could say a bit\Nmore about the importance of their agency
Dialogue: 0,0:49:24.04,0:49:27.84,Default,,0000,0000,0000,,in the work and hosting,
Dialogue: 0,0:49:27.92,0:49:30.60,Default,,0000,0000,0000,,I guess, outsiders coming into
Dialogue: 0,0:49:30.60,0:49:32.20,Default,,0000,0000,0000,,to work in the site.
Dialogue: 0,0:49:48.36,0:49:49.56,Default,,0000,0000,0000,,No, it's okay.
Dialogue: 0,0:49:51.20,0:49:55.20,Default,,0000,0000,0000,,I was expecting us to sort of ask\Nthe question and answer,
Dialogue: 0,0:49:55.20,0:49:56.24,Default,,0000,0000,0000,,ask the question and answer.
Dialogue: 0,0:49:56.24,0:50:02.48,Default,,0000,0000,0000,,So, I think, I'll be brief\Nif we're going in this way,
Dialogue: 0,0:50:02.56,0:50:05.24,Default,,0000,0000,0000,,I'll also say thank you\Nfor sharing this with us
Dialogue: 0,0:50:05.24,0:50:08.52,Default,,0000,0000,0000,,and congratulations.
Dialogue: 0,0:50:08.60,0:50:10.32,Default,,0000,0000,0000,,This is really moving
Dialogue: 0,0:50:10.32,0:50:15.72,Default,,0000,0000,0000,,and amazing work that I think\Nwe can all learn so much from.
Dialogue: 0,0:50:15.80,0:50:19.32,Default,,0000,0000,0000,,I'm really interested in
Dialogue: 0,0:50:19.40,0:50:21.24,Default,,0000,0000,0000,,something that Fernando said.
Dialogue: 0,0:50:21.24,0:50:24.96,Default,,0000,0000,0000,,We were talking about creating a language
Dialogue: 0,0:50:25.04,0:50:30.48,Default,,0000,0000,0000,,for the erosion and
Dialogue: 0,0:50:30.56,0:50:33.76,Default,,0000,0000,0000,,and it made me think about the question
Dialogue: 0,0:50:33.76,0:50:39.72,Default,,0000,0000,0000,,of what role\Nperformance plays in your work.
Dialogue: 0,0:50:39.80,0:50:41.68,Default,,0000,0000,0000,,You know, a question,
Dialogue: 0,0:50:41.68,0:50:45.80,Default,,0000,0000,0000,,what I keep coming back to\Nbecause the presentation of the work
Dialogue: 0,0:50:45.88,0:50:50.56,Default,,0000,0000,0000,,in this way, in this form we're seeing it\Nin a kind of an installation format.
Dialogue: 0,0:50:50.64,0:50:53.32,Default,,0000,0000,0000,,But you're also describing dance,
Dialogue: 0,0:50:53.32,0:50:57.28,Default,,0000,0000,0000,,the woman who is dancing\Nand the root of a tree, for example,
Dialogue: 0,0:50:57.36,0:50:59.04,Default,,0000,0000,0000,,I'm also familiar\Nwith some of your other work.
Dialogue: 0,0:50:59.04,0:51:02.76,Default,,0000,0000,0000,,That's more theater based\Nand had the pleasure of engaging
Dialogue: 0,0:51:02.84,0:51:08.08,Default,,0000,0000,0000,,in a workshop that Fernando led\Nthat was theater based as well.
Dialogue: 0,0:51:08.08,0:51:10.36,Default,,0000,0000,0000,,So, I'm kind of interested in
Dialogue: 0,0:51:10.36,0:51:13.48,Default,,0000,0000,0000,,what role performance plays\Nin creating
Dialogue: 0,0:51:13.48,0:51:18.24,Default,,0000,0000,0000,,a kind of language for the erosion,\Nif it does at all, and
Dialogue: 0,0:51:18.32,0:51:18.84,Default,,0000,0000,0000,,what can
Dialogue: 0,0:51:18.84,0:51:24.00,Default,,0000,0000,0000,,performance do that other art forms\Ncan't or is performance
Dialogue: 0,0:51:24.00,0:51:26.00,Default,,0000,0000,0000,,not the most useful term in thinking
Dialogue: 0,0:51:26.00,0:51:29.80,Default,,0000,0000,0000,,about this particular body of work\Nthat you're sharing with us?
Dialogue: 0,0:51:29.88,0:51:32.56,Default,,0000,0000,0000,,Just interested\Nin the specificity of artworks
Dialogue: 0,0:51:32.56,0:51:37.32,Default,,0000,0000,0000,,and the language that they create\Nin the context of environmental collapse.
Dialogue: 0,0:51:37.40,0:51:40.40,Default,,0000,0000,0000,,And I think that for me,\Nthat also goes back to something
Dialogue: 0,0:51:40.40,0:51:43.96,Default,,0000,0000,0000,,that Julia was talking about, that\NI found really moving, which is thinking
Dialogue: 0,0:51:43.96,0:51:48.04,Default,,0000,0000,0000,,about the pedagogy part of this work
Dialogue: 0,0:51:48.12,0:51:51.12,Default,,0000,0000,0000,,and Julia, you were talking about
Dialogue: 0,0:51:51.24,0:51:54.60,Default,,0000,0000,0000,,how art in the context\Nof environmental crisis
Dialogue: 0,0:51:54.60,0:51:58.60,Default,,0000,0000,0000,,can help us with dealing\Nwith the trauma of loss,
Dialogue: 0,0:51:58.68,0:52:03.12,Default,,0000,0000,0000,,the trauma of losing tangible things\Nthat mean a great deal to us, and
Dialogue: 0,0:52:03.32,0:52:07.32,Default,,0000,0000,0000,,and also the loss of memory\Neventually as well.
Dialogue: 0,0:52:07.40,0:52:11.43,Default,,0000,0000,0000,,So, I see these two things\Nas kind of operating in conversation
Dialogue: 0,0:52:11.43,0:52:12.28,Default,,0000,0000,0000,,with one another.
Dialogue: 0,0:52:12.28,0:52:16.28,Default,,0000,0000,0000,,I hear the idea of creating a language
Dialogue: 0,0:52:16.36,0:52:20.96,Default,,0000,0000,0000,,as being in conversation, with this idea\Nof helping people to deal with trauma.
Dialogue: 0,0:52:21.00,0:52:26.76,Default,,0000,0000,0000,,And I was interested in hearing you talk\Na little bit more about all of that.
Dialogue: 0,0:52:26.84,0:52:30.28,Default,,0000,0000,0000,,And then secondarily,\Njust because Hemispheric Encounters
Dialogue: 0,0:52:30.28,0:52:35.36,Default,,0000,0000,0000,,is a transnational project, thinking about\Nwhether this language is site specific
Dialogue: 0,0:52:35.36,0:52:40.00,Default,,0000,0000,0000,,or whether it could be transferable to\Nother contexts of environmental collapse.
Dialogue: 0,0:52:40.08,0:52:43.88,Default,,0000,0000,0000,,You know, in North America, for example,\Nwe've seen really stark
Dialogue: 0,0:52:43.88,0:52:46.88,Default,,0000,0000,0000,,images, for example, of L.A.
Dialogue: 0,0:52:47.00,0:52:50.20,Default,,0000,0000,0000,,and severe environmental destruction.
Dialogue: 0,0:52:50.28,0:52:54.24,Default,,0000,0000,0000,,It's a totally different context,\Ntotally different situation.
Dialogue: 0,0:52:54.24,0:52:58.44,Default,,0000,0000,0000,,But we are talking about climate disaster\Nin another context.
Dialogue: 0,0:52:58.52,0:53:02.76,Default,,0000,0000,0000,,So, can\Nwe think about a language
Dialogue: 0,0:53:02.76,0:53:08.56,Default,,0000,0000,0000,,that travels as well?
Dialogue: 0,0:53:08.64,0:53:10.83,Default,,0000,0000,0000,,These are my thoughts.
Dialogue: 0,0:53:36.01,0:53:40.36,Default,,0000,0000,0000,,I think I can answer better that way.
Dialogue: 0,0:53:40.36,0:53:43.32,Default,,0000,0000,0000,,Sergio brought up a lot of problems.
Dialogue: 0,0:53:43.32,0:53:45.72,Default,,0000,0000,0000,,You brought up paradoxes,
Dialogue: 0,0:53:45.72,0:53:49.60,Default,,0000,0000,0000,,struggles, obstacles.
Dialogue: 0,0:53:49.68,0:53:51.28,Default,,0000,0000,0000,,I think a reason to be
Dialogue: 0,0:53:51.28,0:53:55.41,Default,,0000,0000,0000,,there is to work on those paradoxes.
Dialogue: 0,0:53:59.20,0:54:01.36,Default,,0000,0000,0000,,How can we build,
Dialogue: 0,0:54:01.36,0:54:04.28,Default,,0000,0000,0000,,how can it build their work that works
Dialogue: 0,0:54:04.28,0:54:08.24,Default,,0000,0000,0000,,with the language\Nthat deals with destruction,
Dialogue: 0,0:54:08.32,0:54:11.43,Default,,0000,0000,0000,,something that goes \Nbeyond a negative look.
Dialogue: 0,0:54:13.92,0:54:16.04,Default,,0000,0000,0000,,But how does this destruction
Dialogue: 0,0:54:16.04,0:54:20.00,Default,,0000,0000,0000,,affect other things being produced?
Dialogue: 0,0:54:20.08,0:54:21.24,Default,,0000,0000,0000,,Someone leaves the house
Dialogue: 0,0:54:21.24,0:54:24.24,Default,,0000,0000,0000,,because the sea is approaching.
Dialogue: 0,0:54:24.24,0:54:28.00,Default,,0000,0000,0000,,Someone else will come in, or within\Na house
Dialogue: 0,0:54:28.00,0:54:32.92,Default,,0000,0000,0000,,will create a bar, something that\Nworks during the summers.
Dialogue: 0,0:54:33.00,0:54:36.20,Default,,0000,0000,0000,,And now\Nthis is something new.
Dialogue: 0,0:54:36.28,0:54:37.68,Default,,0000,0000,0000,,It creates new life.
Dialogue: 0,0:54:37.68,0:54:40.04,Default,,0000,0000,0000,,It created new possibilities.
Dialogue: 0,0:54:40.04,0:54:42.56,Default,,0000,0000,0000,,This is something\Nthat might have been considered
Dialogue: 0,0:54:42.56,0:54:47.08,Default,,0000,0000,0000,,gone, wasted.
Dialogue: 0,0:54:47.16,0:54:48.48,Default,,0000,0000,0000,,This idea
Dialogue: 0,0:54:48.48,0:54:52.72,Default,,0000,0000,0000,,of romanticize, of making a spectacle \Nfor this.
Dialogue: 0,0:54:52.72,0:54:58.12,Default,,0000,0000,0000,,It's definitely a challenge,\Nwe have been there for years.
Dialogue: 0,0:54:58.20,0:55:03.08,Default,,0000,0000,0000,,We host artists that stay for a week\Nand then they move on,
Dialogue: 0,0:55:03.12,0:55:06.84,Default,,0000,0000,0000,,they can create work,\Nbut we have no control over.
Dialogue: 0,0:55:08.96,0:55:10.32,Default,,0000,0000,0000,,And that's
Dialogue: 0,0:55:10.32,0:55:15.84,Default,,0000,0000,0000,,why our focus there is the mediation\Nbetween the artists and the land
Dialogue: 0,0:55:15.92,0:55:19.68,Default,,0000,0000,0000,,so that these artists\Ncan hear the people,
Dialogue: 0,0:55:19.68,0:55:23.52,Default,,0000,0000,0000,,so that their experience\Nthere will impact them
Dialogue: 0,0:55:23.60,0:55:27.52,Default,,0000,0000,0000,,in a sensitive way
Dialogue: 0,0:55:27.60,0:55:30.60,Default,,0000,0000,0000,,in their work later on.
Dialogue: 0,0:55:30.84,0:55:34.04,Default,,0000,0000,0000,,They may develop\Nsomething that will sell or not.
Dialogue: 0,0:55:34.04,0:55:34.68,Default,,0000,0000,0000,,You know what?
Dialogue: 0,0:55:34.68,0:55:35.88,Default,,0000,0000,0000,,We're not worried about that.
Dialogue: 0,0:55:35.88,0:55:45.04,Default,,0000,0000,0000,,We're more worried about the learning\Nprocess that this will have later on.
Dialogue: 0,0:55:45.12,0:55:46.12,Default,,0000,0000,0000,,Obviously, we have
Dialogue: 0,0:55:46.12,0:55:49.96,Default,,0000,0000,0000,,no control over what they will do
Dialogue: 0,0:55:50.04,0:55:54.31,Default,,0000,0000,0000,,out the information that they \Ngathered there.
Dialogue: 0,0:55:56.69,0:55:59.12,Default,,0000,0000,0000,,We are always running meetings
Dialogue: 0,0:55:59.12,0:56:02.60,Default,,0000,0000,0000,,so people can can talk about\Ntheir experiences
Dialogue: 0,0:56:02.60,0:56:04.38,Default,,0000,0000,0000,,to the artists.
Dialogue: 0,0:56:07.93,0:56:12.41,Default,,0000,0000,0000,,So, I don't have a better answer.
Dialogue: 0,0:56:16.20,0:56:18.76,Default,,0000,0000,0000,,I'm from Rio.
Dialogue: 0,0:56:18.76,0:56:21.76,Default,,0000,0000,0000,,I was shocked when I arrived in
Dialogue: 0,0:56:21.76,0:56:23.54,Default,,0000,0000,0000,,Atafona.
Dialogue: 0,0:56:25.52,0:56:27.00,Default,,0000,0000,0000,,The teaching experience
Dialogue: 0,0:56:27.00,0:56:30.52,Default,,0000,0000,0000,,needs to go through living with the loss
Dialogue: 0,0:56:30.60,0:56:33.60,Default,,0000,0000,0000,,and to create within it.
Dialogue: 0,0:56:33.64,0:56:37.77,Default,,0000,0000,0000,,It's an existential condition.
Dialogue: 0,0:56:43.56,0:56:48.08,Default,,0000,0000,0000,,The pedagogy is not specific to a content,
Dialogue: 0,0:56:48.16,0:56:50.04,Default,,0000,0000,0000,,the environmental loss,
Dialogue: 0,0:56:50.04,0:56:53.84,Default,,0000,0000,0000,,it touches all of us.
Dialogue: 0,0:56:53.92,0:56:54.92,Default,,0000,0000,0000,,If we are people
Dialogue: 0,0:56:54.92,0:56:59.68,Default,,0000,0000,0000,,that take the environmental problems\Nseriously.
Dialogue: 0,0:56:59.76,0:57:02.16,Default,,0000,0000,0000,,And yeah.
Dialogue: 0,0:57:02.16,0:57:06.64,Default,,0000,0000,0000,,In Brazil, we are feeling it.
Dialogue: 0,0:57:06.72,0:57:10.12,Default,,0000,0000,0000,,I believe we'll all have to deal with this\Nloss.
Dialogue: 0,0:57:10.20,0:57:15.28,Default,,0000,0000,0000,,The material loss,\Nthe loss of a certain lifestyle,
Dialogue: 0,0:57:15.36,0:57:17.76,Default,,0000,0000,0000,,lots of loss.
Dialogue: 0,0:57:21.56,0:57:24.56,Default,,0000,0000,0000,,How does the community receive this?
Dialogue: 0,0:57:24.60,0:57:26.08,Default,,0000,0000,0000,,Well, very well.
Dialogue: 0,0:57:26.08,0:57:30.64,Default,,0000,0000,0000,,They're often very happy about it.
Dialogue: 0,0:57:30.72,0:57:32.32,Default,,0000,0000,0000,,Believe it or not,
Dialogue: 0,0:57:32.32,0:57:36.97,Default,,0000,0000,0000,,this is not a topic\Nthat receives a lot of attention.
Dialogue: 0,0:57:42.03,0:57:44.04,Default,,0000,0000,0000,,But we moved there.
Dialogue: 0,0:57:44.04,0:57:48.08,Default,,0000,0000,0000,,And so we we became neighbors.
Dialogue: 0,0:57:48.16,0:57:51.00,Default,,0000,0000,0000,,And that's how people see this.
Dialogue: 0,0:57:51.00,0:57:54.16,Default,,0000,0000,0000,,The work,\Nour work is to bring attention to this,
Dialogue: 0,0:57:54.40,0:57:57.40,Default,,0000,0000,0000,,to put the spotlight on it,
Dialogue: 0,0:57:57.52,0:58:00.98,Default,,0000,0000,0000,,to create a dialogue around it.
Dialogue: 0,0:58:04.28,0:58:06.96,Default,,0000,0000,0000,,I think performance has a special role
Dialogue: 0,0:58:06.96,0:58:10.48,Default,,0000,0000,0000,,in the work that we develop.
Dialogue: 0,0:58:10.56,0:58:14.80,Default,,0000,0000,0000,,I think it's the context,\NI think is the very nature of performance
Dialogue: 0,0:58:14.80,0:58:18.65,Default,,0000,0000,0000,,that allows us to use it
Dialogue: 0,0:58:21.20,0:58:23.80,Default,,0000,0000,0000,,Performance is a language\Nthat's very important
Dialogue: 0,0:58:23.80,0:58:25.60,Default,,0000,0000,0000,,to us.
Dialogue: 0,0:58:26.80,0:58:30.24,Default,,0000,0000,0000,,We, as a theatre group,
Dialogue: 0,0:58:30.32,0:58:36.92,Default,,0000,0000,0000,,we were always very\Nlinked to the performance.
Dialogue: 0,0:58:37.00,0:58:43.36,Default,,0000,0000,0000,,Our works\Nwere always rooted in performance.
Dialogue: 0,0:58:43.44,0:58:45.08,Default,,0000,0000,0000,,You know, it might be on the beach,
Dialogue: 0,0:58:45.08,0:58:48.52,Default,,0000,0000,0000,,it might be some archive work.
Dialogue: 0,0:58:48.60,0:58:51.88,Default,,0000,0000,0000,,It was a type of theatre\Nthat was always was born
Dialogue: 0,0:58:51.96,0:58:54.96,Default,,0000,0000,0000,,from the territory.
Dialogue: 0,0:58:55.20,0:58:56.88,Default,,0000,0000,0000,,And I'm going to wrap up.
Dialogue: 0,0:58:56.88,0:58:59.72,Default,,0000,0000,0000,,Sorry, there are lots of questions.\NI still want to make room for Fernando.
Dialogue: 0,0:59:04.32,0:59:08.28,Default,,0000,0000,0000,,I'd like to touch upon the idea \Nof the end of the world.
Dialogue: 0,0:59:08.36,0:59:10.68,Default,,0000,0000,0000,,There is an important thinker in Brazil.
Dialogue: 0,0:59:10.68,0:59:13.68,Default,,0000,0000,0000,,__________?
Dialogue: 0,0:59:13.72,0:59:17.04,Default,,0000,0000,0000,,He has said that the world has ended\Nmany times.
Dialogue: 0,0:59:17.16,0:59:21.44,Default,,0000,0000,0000,,Many worlds have.
Dialogue: 0,0:59:21.52,0:59:24.24,Default,,0000,0000,0000,,So, when we go over there,
Dialogue: 0,0:59:24.24,0:59:27.24,Default,,0000,0000,0000,,what we see is that\Nthis is not the end of "the" world.
Dialogue: 0,0:59:27.36,0:59:31.56,Default,,0000,0000,0000,,It's the end of "a" world.
Dialogue: 0,0:59:31.64,0:59:36.96,Default,,0000,0000,0000,,It's something that will\Nlead us to a new experience.
Dialogue: 0,0:59:37.04,0:59:38.72,Default,,0000,0000,0000,,It's part of a cycle.
Dialogue: 0,0:59:38.72,0:59:43.72,Default,,0000,0000,0000,,It's not the apocalypse\Nthat will be the end of all of us.
Dialogue: 0,0:59:43.80,0:59:46.20,Default,,0000,0000,0000,,We are going to have to keep dealing\Nwith the
Dialogue: 0,0:59:46.20,0:59:50.08,Default,,0000,0000,0000,,consequences\Nof our actions, of our explorations,
Dialogue: 0,0:59:50.16,0:59:54.20,Default,,0000,0000,0000,,our way of interacting.
Dialogue: 0,0:59:54.28,0:59:58.64,Default,,0000,0000,0000,,So, it might be more complex\Nthan simply an end,
Dialogue: 0,0:59:58.72,1:00:01.08,Default,,0000,0000,0000,,something that would simply put
Dialogue: 0,1:00:01.08,1:00:04.60,Default,,0000,0000,0000,,an end to our problems.
Dialogue: 0,1:00:04.68,1:00:07.17,Default,,0000,0000,0000,,There is no end.
Dialogue: 0,1:00:14.44,1:00:18.48,Default,,0000,0000,0000,,And the worlds\Nhave been ending for a very long time.
Dialogue: 0,1:00:18.48,1:00:22.40,Default,,0000,0000,0000,,I think Atafona talks about that
Dialogue: 0,1:00:22.48,1:00:26.68,Default,,0000,0000,0000,,and in many ways\Nit extrapolates, it connects
Dialogue: 0,1:00:26.68,1:00:30.78,Default,,0000,0000,0000,,to many other experiences of ending,
Dialogue: 0,1:00:30.78,1:00:33.28,Default,,0000,0000,0000,,many that we have lived, are living now.
Dialogue: 0,1:00:33.28,1:00:35.76,Default,,0000,0000,0000,,And we'll continue to live.
Dialogue: 0,1:00:35.76,1:00:41.12,Default,,0000,0000,0000,,I think it has an existential pedagogy.
Dialogue: 0,1:00:41.20,1:00:44.48,Default,,0000,0000,0000,,It's sad and happy at the same time.
Dialogue: 0,1:00:44.56,1:00:46.44,Default,,0000,0000,0000,,It brings a sadness and a
Dialogue: 0,1:00:46.44,1:00:50.10,Default,,0000,0000,0000,,melancholy in its nature.
Dialogue: 0,1:00:54.52,1:00:56.88,Default,,0000,0000,0000,,I think it's a very rich experience
Dialogue: 0,1:00:56.88,1:01:00.84,Default,,0000,0000,0000,,to live in that territory,\Nsomething very valuable.
Dialogue: 0,1:01:00.92,1:01:07.60,Default,,0000,0000,0000,,That's it for me.
Dialogue: 0,1:01:07.68,1:01:09.88,Default,,0000,0000,0000,,I'm going to try to add something to what
Dialogue: 0,1:01:09.88,1:01:17.20,Default,,0000,0000,0000,,Julia said,
Dialogue: 0,1:01:17.28,1:01:25.36,Default,,0000,0000,0000,,and I'm\Ngoing to start with Sergio's points.
Dialogue: 0,1:01:25.44,1:01:26.76,Default,,0000,0000,0000,,It seems to me
Dialogue: 0,1:01:26.76,1:01:31.92,Default,,0000,0000,0000,,that when we work with an art\Nand we try to engage or
Dialogue: 0,1:01:31.92,1:01:36.48,Default,,0000,0000,0000,,we try to be environmentally responsible,\Nwe we
Dialogue: 0,1:01:36.48,1:01:41.28,Default,,0000,0000,0000,,we don't really have an answer,
Dialogue: 0,1:01:41.36,1:01:43.20,Default,,0000,0000,0000,,but there is something we know
Dialogue: 0,1:01:43.20,1:01:46.20,Default,,0000,0000,0000,,we are going to need to build alliances.
Dialogue: 0,1:01:46.20,1:01:49.08,Default,,0000,0000,0000,,We're going to have to compromise.
Dialogue: 0,1:01:49.08,1:01:53.80,Default,,0000,0000,0000,,We're going to have to involved\Nwith the territories.
Dialogue: 0,1:01:53.88,1:02:03.04,Default,,0000,0000,0000,,We're going to have to spend time there.
Dialogue: 0,1:02:03.12,1:02:04.84,Default,,0000,0000,0000,,There are some points that we know
Dialogue: 0,1:02:04.84,1:02:09.12,Default,,0000,0000,0000,,are just vital\Nso that the work will make sense in a way
Dialogue: 0,1:02:09.12,1:02:17.56,Default,,0000,0000,0000,,so that they will have some sort of impact\Nfor the people that live there.
Dialogue: 0,1:02:17.64,1:02:19.04,Default,,0000,0000,0000,,We we live there,
Dialogue: 0,1:02:19.04,1:02:22.04,Default,,0000,0000,0000,,but we chose to live there.
Dialogue: 0,1:02:22.12,1:02:23.88,Default,,0000,0000,0000,,However, there are people that live there\Nbecause they have
Dialogue: 0,1:02:23.88,1:02:29.16,Default,,0000,0000,0000,,nowhere else go.
Dialogue: 0,1:02:29.24,1:02:33.00,Default,,0000,0000,0000,,We know that our presence\Nthere is different from it.
Dialogue: 0,1:02:33.00,1:02:37.72,Default,,0000,0000,0000,,We're always going to be foreigners\Nthere in one way or another.
Dialogue: 0,1:02:37.80,1:02:42.32,Default,,0000,0000,0000,,So how can our work\Nbe become relevant to them?
Dialogue: 0,1:02:42.40,1:02:46.80,Default,,0000,0000,0000,,We don't know.
Dialogue: 0,1:02:46.88,1:02:48.12,Default,,0000,0000,0000,,But we understand that
Dialogue: 0,1:02:48.12,1:02:52.00,Default,,0000,0000,0000,,there is art that doesn't care about that.
Dialogue: 0,1:02:52.08,1:02:55.48,Default,,0000,0000,0000,,There is art that is for producing
Dialogue: 0,1:02:55.56,1:03:04.56,Default,,0000,0000,0000,,the exploitation processes,
Dialogue: 0,1:03:04.64,1:03:06.48,Default,,0000,0000,0000,,but we are there
Dialogue: 0,1:03:06.48,1:03:10.88,Default,,0000,0000,0000,,and we it is our job to sometimes\Npoint the finger and say, Hey,
Dialogue: 0,1:03:10.96,1:03:15.12,Default,,0000,0000,0000,,what you're doing here\Nis this like you're not being any better?
Dialogue: 0,1:03:15.12,1:03:15.64,Default,,0000,0000,0000,,Excuse me.
Dialogue: 0,1:03:15.64,1:03:19.32,Default,,0000,0000,0000,,There is there is no sound from us.
Dialogue: 0,1:03:19.40,1:03:26.60,Default,,0000,0000,0000,,It's back.
Dialogue: 0,1:03:26.68,1:03:31.12,Default,,0000,0000,0000,,And then those sound I stopped
Dialogue: 0,1:03:31.20,1:03:34.20,Default,,0000,0000,0000,,there is this similar
Dialogue: 0,1:03:34.36,1:03:37.32,Default,,0000,0000,0000,,to a similar place called us.
Dialogue: 0,1:03:37.32,1:03:40.04,Default,,0000,0000,0000,,Assume that I'm. I'm sorry.
Dialogue: 0,1:03:40.04,1:03:48.88,Default,,0000,0000,0000,,Unfortunately\NI can't hear Fernando's audio,
Dialogue: 0,1:03:48.96,1:04:03.16,Default,,0000,0000,0000,,so we need to be aware.
Dialogue: 0,1:04:03.24,1:04:07.56,Default,,0000,0000,0000,,Art. Art can have many different ways,
Dialogue: 0,1:04:07.64,1:04:35.72,Default,,0000,0000,0000,,many different ways to interact.
Dialogue: 0,1:04:35.80,1:04:36.76,Default,,0000,0000,0000,,I'm sorry.
Dialogue: 0,1:04:36.76,1:04:38.80,Default,,0000,0000,0000,,I don't know. I don't know\Nwhat's happened. I'm going to.
Dialogue: 0,1:04:38.80,1:04:40.56,Default,,0000,0000,0000,,Maybe. Maybe if I.
Dialogue: 0,1:04:40.56,1:04:43.00,Default,,0000,0000,0000,,Yeah. Yeah, It's better now.
Dialogue: 0,1:04:43.00,1:04:49.92,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,1:04:50.00,1:04:55.36,Default,,0000,0000,0000,,So where should I go back to
Dialogue: 0,1:04:55.44,1:04:56.16,Default,,0000,0000,0000,,this?
Dialogue: 0,1:04:56.16,1:05:02.36,Default,,0000,0000,0000,,Carry on from where you were.
Dialogue: 0,1:05:02.44,1:05:05.96,Default,,0000,0000,0000,,It seems to me\Nthat there is nuance that we can.
Dialogue: 0,1:05:05.96,1:05:09.40,Default,,0000,0000,0000,,We can know this.
Dialogue: 0,1:05:09.48,1:05:09.96,Default,,0000,0000,0000,,There is.
Dialogue: 0,1:05:09.96,1:05:12.48,Default,,0000,0000,0000,,There is artwork.
Dialogue: 0,1:05:12.48,1:06:14.68,Default,,0000,0000,0000,,Fernanda Sound is frozen again.
Dialogue: 0,1:06:14.76,1:06:15.48,Default,,0000,0000,0000,,Well, I mean,
Dialogue: 0,1:06:15.48,1:06:19.60,Default,,0000,0000,0000,,I think we had like a huge like
Dialogue: 0,1:06:19.68,1:06:24.12,Default,,0000,0000,0000,,at least a good summary of the response,\Nlike,
Dialogue: 0,1:06:24.20,1:06:25.32,Default,,0000,0000,0000,,oh, what to say?
Dialogue: 0,1:06:25.32,1:06:30.44,Default,,0000,0000,0000,,Like this connection was originated
Dialogue: 0,1:06:30.52,1:06:33.36,Default,,0000,0000,0000,,by this team, but
Dialogue: 0,1:06:33.36,1:06:34.92,Default,,0000,0000,0000,,I mean, maybe it's mom
Dialogue: 0,1:06:34.92,1:06:37.92,Default,,0000,0000,0000,,and who clones this space and we can
Dialogue: 0,1:06:37.92,1:06:41.56,Default,,0000,0000,0000,,or should wait a little bit.
Dialogue: 0,1:06:41.64,1:06:42.20,Default,,0000,0000,0000,,Yeah, let's wait.
Dialogue: 0,1:06:42.20,1:06:43.64,Default,,0000,0000,0000,,We can wait then.
Dialogue: 0,1:06:43.64,1:06:44.88,Default,,0000,0000,0000,,Yeah, let's wait then.
Dialogue: 0,1:06:44.88,1:06:46.84,Default,,0000,0000,0000,,At least they they back.
Dialogue: 0,1:06:46.84,1:06:49.24,Default,,0000,0000,0000,,I will send a message
Dialogue: 0,1:06:49.24,1:07:08.60,Default,,0000,0000,0000,,on their phone.
Dialogue: 0,1:07:08.68,1:07:08.96,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,1:07:08.96,1:07:10.68,Default,,0000,0000,0000,,He saved both of them.
Dialogue: 0,1:07:10.68,1:07:13.68,Default,,0000,0000,0000,,Lost the connection.
Dialogue: 0,1:07:13.80,1:07:15.32,Default,,0000,0000,0000,,Let me see what he's saying.
Dialogue: 0,1:07:15.32,1:07:19.32,Default,,0000,0000,0000,,Uh, standby.
Dialogue: 0,1:07:19.40,1:07:21.64,Default,,0000,0000,0000,,He would try again
Dialogue: 0,1:07:21.64,1:07:31.72,Default,,0000,0000,0000,,via cell phone.
Dialogue: 0,1:07:31.80,1:07:33.72,Default,,0000,0000,0000,,You know,\Nwhen we are working the hemispherical.
Dialogue: 0,1:07:33.72,1:07:34.52,Default,,0000,0000,0000,,Me, the.
Dialogue: 0,1:07:34.52,1:07:37.44,Default,,0000,0000,0000,,This is always a thing, you know,
Dialogue: 0,1:07:37.44,1:07:40.64,Default,,0000,0000,0000,,the connection, always
Dialogue: 0,1:07:40.72,1:07:43.72,Default,,0000,0000,0000,,the the timezone.
Dialogue: 0,1:07:43.92,1:07:47.56,Default,,0000,0000,0000,,So we need to have it all like
Dialogue: 0,1:07:47.64,1:07:51.68,Default,,0000,0000,0000,,entourage like, like performative
Dialogue: 0,1:07:51.76,1:07:55.64,Default,,0000,0000,0000,,moments for kind of the intermissions\Nwhen people leave.
Dialogue: 0,1:07:55.64,1:07:58.64,Default,,0000,0000,0000,,I think I would like to nominate the niece
Dialogue: 0,1:07:58.68,1:08:05.20,Default,,0000,0000,0000,,who creates incredible short\Npuppet shows to have something ready
Dialogue: 0,1:08:05.28,1:08:07.00,Default,,0000,0000,0000,,for sessions
Dialogue: 0,1:08:07.00,1:08:09.76,Default,,0000,0000,0000,,so that the puppet theater can take over
Dialogue: 0,1:08:09.76,1:08:12.48,Default,,0000,0000,0000,,as we're
Dialogue: 0,1:08:12.48,1:08:15.48,Default,,0000,0000,0000,,as we're\Nwaiting for the connection to come back.
Dialogue: 0,1:08:15.52,1:08:17.88,Default,,0000,0000,0000,,It could be a way for us\Nto organically deal
Dialogue: 0,1:08:17.88,1:08:21.40,Default,,0000,0000,0000,,with the discomfort of
Dialogue: 0,1:08:21.48,1:08:22.04,Default,,0000,0000,0000,,good.
Dialogue: 0,1:08:22.04,1:08:28.00,Default,,0000,0000,0000,,Oh, see,
Dialogue: 0,1:08:28.08,1:08:30.16,Default,,0000,0000,0000,,that's exactly.
Dialogue: 0,1:08:30.16,1:08:31.08,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,1:08:31.08,1:08:33.76,Default,,0000,0000,0000,,I also nominate Jess.
Dialogue: 0,1:08:33.76,1:08:35.84,Default,,0000,0000,0000,,Jess can also.
Dialogue: 0,1:08:35.84,1:08:38.92,Default,,0000,0000,0000,,Yes, provide.
Dialogue: 0,1:08:39.00,1:08:40.60,Default,,0000,0000,0000,,Yes, but yes.
Dialogue: 0,1:08:40.60,1:08:46.24,Default,,0000,0000,0000,,Oh, time.
Dialogue: 0,1:08:46.32,1:08:47.88,Default,,0000,0000,0000,,Here's Julia.
Dialogue: 0,1:08:47.88,1:08:50.52,Default,,0000,0000,0000,,Julia's back.
Dialogue: 0,1:08:50.52,1:08:51.68,Default,,0000,0000,0000,,Oh, no.
Dialogue: 0,1:08:51.68,1:08:52.12,Default,,0000,0000,0000,,Oh yeah.
Dialogue: 0,1:08:52.12,1:08:59.92,Default,,0000,0000,0000,,She's about Wow.
Dialogue: 0,1:09:00.00,1:09:01.92,Default,,0000,0000,0000,,Sorry.
Dialogue: 0,1:09:01.92,1:09:04.12,Default,,0000,0000,0000,,Let me
Dialogue: 0,1:09:04.12,1:09:05.60,Default,,0000,0000,0000,,get sick.
Dialogue: 0,1:09:05.60,1:09:05.92,Default,,0000,0000,0000,,It's.
Dialogue: 0,1:09:05.92,1:09:08.92,Default,,0000,0000,0000,,No, Hey, come here.
Dialogue: 0,1:09:08.96,1:09:12.16,Default,,0000,0000,0000,,One moment.
Dialogue: 0,1:09:12.24,1:09:12.60,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,1:09:12.60,1:09:14.88,Default,,0000,0000,0000,,Looks like he. He's.
Dialogue: 0,1:09:14.88,1:09:20.72,Default,,0000,0000,0000,,It's going to
Dialogue: 0,1:09:20.80,1:09:37.48,Default,,0000,0000,0000,,another.
Dialogue: 0,1:09:37.56,1:09:39.44,Default,,0000,0000,0000,,Yeah, They're shooting today.
Dialogue: 0,1:09:39.44,1:09:43.04,Default,,0000,0000,0000,,So now that Kim is
Dialogue: 0,1:09:43.12,1:09:46.52,Default,,0000,0000,0000,,loyal to them, the.
Dialogue: 0,1:09:46.60,1:09:47.88,Default,,0000,0000,0000,,He can't hear me
Dialogue: 0,1:09:47.88,1:09:58.60,Default,,0000,0000,0000,,when they have internet.
Dialogue: 0,1:09:58.68,1:10:01.36,Default,,0000,0000,0000,,But how erosion effect that. Yeah.
Dialogue: 0,1:10:01.36,1:10:02.52,Default,,0000,0000,0000,,The end of the world.
Dialogue: 0,1:10:02.52,1:10:06.16,Default,,0000,0000,0000,,The beginning of the world interview\Nfollow the book that's.
Dialogue: 0,1:10:06.24,1:10:11.56,Default,,0000,0000,0000,,That's a lesson that gives you\Na little bit about relationship
Dialogue: 0,1:10:11.64,1:10:15.68,Default,,0000,0000,0000,,trouble artist creating a
Dialogue: 0,1:10:15.76,1:10:20.12,Default,,0000,0000,0000,,Rasmus showing\Nso I where it has dimensions
Dialogue: 0,1:10:20.12,1:10:24.44,Default,,0000,0000,0000,,that aren't always related to two
Dialogue: 0,1:10:24.44,1:10:28.32,Default,,0000,0000,0000,,as I invest
Dialogue: 0,1:10:28.40,1:10:31.96,Default,,0000,0000,0000,,commitment generally I know
Dialogue: 0,1:10:32.04,1:10:34.44,Default,,0000,0000,0000,,the I I create
Dialogue: 0,1:10:34.44,1:10:37.44,Default,,0000,0000,0000,,I create here shows that commitment
Dialogue: 0,1:10:37.60,1:10:41.24,Default,,0000,0000,0000,,we provide is some we have other work.
Dialogue: 0,1:10:41.32,1:10:44.04,Default,,0000,0000,0000,,Some work that are more territorial such
Dialogue: 0,1:10:44.04,1:10:47.04,Default,,0000,0000,0000,,as moving museum.
Dialogue: 0,1:10:47.16,1:10:49.80,Default,,0000,0000,0000,,There's a little child\Ngiraffe to perform in the Dodge
Dialogue: 0,1:10:49.80,1:10:52.96,Default,,0000,0000,0000,,or that idea to create a direct dialog
Dialogue: 0,1:10:52.96,1:10:56.16,Default,,0000,0000,0000,,with the community
Dialogue: 0,1:10:56.24,1:10:57.08,Default,,0000,0000,0000,,interest.
Dialogue: 0,1:10:57.08,1:11:00.96,Default,,0000,0000,0000,,They want to bring words to\Nto the community,
Dialogue: 0,1:11:01.04,1:11:04.04,Default,,0000,0000,0000,,to the fisherfolk community.
Dialogue: 0,1:11:04.08,1:11:05.64,Default,,0000,0000,0000,,But we need to be watchful.
Dialogue: 0,1:11:05.64,1:11:10.20,Default,,0000,0000,0000,,We need to be always thinking\Nabout this social mapping to what I said.
Dialogue: 0,1:11:10.28,1:11:12.84,Default,,0000,0000,0000,,It doesn't matter whether I work
Dialogue: 0,1:11:12.84,1:11:16.20,Default,,0000,0000,0000,,with painting\Nmy near physical, just trouble you ten.
Dialogue: 0,1:11:16.28,1:11:21.28,Default,,0000,0000,0000,,Is there any way that I\Ncan make this this work echo
Dialogue: 0,1:11:21.36,1:11:23.72,Default,,0000,0000,0000,,with this place
Dialogue: 0,1:11:23.72,1:11:26.72,Default,,0000,0000,0000,,as custodians and permits you made
Dialogue: 0,1:11:26.84,1:11:34.00,Default,,0000,0000,0000,,because you survive the sky and trouble\Nyou could dance a case in tone,
Dialogue: 0,1:11:34.08,1:11:36.52,Default,,0000,0000,0000,,add a super talented disaster in there.
Dialogue: 0,1:11:36.52,1:11:37.36,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,1:11:37.36,1:11:40.92,Default,,0000,0000,0000,,So this is in strings\Nsection, this question
Dialogue: 0,1:11:41.00,1:11:43.48,Default,,0000,0000,0000,,key callout.
Dialogue: 0,1:11:43.48,1:11:46.16,Default,,0000,0000,0000,,It tries to follow too much modeling.
Dialogue: 0,1:11:46.16,1:11:50.56,Default,,0000,0000,0000,,While talking about Laura's point,\NI talked about the idea
Dialogue: 0,1:11:50.56,1:11:55.04,Default,,0000,0000,0000,,of creating a language\Nthat's connected to erosion quite in
Dialogue: 0,1:11:55.04,1:12:00.48,Default,,0000,0000,0000,,to maintain the hand that you're watching,\Njust as in check it out.
Dialogue: 0,1:12:00.56,1:12:05.24,Default,,0000,0000,0000,,So something that we learn along the way,\Nwe are raised thinking that you know that
Dialogue: 0,1:12:05.48,1:12:09.00,Default,,0000,0000,0000,,the artist is some sort of genius\Nthat is created.
Dialogue: 0,1:12:09.00,1:12:12.00,Default,,0000,0000,0000,,He or she is creating something\Nthat something so special
Dialogue: 0,1:12:12.00,1:12:15.00,Default,,0000,0000,0000,,and so different.
Dialogue: 0,1:12:15.08,1:12:16.56,Default,,0000,0000,0000,,There's a there's a
Dialogue: 0,1:12:16.56,1:12:20.64,Default,,0000,0000,0000,,that ego plays a big role as become fuzzy.
Dialogue: 0,1:12:20.88,1:12:25.16,Default,,0000,0000,0000,,But what we understand\Nnow is that the work to work
Dialogue: 0,1:12:25.16,1:12:29.04,Default,,0000,0000,0000,,with is to create a partnership.
Dialogue: 0,1:12:29.12,1:12:32.12,Default,,0000,0000,0000,,Clark\Nhasn't seen the theme compared to Rio,
Dialogue: 0,1:12:32.24,1:12:35.76,Default,,0000,0000,0000,,and of course we still offers
Dialogue: 0,1:12:35.76,1:12:39.88,Default,,0000,0000,0000,,in some sort of way, but we share
Dialogue: 0,1:12:39.96,1:12:42.20,Default,,0000,0000,0000,,the the, the,
Dialogue: 0,1:12:42.20,1:12:48.04,Default,,0000,0000,0000,,the authorship with the territory of Zoom
Dialogue: 0,1:12:48.12,1:12:50.68,Default,,0000,0000,0000,,due to June, January Church Commission.
Dialogue: 0,1:12:50.68,1:12:53.36,Default,,0000,0000,0000,,And we know that this work isn't simply
Dialogue: 0,1:12:53.36,1:12:56.36,Default,,0000,0000,0000,,the product of an artistic genius.
Dialogue: 0,1:12:56.44,1:12:57.24,Default,,0000,0000,0000,,Is this job.
Dialogue: 0,1:12:57.24,1:13:01.12,Default,,0000,0000,0000,,We are listening to\Nwhat the erosion is producing,
Dialogue: 0,1:13:01.12,1:13:04.40,Default,,0000,0000,0000,,to what those lads are telling us\Ntaught them.
Dialogue: 0,1:13:04.48,1:13:08.44,Default,,0000,0000,0000,,We are working on some sort of interpreter\Nthat the man.
Dialogue: 0,1:13:08.52,1:13:11.28,Default,,0000,0000,0000,,I think the idea of like translation
Dialogue: 0,1:13:11.28,1:13:14.68,Default,,0000,0000,0000,,in an arts is also something\Nthat's really interesting.
Dialogue: 0,1:13:14.76,1:13:16.72,Default,,0000,0000,0000,,Whipsawing the sink is exciting.
Dialogue: 0,1:13:16.72,1:13:19.92,Default,,0000,0000,0000,,The man is into the key
Dialogue: 0,1:13:20.00,1:13:22.52,Default,,0000,0000,0000,,to Archibald parts inside the Apache.
Dialogue: 0,1:13:22.52,1:13:23.72,Default,,0000,0000,0000,,That's a perspective.
Dialogue: 0,1:13:23.72,1:13:27.24,Default,,0000,0000,0000,,You can also understand\Nart from this perspective
Dialogue: 0,1:13:27.24,1:13:31.00,Default,,0000,0000,0000,,is something that's beyond what's human.
Dialogue: 0,1:13:31.08,1:13:34.60,Default,,0000,0000,0000,,A perspective on art doesn't
Dialogue: 0,1:13:34.68,1:13:37.92,Default,,0000,0000,0000,,all belong only to the human perspective.
Dialogue: 0,1:13:38.00,1:13:43.12,Default,,0000,0000,0000,,We could think about art and in this way,\Nand there's this type of art
Dialogue: 0,1:13:43.12,1:13:49.96,Default,,0000,0000,0000,,that we were working with as something\Nthat actually exists in this process.
Dialogue: 0,1:13:50.08,1:13:54.52,Default,,0000,0000,0000,,In this meeting point,\Nyou start to realize that it exists
Dialogue: 0,1:13:54.60,1:13:59.04,Default,,0000,0000,0000,,within this environmental\Nprocesses in time
Dialogue: 0,1:13:59.12,1:14:01.56,Default,,0000,0000,0000,,that exists within the senses.
Dialogue: 0,1:14:01.56,1:14:04.52,Default,,0000,0000,0000,,And the other thing is,
Dialogue: 0,1:14:04.52,1:14:08.52,Default,,0000,0000,0000,,I don't know that there is a way\Ncreate this language
Dialogue: 0,1:14:08.60,1:14:13.72,Default,,0000,0000,0000,,aside from this relationship\Nto create Abdallah El Apache sea sponges.
Dialogue: 0,1:14:13.80,1:14:16.48,Default,,0000,0000,0000,,But I think once created,
Dialogue: 0,1:14:16.48,1:14:19.76,Default,,0000,0000,0000,,yes, that language can expand.
Dialogue: 0,1:14:19.84,1:14:23.44,Default,,0000,0000,0000,,Yes, we are working locally,\Nbut we understand that these are global
Dialogue: 0,1:14:23.44,1:14:24.12,Default,,0000,0000,0000,,topics.
Dialogue: 0,1:14:24.12,1:14:29.24,Default,,0000,0000,0000,,They are particular to a phone\Nthat we keep them at.
Dialogue: 0,1:14:29.24,1:14:34.20,Default,,0000,0000,0000,,A phone is reflecting questions\Nthat exist and in other places
Dialogue: 0,1:14:34.44,1:14:38.20,Default,,0000,0000,0000,,seeing you ask them to you Marquesa
Dialogue: 0,1:14:38.28,1:14:41.28,Default,,0000,0000,0000,,and this issue the dome
Dialogue: 0,1:14:41.40,1:14:44.84,Default,,0000,0000,0000,,and I think that is reflected\Nin the works.
Dialogue: 0,1:14:44.92,1:14:48.80,Default,,0000,0000,0000,,Keita visit is a puzzle that may asking\NI might be.
Dialogue: 0,1:14:48.80,1:14:50.92,Default,,0000,0000,0000,,I may be missing something.
Dialogue: 0,1:14:50.92,1:14:52.64,Default,,0000,0000,0000,,Uh, a proposal.
Dialogue: 0,1:14:52.64,1:14:54.52,Default,,0000,0000,0000,,But in general terms, I think that's that.
Dialogue: 0,1:14:54.52,1:14:56.56,Default,,0000,0000,0000,,That's what I had to to share with you.
Dialogue: 0,1:14:56.56,1:15:16.04,Default,,0000,0000,0000,,These are my thoughts.
Dialogue: 0,1:15:16.12,1:15:17.04,Default,,0000,0000,0000,,Because insofar as I
Dialogue: 0,1:15:17.04,1:15:20.04,Default,,0000,0000,0000,,go over and now what do we do?
Dialogue: 0,1:15:20.08,1:15:23.36,Default,,0000,0000,0000,,We a comment about spam
Dialogue: 0,1:15:23.44,1:15:24.44,Default,,0000,0000,0000,,camera
Dialogue: 0,1:15:24.44,1:15:29.20,Default,,0000,0000,0000,,and clap noses\Nso game the Kentucky cat Zimmer
Dialogue: 0,1:15:29.28,1:15:32.92,Default,,0000,0000,0000,,which McCoy's I don't know if there's an\Nis there anyone here
Dialogue: 0,1:15:32.92,1:15:37.20,Default,,0000,0000,0000,,that would like to say something\Nbecause it's just myself Flora and Shauna.
Dialogue: 0,1:15:37.28,1:15:40.80,Default,,0000,0000,0000,,But maybe there is someone else here\Nthat would like to make a comment.
Dialogue: 0,1:15:40.88,1:15:44.72,Default,,0000,0000,0000,,Mr. Hopkins\NJust to make sure that wrapping up
Dialogue: 0,1:15:44.80,1:15:47.96,Default,,0000,0000,0000,,of sad
Dialogue: 0,1:15:48.04,1:15:49.80,Default,,0000,0000,0000,,my response to the farmer,
Dialogue: 0,1:15:49.80,1:16:02.68,Default,,0000,0000,0000,,But I'd like to open the space.
Dialogue: 0,1:16:02.76,1:16:07.48,Default,,0000,0000,0000,,Everybody's too shy to say anything.
Dialogue: 0,1:16:07.56,1:16:09.56,Default,,0000,0000,0000,,It's fine.
Dialogue: 0,1:16:09.56,1:16:10.96,Default,,0000,0000,0000,,No problem.
Dialogue: 0,1:16:10.96,1:16:13.96,Default,,0000,0000,0000,,Yeah, I think we have to to wrap up now.
Dialogue: 0,1:16:13.96,1:16:15.64,Default,,0000,0000,0000,,Otherwise we.
Dialogue: 0,1:16:15.64,1:16:17.24,Default,,0000,0000,0000,,We would need our back up for fear.
Dialogue: 0,1:16:17.24,1:16:19.56,Default,,0000,0000,0000,,Marcus have been doing an amazing job.
Dialogue: 0,1:16:19.56,1:16:22.56,Default,,0000,0000,0000,,Yeah, yeah, yeah.
Dialogue: 0,1:16:22.60,1:16:23.04,Default,,0000,0000,0000,,Thank you.
Dialogue: 0,1:16:23.04,1:16:23.64,Default,,0000,0000,0000,,Feel more.
Dialogue: 0,1:16:23.64,1:16:27.40,Default,,0000,0000,0000,,But, God, this human penalty of the people
Dialogue: 0,1:16:27.48,1:16:29.80,Default,,0000,0000,0000,,together feel
Dialogue: 0,1:16:29.80,1:16:30.52,Default,,0000,0000,0000,,they are.
Dialogue: 0,1:16:30.52,1:16:36.28,Default,,0000,0000,0000,,The stories are amazing translators.
Dialogue: 0,1:16:36.36,1:16:36.96,Default,,0000,0000,0000,,Great job.
Dialogue: 0,1:16:36.96,1:16:39.84,Default,,0000,0000,0000,,Always.
Dialogue: 0,1:16:39.84,1:16:42.84,Default,,0000,0000,0000,,But regardless, in regard to Jane Spiller
Dialogue: 0,1:16:42.84,1:16:46.80,Default,,0000,0000,0000,,teleported in the presence.
Dialogue: 0,1:16:46.88,1:16:48.48,Default,,0000,0000,0000,,Still
Dialogue: 0,1:16:48.48,1:16:49.12,Default,,0000,0000,0000,,presence.
Dialogue: 0,1:16:49.12,1:16:50.56,Default,,0000,0000,0000,,Thank you. Thank everyone.
Dialogue: 0,1:16:50.56,1:16:52.92,Default,,0000,0000,0000,,Thank you for this opportunity.
Dialogue: 0,1:16:52.92,1:16:55.64,Default,,0000,0000,0000,,It's so important to us.
Dialogue: 0,1:16:55.64,1:16:57.24,Default,,0000,0000,0000,,It's so important to be part of this.
Dialogue: 0,1:16:57.24,1:16:58.44,Default,,0000,0000,0000,,I don't think I.
Dialogue: 0,1:16:58.44,1:17:01.28,Default,,0000,0000,0000,,I thanked everyone from the Nicole.
Dialogue: 0,1:17:01.28,1:17:01.52,Default,,0000,0000,0000,,Yeah.
Dialogue: 0,1:17:01.52,1:17:05.04,Default,,0000,0000,0000,,I mean, she as it's time\Nto get out this opportunity.
Dialogue: 0,1:17:05.04,1:17:06.52,Default,,0000,0000,0000,,That's where the contextually
Dialogue: 0,1:17:06.52,1:17:10.64,Default,,0000,0000,0000,,very grateful for this opportunity\Nto share this with you.
Dialogue: 0,1:17:10.72,1:17:14.20,Default,,0000,0000,0000,,And I hope we can continue this dialog.
Dialogue: 0,1:17:14.28,1:17:16.16,Default,,0000,0000,0000,,Yeah, it's it's so important.
Dialogue: 0,1:17:16.16,1:17:18.24,Default,,0000,0000,0000,,It's such an important work.
Dialogue: 0,1:17:18.24,1:17:21.96,Default,,0000,0000,0000,,It still is\Nbut that we're very happy about it.
Dialogue: 0,1:17:22.04,1:17:23.76,Default,,0000,0000,0000,,Both of my time after I got this set.
Dialogue: 0,1:17:23.76,1:17:30.92,Default,,0000,0000,0000,,I mean, momentum is very can countless\Nand can you to take them right now to
Dialogue: 0,1:17:31.00,1:17:35.68,Default,,0000,0000,0000,,to thank in the name of this\Ngreat encounter this is large network we
Dialogue: 0,1:17:35.76,1:17:40.36,Default,,0000,0000,0000,,had. Fernando is our most post-doc member.
Dialogue: 0,1:17:40.44,1:17:43.36,Default,,0000,0000,0000,,He just finished his product project
Dialogue: 0,1:17:43.36,1:17:46.08,Default,,0000,0000,0000,,about June and I'd like to thank him.
Dialogue: 0,1:17:46.08,1:17:51.24,Default,,0000,0000,0000,,We gave us the opportunity to meet\Nbecause he's doing a work unit.
Dialogue: 0,1:17:51.32,1:17:52.96,Default,,0000,0000,0000,,And so
Dialogue: 0,1:17:52.96,1:17:55.52,Default,,0000,0000,0000,,I'd like to thank for this partnership
Dialogue: 0,1:17:55.52,1:17:59.28,Default,,0000,0000,0000,,and I hope that we can keep working
Dialogue: 0,1:17:59.36,1:18:02.96,Default,,0000,0000,0000,,and as I get more,
Dialogue: 0,1:18:02.96,1:18:06.88,Default,,0000,0000,0000,,I think it's that then easy D
Dialogue: 0,1:18:06.96,1:18:11.00,Default,,0000,0000,0000,,And frankly, everybody,
Dialogue: 0,1:18:11.08,1:18:12.84,Default,,0000,0000,0000,,thanks to all the people
Dialogue: 0,1:18:12.84,1:18:15.60,Default,,0000,0000,0000,,that have gathered to the moon.
Dialogue: 0,1:18:15.60,1:18:17.32,Default,,0000,0000,0000,,Thank you, everyone. Thank you.