All language subtitles for Ballet aquatique - Raoul Ruiz (2011)

THE OCTOPUS

Vibrations in the water surrounding a rock

brought about by the octopus´ breathing
reveal his presence.

lt sprays its ink.

The closed eye.

The open eye, very human.

Breathing.

lt switches to the siphon
on the other side.

The changes in coloration across its body
are the result of the contraction

and expansion of the many colored cells
that dot its skin.

A significant enlargement.

eath.

THE E

Auatic Ballet

The audiovisual piece

that you watched

has a name...

Has a name.

lt is called

[ Skipped item nr. 20 ]

And this audiovisual piece...

This...

l said it correctly, this audiovisual piece

has an objective,

to prove

that pet fish

in home auariums...

Those

pet fish

are hard to see,

impossible

to count.

They are

practically,

practically

immeasurable,

but

not numerous.

As the moderator,

there is something l´d like to add
to Mr. Orlec´s talk.

He tells us
that everything comes from the spirit.

All right, but which spirit?

Brandy?

Too simple.

l would sooner place the spirit on one side,

and the liuid element on the other.

Mr. Matras

tells us that this is all just a metaphor.

Too simple.

Sorry.

Too brief.

o, sorry. Too uick.

Mr. Bauman spoke to us
about liuid society.

He said that society is essentially liuid.

But that´s nothing new.

o, sorry.

lt´s not very original.

o, sorry.

We already know that.

Without going any further,
we are composed of water,

encapsulated water,

an element one would be hard pressed
to call solid.

You could say that we are a solid,

dreamt up by dreaming liuid.

And that we do nothing more than dance.

We are engaged in an amnesic dance.

Amnesic, in the sense of collective.

There is a common saying,
´´to have the memory of a goldfish.´´

Too simple.

Simple, in the sense of immutable.

o, sorry.

ln the sense of immobile.

o, sorry.

o.

o, nothing.

ever mind.

Th kr nrs

Ths s no wrsng mh,
b rhr fgh o h dh

Th pro szs hs opponn by h hro,
b hs nk s mpnrb

The scriptures tell us
that God created thirst.

ext, God created the spirit, which appeared

sb sp rns

Liuid became liueur.

Making the most of the thirst
he had just created,

God drank that liueur.

The spirit entered God´s body.

God became inebriated and he slept.

He dreamt.

ln this dream, he created the world.

lt was the upside-down world.

ln this world, thieves were judges,

and judges became thieves.

Tigers were cowardly and gentle,

and sheep were fierce and courageous.

Cats barked,

dogs meowed,

fish ate men.

Fish slept in soft beds,

while men slept submerged in auariums.

The biggest man

ate the smaller one.

What´s more, everything was auatic.

Let´s sit.

What do the scriptures wish to tell us?

First, that the world was created
by the force of inebriation.

That the world is simply vertigo
brought about by the spirit.

That the spirit mediates
between God and men.

That the creative creator spirit is liuid.

That we come from a liuid universe.

That the liuid world is upside-down.

Our ancestors, the fish, know this.

Our ancestors, the shrimp,
pretend not to know it.

Our ancestors, the octopuses,
could see this with their own eyes.

The open eye, very human.

Breathing.

Mother Ocean is amniotic.

She

gave birth to the creatures
of the upside-down world.

Sorry, of the inverted world.

Sorry, of the world and its opposite.

Sorry, to that which is contrary to the world.

Let´s sit.

Sorry.

The scriptures teach us
that God created hunger,

and only afterward
did he create hungry animals.

The scriptures teach us

that animals devoured one another.

God created man.

He asked man

to dominate animals.

That was rational man.

Then he created woman.

And man became passionate man.

God ordered man

to eat animals,

and he created hungry man.

Let us be uiet and watch.

This film, as l said,

has set an objective,

to prove

that there are

supernumerary fish

that appear

and disappear from the world´s auariums.

We seek,

in this audiovisual piece,

to prove

that those fish

are not alive,

that they are,

so to speak,

phantoms.

Phantoms

of fish that perhaps

we ourselves

may have even eaten.

And they would go
to the nearest auarium, that is,

the auarium
where one counts the number of fish.

And they muddle the calculations.

This is, to say the least, a nuisance.

The first time

we observed this phenomenon

was in Lyon.

Profssor Enn Mrs,

after carefully observing

the fish in his own auariums,

he found that he was having trouble
counting the number of fish he had.

He remembered having bought four fish.

Sometimes he counted five,

sometimes six, sometimes three.

He brought his auariums and others

to the laboratory

where people had already conducted,

people had conducted...

People had conducted

troubling experiments

with octopuses...

With octopuses

that followed a mono diet.

They ate only

water bubbles.

He had the idea of mixing in the octopuses

with the fish.

And he observed something astonishing.

The octopuses

were afraid of the colored fish.

They didn´t like the very idea
of the color of fish.

We know that octopuses see
in black and white,

so why were they afraid of color?

What was it about the color of fish

which frightened

octopuses that were well-built,

solid, robust?

Professor Etienne Matras

studied the phenomenon

for months, every day.

At the same time,

he asked participants,

family members, friends,

other researchers, even children,

even members of the Catholic Church,

to count the fish in the 25 auariums

he had at the laboratory.

lt turned out that they were incapable
of counting those fish.

They gave numbers ranging from three

to 15, 1 1, 10.

o one was in agreement.

And, surprisingly,

at the end, people had

a sort of hallucination that brought about

our phenomenon.

They were incapable of counting

the number of auariums there were.

l said 27.

Some said 24. Others, 30.

One person even thought
he had counted 100.

So there was something there

to spark a scientist´s interest.

So Professor Matras

began to think about

just the fish themselves,

and their sudden appearance
and disappearance.

And he observed once more

that there were fish that appeared
and disappeared,

fish one could call ´´phantom fish.´´

Where did these phantom fish come from?

Of course, the uantum theory

was put forth that these fish

were akin to Schroedinger´s cat,

that they could dissolve in water.

That these fish were, in a way,

soluble.

But there were other theories.

This is where

one of the participants,
one of the researchers, comes in.

He was also a chef.

He thought he recognixed certain fish

that he had been very fond of,
to the point of not wishing

to eat them or have them be eaten.

He regarded the fish in the auarium
alive and well,

with some sadness

and reproach.

Those fish had been killed
so they could be eaten.

And they did not approve of this.

ature itself did not represent...

The fish did not approve.

So, Professor Matras, a scientist,

nonetheless,

kept his distance.

He kept his distance.

And

he wanted...

He wanted to give this phenomenon a name.

He gave the name ´´auatic indeterminacy´´

to the phenomenon that consisted
of making fish appear

and disappear.

Auatic indeterminacy.

Well,

you have seen,

you were able to observe

the plurality and the particularity

of fish.

Of phantom fish, naturally.

ot of real fish.

And yes, supernumeraries

are fish that tend to remain themselves.

This fish,

without going any further,

this fish is uniue.

Look.

He is uniue.

He is singular.

But for how long? How long?

ln a certain sense,

there are

no longer fish

that are not phantoms.

All fish are phantom fish, in a certain sense.

ln another sense,

there are fish that are phantoms
and those that are not,

and those that never will be.

When they die,

they die for good. lt´s over.

Th drwnn son rss

whhr fon fsh sps

vov

r hr

ny sgns of voon

mong phnoms?

Fhr Fnpñ

Fhr Fnpñ bvs

n El ente dilucidado,

x

from h 17h nry,
h bvs h phnoms,

nd hrfor phnom fsh,
xprn voon

from hr

o snf vrfon

s rg sp

w r no rdy

o sy nyhng

on hs sbj

rd,

´´Cn on drm of phnom fsh,

´´whh, svr nrs from now,
w bom

´´ h s so r,

´´ w fsh

´´nd w hs pr

´´ form of nnbsm,

´´nnbsm

´´n h sond dgr?´´

Let us be uiet and watch.