All language subtitles for The Revenge of the Dead Indians (Henning Lohner 1993)
Afrikaans
Akan
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bemba
Bengali
Bihari
Bosnian
Breton
Bulgarian
Cambodian
Catalan
Cebuano
Cherokee
Chichewa
Chinese (Simplified)
Chinese (Traditional)
Corsican
Croatian
Czech
Danish
English
Esperanto
Estonian
Ewe
Faroese
Filipino
Finnish
Frisian
Ga
Galician
Georgian
Guarani
Gujarati
Haitian Creole
Hausa
Hawaiian
Hebrew
Hindi
Hmong
Hungarian
Icelandic
Igbo
Indonesian
Interlingua
Irish
Japanese
Javanese
Kannada
Kazakh
Kinyarwanda
Kirundi
Kongo
Korean
Krio (Sierra Leone)
Kurdish
Kurdish (SoranĂ®)
Kyrgyz
Laothian
Latin
Latvian
Lingala
Lithuanian
Lozi
Luganda
Luo
Luxembourgish
Macedonian
Malagasy
Malay
Malayalam
Maltese
Maori
Marathi
Mauritian Creole
Moldavian
Mongolian
Myanmar (Burmese)
Montenegrin
Nepali
Nigerian Pidgin
Northern Sotho
Norwegian
Norwegian (Nynorsk)
Occitan
Oriya
Oromo
Pashto
Persian
Polish
Portuguese (Brazil)
Punjabi
Quechua
Romanian
Romansh
Runyakitara
Russian
Samoan
Scots Gaelic
Serbian
Serbo-Croatian
Sesotho
Setswana
Seychellois Creole
Shona
Sindhi
Sinhalese
Slovak
Slovenian
Somali
Spanish (Latin American)
Sundanese
Swahili
Swedish
Tajik
Tamil
Tatar
Telugu
Thai
Tigrinya
Tonga
Tshiluba
Tumbuka
Turkish
Turkmen
Twi
Uighur
Ukrainian
Urdu
Uzbek
Vietnamese
Welsh
Wolof
Xhosa
Yiddish
Yoruba
Zulu
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:08:29,242 --> 00:08:34,213
There are phrases here that I like very much: “lnflate
it with the necessary oxygen until 'rt explodes!”
2
00:08:34,214 --> 00:08:35,981
There you are: that's creation.
3
00:08:35,982 --> 00:08:39,953
You always have to inflate yourself
with the necessary oxygen!
4
00:11:28,855 --> 00:11:33,133
So this is our “traffic jam” - everything is
inside of it: this is the skull of a monkey.
5
00:11:48,675 --> 00:11:52,711
Cage is the revenge of the dead Indians
on European music.
6
00:11:52,712 --> 00:11:52,746
Cage is the revenge of the dead Indians
on European music.
7
00:14:20,893 --> 00:14:23,499
“The Future of Music, Credo:
8
00:14:24,364 --> 00:14:26,298
I BELIEVETHATTHE USE OF NOISE
9
00:14:26,299 --> 00:14:28,100
Wherever we are,
10
00:14:28,101 --> 00:14:33,101
what we hear is mostly noise.
When we ignore it, it disturbs us.
11
00:14:33,373 --> 00:14:36,007
When we listen to it,
we find it fascinating.
12
00:14:36,008 --> 00:14:40,479
The sound of a truck at 5O m.p.h.
Static between the stations.
13
00:14:40,480 --> 00:14:41,880
Rain.
14
00:14:41,881 --> 00:14:45,283
We want to capture and
control these sounds,
15
00:14:45,284 --> 00:14:48,687
to use them, not as sound effects,
but as musical instruments.
16
00:14:48,688 --> 00:14:53,262
Every film studio has a library
of "sound effects" recorded on film.
17
00:14:56,696 --> 00:15:01,509
With a film phonograph it is
now possible to control
18
00:15:01,567 --> 00:15:05,137
the amplitude and frequency
of any one of these sounds
19
00:15:05,138 --> 00:15:09,848
and to give to it rhythms within or
beyond the reach of anyone's imagination.
20
00:15:11,043 --> 00:15:13,178
Given four film phonographs,
21
00:15:13,179 --> 00:15:15,284
we can compose and perform
22
00:15:16,816 --> 00:15:22,494
a quartet for explosive motor;
wind, heartbeat, and landslide.
23
00:15:23,189 --> 00:15:25,424
TO MAKE MUSIC
24
00:15:25,425 --> 00:15:31,137
If this word, music, is sacred and reserved for
eighteenth- and nineteenth-century instruments,
25
00:15:31,197 --> 00:15:36,909
we can substitute a more meaningful term:
organization of sound.
26
00:15:38,104 --> 00:15:42,307
WILL CONTINUE AND INCREASE
UNTIL WE REACH A MUSIC
27
00:15:42,308 --> 00:15:46,188
PRODUCED TH ROUGH THE
AID OF ELECTRICAL INSTRUMENTS
28
00:17:45,464 --> 00:17:53,349
I remember the first time I saw Cage
was at some obscure festival in Rome.
29
00:17:53,573 --> 00:17:59,046
I met john Cage a long time
ago, in the fifties.
30
00:18:01,013 --> 00:18:05,750
David Tudor was also there
and together they gave concerts,
31
00:18:05,751 --> 00:18:08,357
mainly of compositions by Cage.
32
00:18:11,757 --> 00:18:14,237
That was in Paris, yes, at the concerts.
33
00:18:16,162 --> 00:18:19,700
Cage was, in fact, a festival event.
34
00:19:06,212 --> 00:19:10,217
But as a festival event he would remain
at the edge for a very long time.
35
00:19:15,254 --> 00:19:20,226
What interested me about Cage
was his particular approach to music.
36
00:19:20,292 --> 00:19:23,398
And this edge was very,
very important.
37
00:19:32,004 --> 00:19:36,146
This approach he worked with is called:
chance operations.
38
00:19:38,811 --> 00:19:42,953
And edges destroy borders, hmm?!
39
00:19:51,590 --> 00:19:56,801
But it could go wrong.
Everything can go wrong.
40
00:19:58,030 --> 00:20:04,470
And I like that.The category of chance
in Cage is very liberating.
41
00:26:46,772 --> 00:26:49,082
I don't really know what exactly that was.
42
00:26:50,275 --> 00:26:53,688
It was some weird event in front
of some church in Rome.
43
00:26:54,947 --> 00:26:59,555
I had absolutely no clue
to what was going on.
44
00:27:08,727 --> 00:27:11,863
When I was very young,
before the War,
45
00:27:11,864 --> 00:27:15,700
I would frequently take my bicycle
for a ride along the Atlantic coast.
46
00:27:15,701 --> 00:27:19,148
I would listen to the cries of the sea-gulls
and the sounds of the wind and the ocean.
47
00:27:19,538 --> 00:27:24,510
There were sounds and noises
and people that were moving.
48
00:27:27,079 --> 00:27:34,930
And 'n: vvas strange because
there vvas no way to categorize 'rt.
49
00:27:35,120 --> 00:27:37,889
I heard these sounds of
the wind and of the ocean.
50
00:27:37,890 --> 00:27:40,291
They were noises that
interested me tremendously,
51
00:27:40,292 --> 00:27:44,395
but certainly not in the sense of
traditional music, how could that be?
52
00:27:44,396 --> 00:27:49,396
Nevertheless, I thought it would be
interesting to explore guidelines or rules
53
00:27:50,002 --> 00:27:55,002
to establish these sounds
as musical sounds.
54
00:27:57,342 --> 00:28:00,653
At this festival, there were
actually seats for 5000 people.
55
00:28:06,151 --> 00:28:09,928
And, in fact,at the beginning
there were at least 5000 people there.
56
00:28:12,191 --> 00:28:16,697
But in the end there were maybe 400 left.
57
00:28:24,303 --> 00:28:28,873
And then after that I heard how
depressed Cage was, really depressed,
58
00:28:28,874 --> 00:28:34,722
and Cunningham,too, was totally
devastated that there were so few left!
59
00:28:35,447 --> 00:28:38,382
So I thought that was a pretty good attitude.
60
00:28:38,383 --> 00:28:45,426
Boy, vvas he depressed; he said: “Really, all of them should
have left, otherwise 'rt just doesn't make any sense.”
61
00:29:05,210 --> 00:29:10,210
I remember well a huge public demonstration
during the War in the streets of Athens.
62
00:29:11,216 --> 00:29:16,216
Hundreds of thousands had gone to the streets
against the Germans,the Nazis,
63
00:29:16,488 --> 00:29:18,756
who had positioned themselves in
the middle of the street with their tanks
64
00:29:18,757 --> 00:29:20,532
they started shooting at the demonstrators.
65
00:29:20,759 --> 00:29:27,005
The event in Rome happened by pure chance.
I think it was in the late sixties.
66
00:29:28,500 --> 00:29:36,351
It was a little bit like later,
like with (Robert) Wilson.
67
00:29:37,175 --> 00:29:42,175
It was my first encounter with
a completely different concept of art,
68
00:29:44,149 --> 00:29:49,292
not only conceptually, but a whole
different way of handling art
69
00:29:50,622 --> 00:29:56,368
that didn't correspond to what
I thought art should be about.
70
00:29:57,429 --> 00:30:00,501
What I was attracted to was the beauty
of the coincidental gesture,
71
00:30:02,100 --> 00:30:04,512
and the elusive element that it had.
72
00:30:04,703 --> 00:30:08,939
We were students then and not thinking clearly, I was
moving along in the front row of the demonstration.
73
00:30:08,940 --> 00:30:12,743
We were moving down the street, yelling
these very rhythmic fighting anthems,
74
00:30:12,744 --> 00:30:16,547
until we arrived at the center of the
avenue and faced the Nazis head-on.
75
00:30:16,548 --> 00:30:20,318
But now they were shooting into
the mass of people behind me.
76
00:30:20,319 --> 00:30:25,319
Their yelling and screaming behind me gradually turned
into an indescribable, unique, wonderful chaos.
77
00:30:28,160 --> 00:30:31,300
I was terrified, but at the same
time I listened intensely.
78
00:35:29,995 --> 00:35:30,996
'L am here
79
00:35:37,669 --> 00:35:39,774
and there is nothing to say
80
00:35:45,677 --> 00:35:48,317
those who wish to get
somewhere
81
00:35:55,687 --> 00:35:59,464
let them leave at
any moment
82
00:36:05,230 --> 00:36:07,369
What we re-quire
83
00:36:09,334 --> 00:36:11,940
is
silence
84
00:36:18,243 --> 00:36:21,656
but what silence requires
85
00:36:28,153 --> 00:36:29,427
is
86
00:36:32,724 --> 00:36:34,499
that I go on talking'.
87
00:40:13,578 --> 00:40:20,154
The first time I went to the lJ.S.A. was in I975, I
think, and thereafter I returned quite frequently.
88
00:40:20,485 --> 00:40:25,485
And there I got this feeling,
even an urge for landscapes:
89
00:40:28,226 --> 00:40:33,226
“landscapes” in the sense of something that
is so vast, that has such a huge dimension
90
00:40:35,934 --> 00:40:40,934
to 'n: that you can't really classify,
arrange, or domesticate it.
91
00:40:44,642 --> 00:40:48,545
No matter what you try to do, something is always
left over: For instance: once I took a boat ride
92
00:40:48,546 --> 00:40:52,084
along the Mississippi delta.
93
00:40:53,017 --> 00:40:58,017
It was one of those everyday tours where
I could see these oil drilling plants
94
00:40:58,690 --> 00:41:06,541
not far from old plantation mansions, all pretty
decrepit, kind-of rotting away into the swamps.
95
00:41:07,765 --> 00:41:12,765
Then there was this surreal
feeling about alligators being around.
96
00:41:14,339 --> 00:41:18,976
To me, that was very pleasant. I mean:to
see that capitalism has edges, “fringes”,
97
00:41:18,977 --> 00:41:23,977
that you can never totally regulate,
that escape the system.
98
00:41:27,618 --> 00:41:35,537
The production of “hyper-space”, an
“every-where”, and more and more fringes.
99
00:41:35,727 --> 00:41:42,372
Edges, fringes are a beautiful thing.
And they destroy borders.
100
00:41:42,433 --> 00:41:46,575
And the essence
of Cage's work for me
101
00:41:46,971 --> 00:41:54,253
is that borders are constantly crossed,
constantly destroyed.
102
00:41:54,412 --> 00:41:59,412
And then you stand
on unknown territory.
103
00:41:59,584 --> 00:42:06,263
The unknown,finally, makes you curious
and that makes you creative.
104
00:42:06,958 --> 00:42:08,528
More or less!
105
00:45:43,941 --> 00:45:48,941
No, it's true that everything results and produces
everything else, and often without us watching.
106
00:45:48,980 --> 00:45:53,980
There are famous examples. And you
have to subserve yourself to chance.
107
00:45:54,719 --> 00:45:57,787
But when chance is there,
you have to recognize it.
108
00:45:57,788 --> 00:46:02,788
There's the famous story about Fleming and penicillin.
He found those mushrooms on his window sill.
109
00:46:03,427 --> 00:46:08,427
But anyone else would have left them alone, since they
wouldn't have known what they were trying to tell him.
110
00:46:10,234 --> 00:46:15,445
Effectively, in any situation, certainly in architecture,
it's often that way and in music Pm sure it's the same,
111
00:46:15,506 --> 00:46:19,511
there are these opportunities that
you have to take advantage of.
112
00:46:19,610 --> 00:46:24,610
There are unexplainable, inexplicable
situation, that create poetry, meaning.
113
00:46:27,852 --> 00:46:31,988
And you have to be on guard
for the encounter with chance.
114
00:46:31,989 --> 00:46:36,989
Personally, in architecture for example, I often
try to create a “poetry of the situation”.
115
00:46:37,395 --> 00:46:42,395
That means: an exchange between and within everything that we encounter
around ourselves, particularly within contradictions of the program.
116
00:46:43,634 --> 00:46:48,634
And/or constraints of the material involved; and
here a shock is created that comes around by chance,
117
00:46:48,639 --> 00:46:54,419
that isn't at all premeditated: it arrives at any moment,
and if you're on guard, you'll be able to catch 'rt.
118
00:52:47,631 --> 00:52:50,533
So chance: that is the theory
of probabilities because
119
00:52:50,534 --> 00:52:54,804
chance as a form of luck
doesn't really mean anything.
120
00:52:54,805 --> 00:52:58,041
For instance, if I were to cross the
street and suddenly a car kills me
121
00:52:58,042 --> 00:53:01,844
because I wasn't paying attention,then
that is what we call a coincidence,
122
00:53:01,845 --> 00:53:03,646
a chance happening.
123
00:53:03,647 --> 00:53:08,647
But if you start to put a game
mechanism into motion, like
124
00:53:13,323 --> 00:53:17,160
throwing dice or throwing a coin
for heads or tails,
125
00:53:17,161 --> 00:53:21,030
then that is already
somewhat more determined.
126
00:53:21,031 --> 00:53:24,333
Or when it rains and some of
the rain drops fall on me:
127
00:53:24,334 --> 00:53:29,334
those are phenomena that belong to the theory of
probabilities, that is: stochastic mathematics.
128
00:53:29,506 --> 00:53:33,710
For millenea people
have been thinking of this.
129
00:53:33,711 --> 00:53:36,157
Look at the ancient religions:
130
00:53:38,082 --> 00:53:43,082
Gaia, the Goddess of the Earth,
slept with Chaos
131
00:53:49,426 --> 00:53:54,426
and their child was Hermes -
or no, she did that with Zeus,
132
00:53:54,932 --> 00:53:59,932
but she produced the Titans
133
00:54:01,004 --> 00:54:06,004
and a whole series of other Gods as well.
She slept with Chaos,
134
00:54:08,045 --> 00:54:09,456
and that is very interesting.
135
00:58:00,610 --> 00:58:05,610
We try to further, higher,
and beyond our limits.
136
00:58:08,618 --> 00:58:13,618
Every writer, every painter,
every scientist, every one of us,
137
00:58:15,058 --> 00:58:18,094
every human being who doesn't want to remain
within the constraints of his small room,
138
00:58:18,095 --> 00:58:22,298
everyone who tries to understand,
139
00:58:22,299 --> 00:58:26,235
be it the world, politic, art, or science:
140
00:58:26,236 --> 00:58:28,739
he has something of Faust within him.
141
01:06:20,577 --> 01:06:24,112
It's between Beverly and Newburyport.
142
01:06:24,113 --> 01:06:25,914
And where's that?
143
01:06:25,915 --> 01:06:28,555
It's North Shore.
144
01:06:31,087 --> 01:06:32,721
How do you get there from here?
145
01:06:32,722 --> 01:06:36,295
Ah ha.A long way.
146
01:07:02,685 --> 01:07:05,521
This is an evening for john Cage,
147
01:07:05,522 --> 01:07:07,990
whom I admire so much,
148
01:07:07,991 --> 01:07:14,408
especially for his continued effort to carry
music closer to the natural sciences.
149
01:13:28,838 --> 01:13:32,374
'To obtain the value ofa sound,
150
01:13:32,375 --> 01:13:35,879
a movement,
measure from zero.
151
01:13:36,212 --> 01:13:41,992
A bird flies.
Pay attention to what it is,
152
01:13:42,785 --> 01:13:44,822
just as it is.
153
01:13:45,922 --> 01:13:49,836
Slavery is abolished.
The woods.
154
01:13:50,426 --> 01:13:53,669
A sound has no legs to stand on.
155
01:13:54,664 --> 01:13:56,769
The world is teeming
156
01:13:57,099 --> 01:13:59,579
anything can happen'-
157
01:15:53,082 --> 01:15:55,283
Now,this is the room for kids' toys.
158
01:15:55,284 --> 01:16:00,284
L'm very interested in kids' toys because
it really shows where society has come to.
159
01:16:03,225 --> 01:16:08,225
When I was a kid we used to play with dolls
that were substitutes for real humans,
160
01:16:09,098 --> 01:16:13,935
they were like little children,
little people, little men, and so on.
161
01:16:13,936 --> 01:16:17,806
And look where we've come to: over time that has
developed into these “space” figures,
162
01:16:17,807 --> 01:16:19,912
that just aren't human anymore.
163
01:22:49,465 --> 01:22:54,915
In fact, we perceive everything,
but not consciously.
164
01:23:35,844 --> 01:23:45,424
Everything happens at once,
that is why small accidents can occur.
165
01:28:14,689 --> 01:28:19,468
“Closed Tuesdays”.
But today is Saturday, so we can go in.
166
01:28:27,502 --> 01:28:32,502
This here is a “red” version
of Duchamp's bottle-rack.
167
01:28:32,507 --> 01:28:37,507
Ok, now, to me,
Com Cola is a fading star.
168
01:28:40,916 --> 01:28:45,052
A company that once made
something so beautiful,
169
01:28:45,053 --> 01:28:49,190
a bottle you could feel,
with engraved letters,
170
01:28:49,191 --> 01:28:53,327
formed like Mae West,
like a woman:
171
01:28:53,328 --> 01:28:58,328
this bottle is an experience - so lovely to touch,
if one is blind, one can still feel its shape.
172
01:29:01,069 --> 01:29:06,069
If they allow something so
hideous to be made,
173
01:29:06,408 --> 01:29:10,288
to me,thats giving up.
They're on their way out!
174
01:29:11,213 --> 01:29:15,015
It's a disgrace!
175
01:29:15,016 --> 01:29:20,016
Allowing something like this to happen
is trampling on people's sensibilities.
176
01:29:20,856 --> 01:29:25,292
Even all the fuss that's being made about
Prince Charles and Lady Di...
177
01:29:25,293 --> 01:29:27,561
I think this bottle tells
you the whole story:
178
01:29:27,562 --> 01:29:32,562
“Made for the Royal Wedding
on july 29th l98l”,
179
01:29:34,402 --> 01:29:36,103
and look at what it is:
180
01:29:36,104 --> 01:29:40,107
it's not a Lady anymore,
it's a cock,a penis!
181
01:29:40,108 --> 01:29:44,545
That's not Cola-like!
lt's not what we have in mind!
182
01:29:44,546 --> 01:29:45,684
It's awful, it's horrible!
183
01:33:53,695 --> 01:33:54,435
Accident
184
01:33:54,562 --> 01:33:55,329
Adam Smith
185
01:33:55,330 --> 01:33:56,468
Albert Einstein
186
01:33:56,598 --> 01:33:57,770
all the same
187
01:33:57,866 --> 01:33:58,435
anarchists
188
01:33:58,566 --> 01:33:58,907
anything
189
01:33:59,000 --> 01:33:59,774
artist
190
01:33:59,868 --> 01:34:00,812
Attorney General's list
191
01:34:01,903 --> 01:34:02,313
Bach
192
01:34:02,437 --> 01:34:03,575
beyond imagination
193
01:34:03,705 --> 01:34:04,274
brain cell
194
01:34:04,372 --> 01:34:05,316
burned out cars
195
01:34:06,407 --> 01:34:07,351
capitalist economy
196
01:34:07,442 --> 01:34:08,386
censorship
197
01:34:08,476 --> 01:34:09,454
Civil Disobedience
198
01:34:09,544 --> 01:34:10,215
common sense
199
01:34:10,311 --> 01:34:10,948
corporate power
200
01:34:11,112 --> 01:34:12,045
corrugated metal
201
01:34:12,046 --> 01:34:12,683
cortex
202
01:34:13,781 --> 01:34:14,759
democratic revolution
203
01:34:14,883 --> 01:34:15,623
dictionary
204
01:34:15,717 --> 01:34:16,092
DNA
205
01:34:16,184 --> 01:34:16,685
Duchamp
206
01:34:16,751 --> 01:34:17,354
dust
207
01:34:18,520 --> 01:34:18,691
Egypt'
208
01:34:18,786 --> 01:34:19,389
eliminate the future
209
01:34:19,487 --> 01:34:20,557
empty space
210
01:34:20,655 --> 01:34:21,030
environment
211
01:34:22,157 --> 01:34:23,295
Finnegans Wake
212
01:34:23,391 --> 01:34:23,801
Fleischer
213
01:34:23,892 --> 01:34:24,461
focus
214
01:34:24,559 --> 01:34:25,299
food for us
215
01:34:25,393 --> 01:34:26,269
found object tradition
216
01:34:27,395 --> 01:34:28,669
I“?
217
01:34:29,063 --> 01:34:31,202
steaming garbage on fire
218
01:34:31,266 --> 01:34:32,336
genetic mutations
219
01:34:32,467 --> 01:34:33,707
groupes de transformations
220
01:34:34,836 --> 01:34:35,405
hand catching lead
221
01:34:35,503 --> 01:34:35,844
Humboldt
222
01:34:36,938 --> 01:34:37,541
I-Ching
223
01:34:37,639 --> 01:34:38,140
IMF
224
01:34:38,239 --> 01:34:39,115
In a flash
225
01:34:39,207 --> 01:34:40,015
in between
226
01:34:40,108 --> 01:34:40,518
Indians
227
01:34:40,575 --> 01:34:41,883
instrumental virtuosity
228
01:34:41,976 --> 01:34:45,287
International World Assignment of Radio Frequencies
229
01:34:46,381 --> 01:34:47,155
Jackson Pollock
230
01:34:47,215 --> 01:34:47,852
James Dean
231
01:34:47,949 --> 01:34:48,620
jesus Christ
232
01:34:48,716 --> 01:34:49,592
john Cage
233
01:34:49,684 --> 01:34:50,185
john Wayne
234
01:34:50,285 --> 01:34:50,990
by“
235
01:34:53,121 --> 01:34:53,895
landmark
236
01:34:53,988 --> 01:34:54,489
land scape
237
01:34:54,622 --> 01:34:55,327
Landschaft
238
01:34:55,390 --> 01:34:55,663
L'echelle
239
01:34:55,790 --> 01:34:56,530
le piano prepare
240
01:34:56,591 --> 01:34:57,399
light table
241
01:34:58,426 --> 01:34:58,995
metaphor
242
01:34:59,160 --> 01:35:00,298
Mexican War
243
01:35:00,395 --> 01:35:01,032
mind
244
01:35:01,095 --> 01:35:01,698
Mozart
245
01:35:01,796 --> 01:35:02,570
muscle memory
246
01:35:02,630 --> 01:35:03,540
Museum of Modern Art
247
01:35:03,631 --> 01:35:04,632
mushroom walk
248
01:35:05,700 --> 01:35:06,075
nowhere
249
01:35:07,135 --> 01:35:07,613
on the road
250
01:35:08,703 --> 01:35:09,044
Passport
251
01:35:09,137 --> 01:35:10,081
pattern recognition
252
01:35:10,138 --> 01:35:11,082
playing games
253
01:35:11,139 --> 01:35:12,880
predatory market forces
254
01:35:13,942 --> 01:35:15,979
quantum theoretic revolution
255
01:35:17,078 --> 01:35:17,556
racism
256
01:35:17,612 --> 01:35:18,022
random
257
01:35:18,079 --> 01:35:18,420
rat
258
01:35:18,479 --> 01:35:19,685
fight wing pathology
259
01:35:19,747 --> 01:35:20,691
Route V2.8
260
01:35:21,816 --> 01:35:23,056
sans nécessité
261
01:35:23,151 --> 01:35:23,720
Schonberg
262
01:35:23,818 --> 01:35:24,751
serial computers
263
01:35:24,752 --> 01:35:25,628
serial music
264
01:35:25,720 --> 01:35:27,097
serial organization
265
01:35:27,155 --> 01:35:27,724
shadows
266
01:35:27,822 --> 01:35:28,323
Shakespeare
267
01:35:28,389 --> 01:35:29,129
silence
268
01:35:29,224 --> 01:35:30,168
simulated time
269
01:35:30,225 --> 01:35:31,295
single frames
270
01:35:31,359 --> 01:35:31,837
slavery
271
01:35:31,893 --> 01:35:32,132
snake
272
01:35:32,193 --> 01:35:33,331
strange attractor
273
01:35:33,394 --> 01:35:34,839
strange particles
274
01:35:34,896 --> 01:35:36,432
subterranean apartment
275
01:35:36,497 --> 01:35:37,271
surrogate zoo
276
01:35:38,399 --> 01:35:39,036
telephone booth
277
01:35:39,133 --> 01:35:40,077
The forgotten
278
01:35:40,134 --> 01:35:40,874
The Real World
279
01:35:40,935 --> 01:35:42,107
The Wild,Wild West
280
01:35:42,203 --> 01:35:42,908
Thoreau
281
01:35:42,971 --> 01:35:43,574
tool
282
01:35:43,671 --> 01:35:44,046
tornado
283
01:35:44,105 --> 01:35:45,345
total serialisation
284
01:35:45,440 --> 01:35:45,975
traffic
285
01:35:46,074 --> 01:35:46,814
transparance
286
01:35:46,874 --> 01:35:47,545
turbulence
287
01:35:48,610 --> 01:35:49,816
Unified Science Group
288
01:35:50,945 --> 01:35:52,583
virtual reality
289
01:35:52,647 --> 01:35:53,387
volcanoes
290
01:35:54,515 --> 01:35:55,653
within one note
291
01:35:55,717 --> 01:35:56,127
wh)'
292
01:35:56,184 --> 01:35:57,094
Why not?
293
01:35:59,153 --> 01:35:59,858
ZZZ
294
01:36:50,104 --> 01:36:52,106
After all, we are not tourists!
295
01:37:00,615 --> 01:37:03,183
We have a job to take care of,
so we can't really stop to look
296
01:37:03,184 --> 01:37:05,824
around and just enjoy the nice
blue sky or something like that.
297
01:38:59,734 --> 01:39:04,538
So,these mushrooms are Cepes,
those are the Girolle,
298
01:39:04,539 --> 01:39:07,707
and these are the trompete de la mort,
299
01:39:07,708 --> 01:39:11,155
which are the “3 colors of Death”
and this is the pleurotte.
300
01:39:34,902 --> 01:39:39,902
I think the street market is another life. When I'm
at the market I live a different life than at home.
301
01:39:41,409 --> 01:39:43,013
Really, they are two different lives.
302
01:39:43,077 --> 01:39:48,077
I love the chaos of voices at the market:
some speak French,others speak Arabic,
303
01:39:48,516 --> 01:39:53,932
one cries, another speaks very softly,
and the next says nothing.
304
01:40:26,087 --> 01:40:29,823
I enjoy being in the middle of the street because
we are in direct contact with all people.
305
01:40:29,824 --> 01:40:33,760
There's some confusion,
but that's normal;
306
01:40:33,761 --> 01:40:37,564
in fact, it's necessary. That little
element of chaos is what keeps the balance
307
01:40:37,565 --> 01:40:40,910
between the salesman and the customer.
308
01:40:41,636 --> 01:40:43,877
What else can l tell you?
309
01:41:53,641 --> 01:41:55,875
Here we have two shops in one:
310
01:41:55,876 --> 01:42:00,876
outside,we have our street sales,
and there we have our “inside-store”.
311
01:42:01,015 --> 01:42:04,651
This means that we have
two different types of customers.
312
01:42:04,652 --> 01:42:08,288
Those who are in a hurry buy prepared foods,
313
01:42:08,289 --> 01:42:10,428
packaged, like the ones you see here.
314
01:42:10,524 --> 01:42:12,993
Inside, sales are made by the kilo,
by the weight of the item.
315
01:42:12,994 --> 01:42:14,837
That's the difference.
316
01:42:27,408 --> 01:42:32,408
Pretty flowers in the center of Paris, in the
middle of the street - that's an enjoyable thing.
317
01:42:37,752 --> 01:42:39,452
Many people come to us and say:
318
01:42:39,453 --> 01:42:43,223
You have a very nice job bemuse
although there are so many cars around,
319
01:42:43,224 --> 01:42:46,493
so much noise and concrete everywhere,
we have the feeling of being in nature.
320
01:42:46,494 --> 01:42:51,466
And it's true - we do have a little
piece of nature here. Don't you think?
321
01:42:51,766 --> 01:42:55,441
I must say, I feel much more in the
countryside here than in the city!
322
01:43:07,114 --> 01:43:12,114
Yes, well,you kind-of have to be used
to the sounds,the noise.
323
01:43:12,787 --> 01:43:17,787
If you work here,
then you live with noise.
324
01:43:18,659 --> 01:43:23,659
C)ne person calls a customer, the other yells, and that's the
way 'rt is with the other vendors, too. lt's quite normal.
325
01:43:26,033 --> 01:43:31,278
You have to get used to that. All these
noises - but they are also very pleasant!
326
01:43:33,708 --> 01:43:39,056
Another salesman yells, we yell, the customers
come. That creates a pleasant atmosphere.
327
01:43:44,452 --> 01:43:46,453
Ah,the noise -the car noise, yes,
328
01:43:46,454 --> 01:43:51,224
that irritates us a lot, in the
evenings my had is really rumbling...
329
01:43:51,225 --> 01:43:56,225
lt really matters a lot,
but less than the cold.
330
01:43:56,230 --> 01:43:59,833
The cold -that's really hard to take.
331
01:43:59,834 --> 01:44:08,117
The noises we are accustomed to: the sound of the traffic,
horns honking all the time, the police car sirens...
332
01:44:09,543 --> 01:44:11,580
But the cold - you just can't beat it.
333
01:44:17,084 --> 01:44:21,362
Yes,we value it: we live in noise
and yet we appreciate it.
334
01:44:26,660 --> 01:44:30,396
That's part of our profession.
335
01:44:30,397 --> 01:44:34,134
If there were no mars,
the streets would be quiet and calm.
336
01:44:34,135 --> 01:44:36,603
But that's not what a street with
markets and shops is about.
337
01:44:36,604 --> 01:44:41,604
The street has to live - there has to be a lot
people on the sidewalks, and a lot of traffic.
338
01:44:41,842 --> 01:44:42,820
A lot of activity.
339
01:44:49,483 --> 01:44:52,852
At home it's different.
At work we don't think of it so much.
340
01:44:52,853 --> 01:44:57,563
There are so many people here, the atmosphere
and all of that - it's not the same.
341
01:44:58,359 --> 01:45:00,226
At home there's a different mood.
342
01:45:00,227 --> 01:45:03,530
Here,at the street market,
the sounds are more like music,
343
01:45:03,531 --> 01:45:10,039
but at home you don't
think of things like that.
344
01:45:17,211 --> 01:45:22,211
Yes,I am accustomed to the noise,
but with noise life's also more beautiful.
345
01:45:22,817 --> 01:45:28,665
Without noise this place would be quite sad.
346
01:45:29,690 --> 01:45:31,431
There would be nothing to hear.
347
01:46:16,470 --> 01:46:20,106
In the beginning, when
I arrived here to work,
348
01:46:20,107 --> 01:46:25,107
I heard absolutely everything - the street
noise, my coffee machines, and so on.
349
01:46:25,646 --> 01:46:32,530
After a while, I became used to it all and I don't consciously
hear it anymore. I think it's a question of habit.
350
01:46:55,309 --> 01:46:56,344
I enjoy silence.
351
01:46:57,378 --> 01:46:59,178
At home I like peace and quiet.
352
01:46:59,179 --> 01:47:04,017
I don't really pay much attention to
the noise, but I do suffer from 'rt.
353
01:47:04,018 --> 01:47:06,362
At home I like true silence:
354
01:47:07,388 --> 01:47:10,597
no cars, no music, no noise,
355
01:47:11,458 --> 01:47:13,028
just my children.
356
01:51:43,764 --> 01:51:45,598
I would like to prepare a calf's head.
357
01:51:45,599 --> 01:51:48,100
How should I do that?
Can you give me some advice?
358
01:51:48,101 --> 01:51:49,635
Well, you'll need a calf's head!
359
01:51:49,636 --> 01:51:52,038
Yes, but what do I make it with?
360
01:51:52,039 --> 01:51:54,307
- You mean,which vegetables?
- Exactly.
361
01:51:54,308 --> 01:51:57,289
You an take baked or boiled potatoes...
362
01:52:00,581 --> 01:52:03,994
You mean, as if I were preparing a stew?
363
01:52:04,284 --> 01:52:06,185
Yes, exactly.
364
01:52:06,186 --> 01:52:11,186
You put it in a pot and cook it together
with vegetables, potatoes and onions...
365
01:52:14,561 --> 01:52:17,542
- Ah,that is a good idea!
- But of course!
366
01:57:29,175 --> 01:57:33,279
Actually, the lack of history
is our chance to escape.
367
01:57:33,280 --> 01:57:38,280
The only history the USA has is,
368
01:57:40,787 --> 01:57:45,724
the Civil War and the War of Independence
- which is almost completely repressed.
369
01:57:45,725 --> 01:57:51,539
The Civil War is still history and at least
still in the subconscious of the people.
370
01:57:53,633 --> 01:57:56,302
And the other side of that
are the dead Indians.
371
01:57:56,303 --> 01:58:01,303
And the history of the USA are actually the dead Indians
because it is so completely repressed and subconscious.
372
01:58:03,610 --> 01:58:08,610
Culture has always come
from the vanquished, not the vanquishers.
373
01:58:11,751 --> 01:58:16,257
The vanquished, even the dead,
374
01:58:17,090 --> 01:58:22,090
somehow rise up into
the vanquishers' culture
375
01:58:22,162 --> 01:58:27,162
and determine or change it.
376
01:58:28,134 --> 01:58:31,479
I find that interesting.
That's the Indian element in Cage.
31186