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Polish to Italian: Promessa di vendita General field: Law/Patents Detailed field: Law: Contract(s)
Source text - Polish 2. Sprzedający oświadczają, że: 1)-Nieruchomość nie jest objęta miejscowym planem ogólnego zagospodarowania przestrzennego, 2)-tytuł prawny Sprzedających do Nieruchomości nie jest kwestionowany ani podważany; 3)-Nieruchomość nie jest obciążona żadnymi ograniczonymi prawami rzeczowymi, w tym hipoteką umowną lub przymusową oraz wolna jest od wszelkich długów i ciężarów, z wyjątkiem wyżej opisanych. 4)-Nieruchomość nie jest obciążona żadnymi prawami osób trzecich, w szczególności prawem pierwokupu, a nadto nie istnieją żadne roszczenia osób trzecich dotyczące Nieruchomości; z wyjątkiem opisanego prawa odkupu, 5)-nie zostały dokonane jakiekolwiek czynności prawne lub faktyczne, ani nie zachodzą inne okoliczności, które powodowałyby obciążenie lub ograniczenie prawa rozporządzania Nieruchomością, a zwłaszcza nie została zawarta umowa przedwstępna sprzedaży lub inna umowa, której skutkiem mogłaby być zmiana stanu prawnego Nieruchomości; 6)-Nieruchomość nie jest przedmiotem żadnego toczącego się postępowania sądowego ani administracyjnego, w szczególności przeciwko Sprzedającym nie jest prowadzone postępowanie egzekucyjne lub upadłościowe;	Translation - Italian 2. I Venditori dichiarano che: 1)-L'Immobile non è compreso in un piano regolatore locale, 2)-la titolarità del diritto dei Venditori sull'Immobile è certa e incontestata; 3)-L'Immobile non è gravato da diritti reali limitati, da ipoteca convenzionale o coatta, ed è libero da qualsiasi debito o carico ad eccezione di quelli sopra descritti, 4)-L'Immobile non è gravato da diritti di terze persone, e in particolare dal diritto di prelazione, ed inoltre non esistono pretese di terze persone riguardanti l'Immobile; ad eccezione del descritto diritto di riscatto, 5)-non sono stati compiuti atti giuridici o reali, non sussistono altre circostanze da cui potrebbero scaturire gravami o limitazioni della facoltà di disporre dell'Immobile, e soprattutto non è stato stipulato un contratto di vendita preliminare o altro contratto che potrebbe avere come effetto la modifica della situazione giuridica dell'Immobile. 6)- L'Immobile non è oggetto di nessun procedimento giudiziario o amministrativo in corso, e in particolare contro i Venditori non è condotto alcun procedimento esecutivo o fallimentare.
English to Italian: “Arthur Jafa: Sequencing the Notes” (Art21) General field: Art/Literary Detailed field: Media / Multimedia
Source text - English 1 00:00:00,760 --> 00:00:03,343 (lively music) 2 00:00:07,512 --> 00:00:09,929 (bass plays) 3 00:00:11,220 --> 00:00:12,540 - I've always resisted the idea 4 00:00:12,540 --> 00:00:15,543 that somehow my practice is archival. 5 00:00:16,440 --> 00:00:19,113 It's about using the material that's available to me, 6 00:00:19,950 --> 00:00:23,220 and that material is incredibly rich material. 7 00:00:23,220 --> 00:00:24,390 (upbeat music) 8 00:00:24,390 --> 00:00:28,590 It's not archival to me any more than the fact that, 9 00:00:28,590 --> 00:00:31,390 you know, when a composer sits down to make a new piece, 10 00:00:32,340 --> 00:00:33,651 the notes are there. 11 00:00:33,651 --> 00:00:36,234 (upbeat music) 12 00:00:41,340 --> 00:00:44,310 Beethoven, Bach, Cecil Taylor, Duke Ellington, 13 00:00:44,310 --> 00:00:46,503 they're not creating new notes, 14 00:00:47,700 --> 00:00:48,533 you know what I mean? 15 00:00:48,533 --> 00:00:50,679 They're sequencing the notes. 16 00:00:50,679 --> 00:00:54,096 (upbeat music continues) 17 00:00:59,820 --> 00:01:02,400 Do they just amplify the same frequency? 18 00:01:02,400 --> 00:01:05,190 It just got louder. (upbeat music) 19 00:01:05,190 --> 00:01:07,640 You know, is it a counterpoint to that frequency? 20 00:01:10,230 --> 00:01:11,430 At its core, 21 00:01:11,430 --> 00:01:14,266 it's just about how do you make a thing of beauty? 22 00:01:14,266 --> 00:01:16,620 (upbeat music) 23 00:01:16,620 --> 00:01:18,180 And a thing of beauty to me is a thing 24 00:01:18,180 --> 00:01:19,330 that you wanna look at. 25 00:01:20,760 --> 00:01:23,400 And then in conjunction with that, 26 00:01:23,400 --> 00:01:24,997 maybe you do other things like say, 27 00:01:24,997 --> 00:01:26,946 "Hey, Black people are human beings too." 28 00:01:26,946 --> 00:01:30,363 (upbeat music continues) 29 00:01:35,866 --> 00:01:40,866 (birds chirp) (traffic passes) 30 00:01:42,840 --> 00:01:44,910 A lot of what I do is just 31 00:01:44,910 --> 00:01:48,453 a kinda structured free association. 32 00:01:49,567 --> 00:01:51,000 "Mickey Mouse was a Scorpio", 33 00:01:51,000 --> 00:01:53,050 it's Mickey Mouse and Damballah 34 00:01:54,090 --> 00:01:55,890 and even though they couldn't be more different 35 00:01:55,890 --> 00:01:59,100 on a certain material level, one is an animation, 36 00:01:59,100 --> 00:02:02,580 the other is a photograph of a witch doctor. 37 00:02:02,580 --> 00:02:04,170 But when you see those two, 38 00:02:04,170 --> 00:02:05,730 it's very clear you're looking at 39 00:02:05,730 --> 00:02:09,363 the same entity in two different iterations. 40 00:02:10,950 --> 00:02:13,770 That's a fundamental thing I'm interested in. 41 00:02:13,770 --> 00:02:15,960 Like, that's sort of very specific 42 00:02:15,960 --> 00:02:18,690 and local big bang that happens when you put one, 43 00:02:18,690 --> 00:02:21,510 I would argue, Black being next to another Black being. 44 00:02:21,510 --> 00:02:23,343 Like, what is engendered by that? 45 00:02:25,077 --> 00:02:30,077 (intense music) (background chatter) 46 00:02:30,150 --> 00:02:33,273 Even the films or the videos are just extensions of that. 47 00:02:34,110 --> 00:02:36,160 It's like, what happens when you do that? 48 00:02:37,050 --> 00:02:38,790 - I know that every person walking this planet. 49 00:02:38,790 --> 00:02:39,623 - [Arthur] And then you do it again. 50 00:02:39,623 --> 00:02:42,155 - Came from a womb and because I have one of those. 51 00:02:42,155 --> 00:02:43,620 - [Arthur] You know, you have one big bang, 52 00:02:43,620 --> 00:02:45,300 you put it next to another big bang 53 00:02:45,300 --> 00:02:46,500 and then another big bang, 54 00:02:46,500 --> 00:02:47,613 then another big bang. 55 00:02:48,750 --> 00:02:51,766 - Bitch, I'm a mother, no drama. 56 00:02:51,766 --> 00:02:54,540 The fact that y'all think that being a woman 57 00:02:54,540 --> 00:02:57,750 is about cosmetics lets me know 58 00:02:57,750 --> 00:03:00,854 that y'all don't know the hell y'all talking to. 59 00:03:00,854 --> 00:03:03,604 (tranquil music) 60 00:03:04,530 --> 00:03:07,170 - And the picture unit is just another way 61 00:03:07,170 --> 00:03:11,160 to sequence images. (tranquil music) 62 00:03:11,160 --> 00:03:12,510 You know, I call it a maze, 63 00:03:12,510 --> 00:03:17,433 but it's less of a maze than a kind of guided tour. 64 00:03:19,290 --> 00:03:22,200 You know, with a certain possibility of 65 00:03:22,200 --> 00:03:24,900 insights into relationships 66 00:03:24,900 --> 00:03:28,092 that wouldn't necessarily be available to you. 67 00:03:28,092 --> 00:03:30,759 (intense music) 68 00:03:31,800 --> 00:03:33,420 As you physically move through it, 69 00:03:33,420 --> 00:03:35,160 you know, if you go forward a step, 70 00:03:35,160 --> 00:03:36,690 you're gonna see another thing 71 00:03:36,690 --> 00:03:39,180 and people just say like, they saw this gruesome image, 72 00:03:39,180 --> 00:03:41,130 and they just like put their head down 73 00:03:41,130 --> 00:03:42,690 and just moved forward, 74 00:03:42,690 --> 00:03:45,420 but only to be confronted with another gruesome image, 75 00:03:45,420 --> 00:03:46,530 you know what I mean? 76 00:03:46,530 --> 00:03:47,940 And the thing about it is like, 77 00:03:47,940 --> 00:03:52,350 they are quote unquote gruesome images in it, for sure. 78 00:03:52,350 --> 00:03:53,640 You see this gruesome scene, 79 00:03:53,640 --> 00:03:55,170 then you see an image with a Black woman 80 00:03:55,170 --> 00:03:56,610 with a piece of wood in her hand. 81 00:03:56,610 --> 00:03:58,268 Like, what's the relationship? 82 00:03:58,268 --> 00:04:00,360 (intense music) 83 00:04:00,360 --> 00:04:02,280 What's the nature of, 84 00:04:02,280 --> 00:04:05,497 you know, absorbing or being subjected to violence? 85 00:04:05,497 --> 00:04:08,164 (intense music) 86 00:04:15,090 --> 00:04:16,530 Every time I open this shit up, 87 00:04:16,530 --> 00:04:19,023 it's just like that is a thing. 88 00:04:19,890 --> 00:04:22,563 So now I'm trying to figure out what to do with it. 89 00:04:27,450 --> 00:04:28,320 I think it's in here. 90 00:04:28,320 --> 00:04:29,700 It may not be in here, but let me see. 91 00:04:29,700 --> 00:04:31,293 I think I put it in here. 92 00:04:33,540 --> 00:04:35,187 That's "Apex". 93 00:04:36,330 --> 00:04:38,850 Now I just basically had a file that had stuff in it, 94 00:04:38,850 --> 00:04:42,420 and then at some point I started putting it in order 95 00:04:42,420 --> 00:04:46,953 and I would just do this while I was talking about it. 96 00:04:47,790 --> 00:04:49,320 And then at some point like, 97 00:04:49,320 --> 00:04:50,820 oh, let's just put it on a timeline 98 00:04:50,820 --> 00:04:52,230 so you don't have to click, 99 00:04:52,230 --> 00:04:53,332 you know what I mean? 100 00:04:53,332 --> 00:04:56,082 (electric music) 101 00:04:58,987 --> 00:05:02,130 "Apex" is about a rock band in the future. 102 00:05:02,130 --> 00:05:04,380 The story happens during the course of the world 103 00:05:04,380 --> 00:05:06,308 as we know it coming to an end. 104 00:05:06,308 --> 00:05:09,810 (electric music) 105 00:05:09,810 --> 00:05:12,000 The so-called fine art space, 106 00:05:12,000 --> 00:05:14,610 it's mostly interesting because it's so flexible, 107 00:05:14,610 --> 00:05:17,190 like in terms of what it is, you know what I mean? 108 00:05:20,173 --> 00:05:21,720 I can't imagine another space 109 00:05:21,720 --> 00:05:24,644 that's better in terms of playing with these sorts of ideas. 110 00:05:24,644 --> 00:05:27,061 (soft music) 111 00:05:30,660 --> 00:05:33,363 I studied architecture at Howard University. 112 00:05:34,710 --> 00:05:37,113 Realized pretty much two years in 113 00:05:37,113 --> 00:05:38,910 that I was ambivalent about that 114 00:05:38,910 --> 00:05:42,810 because it was hard for me to imagine 115 00:05:42,810 --> 00:05:45,010 what it was gonna look like on a day to day. 116 00:05:46,050 --> 00:05:49,740 But my interests very quickly 117 00:05:49,740 --> 00:05:52,050 were consolidated around the idea 118 00:05:52,050 --> 00:05:54,240 that I think initially I understood 119 00:05:54,240 --> 00:05:57,210 as being related to architecture. 120 00:05:57,210 --> 00:05:59,070 You know, and it would be something like, 121 00:05:59,070 --> 00:06:01,530 if Kind of Blue was a house, what would it look like? 122 00:06:01,530 --> 00:06:03,480 Or if Electro Ladyland was a house, 123 00:06:03,480 --> 00:06:04,680 what would it look like? 124 00:06:06,120 --> 00:06:10,110 Using Black music as a preeminent example, 125 00:06:10,110 --> 00:06:11,823 of Black aesthetics in action. 126 00:06:13,110 --> 00:06:15,570 What I've come to understand is that 127 00:06:15,570 --> 00:06:19,200 that impulse to demonstrate the breadth 128 00:06:19,200 --> 00:06:23,700 and complexity of transposing 129 00:06:23,700 --> 00:06:26,250 Black aesthetics to anything you do 130 00:06:26,250 --> 00:06:28,143 is what I was kind of interested in. 131 00:06:29,610 --> 00:06:34,610 If you look at where Afro-American culture is strong, 132 00:06:34,830 --> 00:06:39,180 it is in the spaces of immaterial expressivity. 133 00:06:39,180 --> 00:06:41,400 You know, music, dance, things like that, 134 00:06:41,400 --> 00:06:44,037 things that you could do on your body. 135 00:06:44,037 --> 00:06:45,230 ♪ This is a God dream ♪ 136 00:06:45,230 --> 00:06:50,230 ♪ This is a God dream ♪ 137 00:06:51,270 --> 00:06:52,958 ♪ We on an ultra light beam ♪ 138 00:06:52,958 --> 00:06:54,840 ♪ We on an ultra light beam ♪ 139 00:06:54,840 --> 00:06:56,550 - Black people wore raw materials 140 00:06:56,550 --> 00:06:59,310 so the whole notion of making things, 141 00:06:59,310 --> 00:07:02,700 meaning being able to utilize material 142 00:07:02,700 --> 00:07:04,053 wasn't so straightforward. 143 00:07:07,680 --> 00:07:11,370 Black people remake things by using them differently 144 00:07:11,370 --> 00:07:12,570 than they were intended. 145 00:07:16,260 --> 00:07:18,060 The appropriation thing 146 00:07:18,060 --> 00:07:21,630 allowed me to maneuver in a way that made sense 147 00:07:21,630 --> 00:07:23,850 for me as a Black person, given my, 148 00:07:23,850 --> 00:07:24,683 as I pointed out, 149 00:07:24,683 --> 00:07:26,223 relationship to material. 150 00:07:27,150 --> 00:07:28,580 Taking this and putting it next to that 151 00:07:28,580 --> 00:07:31,710 it is like saying I don't have to have material. 152 00:07:31,710 --> 00:07:33,120 I don't have to make material. 153 00:07:33,120 --> 00:07:35,973 I don't have to make anything to make something. 154 00:07:37,911 --> 00:07:39,057 - Yeah, no, I got you, bro. - I'm about to break away. 155 00:07:39,057 --> 00:07:42,300 - No, no, no, I just wanted to come get some love. 156 00:07:42,300 --> 00:07:43,350 That looks great. 157 00:07:43,350 --> 00:07:45,300 - Yeah, it's a, again, 158 00:07:45,300 --> 00:07:48,690 it's a artifact for my alternate universe 159 00:07:48,690 --> 00:07:51,420 because she never had a record, you know. 160 00:07:51,420 --> 00:07:53,550 It's just a still from a video, man. 161 00:07:58,215 --> 00:07:59,457 - [Officer] Turn away. 162 00:07:59,457 --> 00:08:03,686 Walk backwards, keep your hands up in the air. 163 00:08:03,686 --> 00:08:05,117 Keep going. 164 00:08:05,117 --> 00:08:06,177 - [Officer 2] Come on back, come on back. 165 00:08:06,177 --> 00:08:07,110 Keep walking backwards. 166 00:08:07,110 --> 00:08:08,550 Keep walking backwards. 167 00:08:08,550 --> 00:08:09,390 - As I like to say, 168 00:08:09,390 --> 00:08:11,490 we are the canaries in the mine shaft 169 00:08:11,490 --> 00:08:13,530 of Western civilization. 170 00:08:13,530 --> 00:08:15,060 Nobody wants to be where we are. 171 00:08:15,060 --> 00:08:16,743 Nobody wants to be Black. 172 00:08:19,050 --> 00:08:20,100 But at the same time, 173 00:08:20,100 --> 00:08:22,950 when they see Black people, almost paradoxically, 174 00:08:22,950 --> 00:08:26,220 we also exist as a kind of emblem of the possibility 175 00:08:26,220 --> 00:08:29,643 of transcending profound constraints. 176 00:08:30,750 --> 00:08:31,740 You know what I mean? 177 00:08:31,740 --> 00:08:33,900 Like everybody has their foot on our neck, 178 00:08:33,900 --> 00:08:35,798 but we constantly stand. 179 00:08:35,798 --> 00:08:38,730 (electric music) 180 00:08:38,730 --> 00:08:40,470 So given we've come through it 181 00:08:40,470 --> 00:08:44,280 and it's generated this thing we call Blackness, 182 00:08:44,280 --> 00:08:47,130 Black music, Black dance, Black life force, 183 00:08:47,130 --> 00:08:48,540 all these kinds of things, 184 00:08:48,540 --> 00:08:52,373 how do we mine that? (electronic music) 185 00:08:55,710 --> 00:09:00,710 It's less that the playing field is uneven for Black people. 186 00:09:01,470 --> 00:09:03,090 It's more like the playing field 187 00:09:03,090 --> 00:09:05,640 is just more complex for Black people. 188 00:09:05,640 --> 00:09:06,510 You know what I mean? 189 00:09:06,510 --> 00:09:09,780 That's an opportunity to contend with a landscape 190 00:09:09,780 --> 00:09:13,112 that's more interesting than a flat landscape. 191 00:09:13,112 --> 00:09:15,945 (mid tempo music) 192 00:09:26,690 --> 00:09:29,190 (piano music) 193 00:09:37,570 --> 00:09:40,740 It is not about, it's a handicap. 194 00:09:40,740 --> 00:09:41,790 It's not a handicap. 195 00:09:41,790 --> 00:09:43,653 It's an opportunity to, 196 00:09:45,880 --> 00:09:49,263 it's so funny, it's like opportunity to levitate. 197 00:09:50,261 --> 00:09:53,178 (slow piano music) 198 00:09:55,152 --> 00:10:00,152 ♪ Oh (indistinct) ♪ 199 00:10:00,850 --> 00:10:03,032 ♪ When you hit that fog ♪ 200 00:10:03,032 --> 00:10:08,032 ♪ And it'll start for y'all ♪ 201 00:10:08,952 --> 00:10:13,952 ♪ You say that I know we'll all do well ♪ 202 00:10:14,170 --> 00:10:16,587 (slow music)	Translation - Italian 1 00:00:00,760 --> 00:00:03,343 (musica vivace) 2 00:00:07,512 --> 00:00:09,929 (basso) 3 00:00:10,939 --> 00:00:12,540 Mi sono sempre opposto all'idea 4 00:00:12,540 --> 00:00:15,543 che il mio processo sia archivistico 5 00:00:16,440 --> 00:00:19,113 Si tratta di usare i materiali che ho a disposizione, 6 00:00:19,950 --> 00:00:23,220 e quei materiali sono incredibilmente ricchi. 7 00:00:23,220 --> 00:00:24,390 (musica ritmata) 8 00:00:24,390 --> 00:00:28,590 Per me non è più archivistico di quando 9 00:00:28,590 --> 00:00:31,390 un compositore si siede a comporre un nuovo brano, 10 00:00:32,340 --> 00:00:33,651 le note sono già lì. 11 00:00:33,651 --> 00:00:36,234 (musica ritmata) 12 00:00:41,340 --> 00:00:44,310 Beethoven, Bach, Cecil Taylor, Duke Ellington, 13 00:00:44,310 --> 00:00:46,503 non creano nuove note, 14 00:00:47,700 --> 00:00:48,533 capisci, no? 15 00:00:48,533 --> 00:00:50,679 Mettono le note in sequenza. 16 00:00:50,679 --> 00:00:54,096 (musica ritmata) 17 00:00:59,820 --> 00:01:02,400 Stanno solo amplificando la stessa frequenza? 18 00:01:02,400 --> 00:01:05,190 O è solo più forte? 19 00:01:05,190 --> 00:01:07,640 È un contrappunto a quella frequenza? 20 00:01:10,230 --> 00:01:11,430 In fondo, 21 00:01:11,430 --> 00:01:14,266 si tratta di come creare qualcosa di bello. 22 00:01:14,266 --> 00:01:16,620 (musica ritmata) 23 00:01:16,620 --> 00:01:18,180 Una cosa bella è una cosa 24 00:01:18,180 --> 00:01:19,330 a cui vuoi guardare. 25 00:01:20,760 --> 00:01:23,400 E poi, insieme a quello, 26 00:01:23,400 --> 00:01:24,997 magari fai altro, come 27 00:01:24,997 --> 00:01:26,946 "Hey, anche i neri sono essere umani." 28 00:01:26,946 --> 00:01:30,363 (la musica ritmata continua) 29 00:01:35,866 --> 00:01:40,866 (cinguettio) (rumore del traffico) 30 00:01:42,840 --> 00:01:44,910 Molto di quello che faccio è solo 31 00:01:44,910 --> 00:01:48,453 una sorta di associazione libera ma strutturata 32 00:01:49,567 --> 00:01:51,000 "Topolino era uno scorpione", 33 00:01:51,000 --> 00:01:53,050 ci sono Topolino e Damballah 34 00:01:54,090 --> 00:01:55,890 e anche se sono così diversi 35 00:01:55,890 --> 00:01:59,100 su un piano materiale, uno è un'animazione 36 00:01:59,100 --> 00:02:02,580 l'altro la fotografia di uno stregone. 37 00:02:02,580 --> 00:02:04,170 Ma quando li vedi insieme, 38 00:02:04,170 --> 00:02:05,730 è subito chiaro che guardi 39 00:02:05,730 --> 00:02:09,363 alla stessa entità in due versioni differenti. 40 00:02:10,950 --> 00:02:13,770 Questa è la cosa fondamentale che mi interessa. 41 00:02:13,770 --> 00:02:15,960 Per me è come un Big Bang, 42 00:02:15,960 --> 00:02:18,690 molto specifico e locale che accade quando 43 00:02:18,690 --> 00:02:21,510 metti un nero accanto ad un altro nero. 44 00:02:21,510 --> 00:02:23,343 Cosa ne scaturisce? 45 00:02:24,380 --> 00:02:30,077 (musica intensa) (rumore di sottofondo) 46 00:02:30,150 --> 00:02:33,273 Persino i film o i video sono solo estensioni di questo. 47 00:02:34,110 --> 00:02:36,160 Cioè, che succede se fai così? 48 00:02:37,050 --> 00:02:38,790 (Chi cammina su questo pianeta) 49 00:02:38,790 --> 00:02:39,623 E poi lo rifai. 50 00:02:39,623 --> 00:02:42,155 (È venuto da un grembo, e siccome ne ho uno) 51 00:02:42,155 --> 00:02:43,620 Sai, hai un Big Bang, 52 00:02:43,620 --> 00:02:45,300 lo metti accanto a un altro 53 00:02:45,300 --> 00:02:46,500 ed a un altro ancora, 54 00:02:46,500 --> 00:02:47,613 e ancora un altro. 55 00:02:48,750 --> 00:02:51,766 (Str***a, sono una madre, niente drammi. 56 00:02:51,766 --> 00:02:54,540 Il fatto che pensiate che essere donna 57 00:02:54,540 --> 00:02:57,750 sia questione di cosmetici mi fa capire 58 00:02:57,750 --> 00:03:00,854 che non avete idea di chi diamine avete di fronte) 59 00:03:00,854 --> 00:03:03,604 (musica tranquilla) 60 00:03:04,530 --> 00:03:07,170 E l'unità immagine è solo un altro modo 61 00:03:07,170 --> 00:03:11,160 per mettere in sequenza le immagini (musica tranquilla) 62 00:03:11,160 --> 00:03:12,510 Sai, lo chiamo un labirinto, 63 00:03:12,510 --> 00:03:17,433 ma è meno un labirinto e più una sorta di visita guidata. 64 00:03:19,290 --> 00:03:22,200 Con una certa possibilità 65 00:03:22,200 --> 00:03:24,900 di intuire relazioni 66 00:03:24,900 --> 00:03:28,092 che non ti sarebbero necessariamente accessibili. 67 00:03:28,092 --> 00:03:30,759 (musica intensa) 68 00:03:31,800 --> 00:03:33,420 Mentre lo attraversi fisicamente, 69 00:03:33,420 --> 00:03:35,160 se fai un passo avanti 70 00:03:35,160 --> 00:03:36,690 vedrai un’altra cosa, 71 00:03:36,690 --> 00:03:39,180 e la gente vede quell’immagine raccapricciante, 72 00:03:39,180 --> 00:03:41,130 e abbassa la testa 73 00:03:41,130 --> 00:03:42,690 e continua a camminare, 74 00:03:42,690 --> 00:03:45,420 solo per trovarsi di fronte a un'altra immagine orribile, 75 00:03:45,420 --> 00:03:46,530 capisci? 76 00:03:46,530 --> 00:03:47,940 E il punto è che sì, 77 00:03:47,940 --> 00:03:52,350 ci sono immagini che sicuramente sono cruente, 78 00:03:52,350 --> 00:03:53,640 Vedi questa scena cruenta, 79 00:03:53,640 --> 00:03:55,170 e poi vedi una donna nera 80 00:03:55,170 --> 00:03:56,610 con un pezzo di legno in mano. 81 00:03:56,610 --> 00:03:58,268 Qual è la relazione? 82 00:03:58,268 --> 00:04:00,360 (musica intensa) 83 00:04:00,360 --> 00:04:02,280 Qual è la natura 84 00:04:02,280 --> 00:04:05,497 dell’assorbire o essere soggetti alla violenza? 85 00:04:05,497 --> 00:04:08,164 (musica intensa) 86 00:04:15,090 --> 00:04:16,530 Ogni volta che apro 'sta roba, 87 00:04:16,530 --> 00:04:19,023 è tipo: quella è una cosa. 88 00:04:19,890 --> 00:04:22,563 Quindi ora sto cercando di capire che farci. 89 00:04:27,450 --> 00:04:28,320 Credo sia qui. 90 00:04:28,320 --> 00:04:29,700 Forse non c'è, ma vediamo 91 00:04:29,700 --> 00:04:31,293 Penso di averlo messa qui dentro. 92 00:04:33,540 --> 00:04:35,187 Questo è “Apex”. 93 00:04:36,330 --> 00:04:38,850 All’inizio avevo solo un file con dentro delle cose, 94 00:04:38,850 --> 00:04:42,420 e poi a un certo punto ho iniziato a metterle in ordine 95 00:04:42,420 --> 00:04:46,953 e lo facevo così, mentre ne parlavo. 96 00:04:47,790 --> 00:04:49,320 E poi a un certo punto, 97 00:04:49,320 --> 00:04:50,820 “Oh, mettiamolo su una timeline 98 00:04:50,820 --> 00:04:52,230 così non devi cliccare" 99 00:04:52,230 --> 00:04:53,332 Capisci? 100 00:04:53,332 --> 00:04:56,082 (musica elettronica) 101 00:04:58,987 --> 00:05:02,130 “Apex” parla di una rock band nel futuro. 102 00:05:02,130 --> 00:05:04,380 La storia si svolge mentre il mondo 103 00:05:04,380 --> 00:05:06,308 così come lo conosciamo, sta finendo. 104 00:05:06,308 --> 00:05:09,810 (musica elettronica) 105 00:05:09,810 --> 00:05:12,000 Il cosiddetto spazio dell'arte 106 00:05:12,000 --> 00:05:14,610 è interessante soprattutto per la sua flessibilità, 107 00:05:14,610 --> 00:05:17,190 nel senso di cosa può essere, capisci? 108 00:05:20,173 --> 00:05:21,720 Non so se esiste un altro spazio 109 00:05:21,720 --> 00:05:24,644 migliore per giocare con questo tipo di idee. 110 00:05:24,644 --> 00:05:27,061 (musica soft) 111 00:05:30,660 --> 00:05:33,363 Ho studiato architettura alla Howard University. 112 00:05:34,710 --> 00:05:37,113 Mi son reso conto dopo circa 2 anni 113 00:05:37,113 --> 00:05:38,910 che ero ambivalente a riguardo, 114 00:05:38,910 --> 00:05:42,810 perché faticavo a immaginarmi 115 00:05:42,810 --> 00:05:45,010 come sarebbe stato il mio quotidiano. 116 00:05:46,050 --> 00:05:49,740 Ma i miei interessi 117 00:05:49,740 --> 00:05:52,050 si sono presto consolidati 118 00:05:52,050 --> 00:05:54,240 attorno all’idea che inizialmente pensavo 119 00:05:54,240 --> 00:05:57,210 fosse legata all’architettura. 120 00:05:57,210 --> 00:05:59,070 Sai, qualcosa tipo: 121 00:05:59,070 --> 00:06:01,530 se "Kind of Blue" fosse una casa, come sembrerebbe? 122 00:06:01,530 --> 00:06:03,480 O se "Electric Ladyland" fosse una casa, 123 00:06:03,480 --> 00:06:04,680 che aspetto avrebbe? 124 00:06:06,120 --> 00:06:10,110 Usando la black music come esempio 125 00:06:10,110 --> 00:06:11,823 di estetica nera in azione, 126 00:06:13,110 --> 00:06:15,570 quello che ho capito è che 127 00:06:15,570 --> 00:06:19,200 quell’impulso di mostrare l’ampiezza 128 00:06:19,200 --> 00:06:23,700 e la complessità del trasporre 129 00:06:23,700 --> 00:06:26,250 l’estetica nera in qualsiasi cosa tu faccia 130 00:06:26,250 --> 00:06:28,143 era, in fondo, ciò che mi interessava. 131 00:06:29,610 --> 00:06:34,610 Se guardi dove la cultura afroamericana è più forte, 132 00:06:34,830 --> 00:06:39,180 è negli spazi dell’espressività immateriale. 133 00:06:39,180 --> 00:06:41,400 Sai, musica, danza, cose così, 134 00:06:41,400 --> 00:06:44,037 cose che puoi fare con il corpo. 135 00:06:44,037 --> 00:06:45,230 ♪ This is a God dream ♪ 136 00:06:45,230 --> 00:06:50,230 ♪ This is a God dream ♪ 137 00:06:51,270 --> 00:06:52,958 ♪ We on an ultra light beam ♪ 138 00:06:52,958 --> 00:06:54,840 ♪ We on an ultra light beam ♪ 139 00:06:54,840 --> 00:06:56,550 I neri indossavano tessuti grezzi, 140 00:06:56,550 --> 00:06:59,310 quindi tutta l’idea di creare cose, 141 00:06:59,310 --> 00:07:02,700 cioè essere in grado di usare materiali, 142 00:07:02,700 --> 00:07:04,053 non era così ovvia. 143 00:07:07,680 --> 00:07:11,370 Le persone nere ricreano le cose usandole in modo diverso 144 00:07:11,370 --> 00:07:12,570 da quello proprio. 145 00:07:16,260 --> 00:07:18,060 La questione dell’appropriazione 146 00:07:18,060 --> 00:07:21,630 mi ha permesso di muovermi in un modo che avesse senso 147 00:07:21,630 --> 00:07:23,850 per me come persona nera, vista la mia, 148 00:07:23,850 --> 00:07:24,683 come già detto, 149 00:07:24,683 --> 00:07:26,223 relazione con la materia. 150 00:07:27,150 --> 00:07:28,580 Prendi qui e mettilo lì 151 00:07:28,580 --> 00:07:31,710 è come dire: non devo avere del materiale. 152 00:07:31,710 --> 00:07:33,120 Non devo nemmeno crearlo. 153 00:07:33,120 --> 00:07:35,973 Non devo creare niente per creare qualcosa. 154 00:07:37,911 --> 00:07:39,057 Sì, certo. Tra poco vado. 155 00:07:39,057 --> 00:07:42,300 – No, no, no, volevo solo passare a prendere un po’ d’affetto. 156 00:07:42,300 --> 00:07:43,350 Sembra fantastico. 157 00:07:43,350 --> 00:07:45,300 Sì, è un artefatto 158 00:07:45,300 --> 00:07:48,690 del mio universo alternativo. 159 00:07:48,690 --> 00:07:51,420 Lei non ha mai pubblicato un disco. 160 00:07:51,420 --> 00:07:53,550 È solo un fermo immagine da un video. 161 00:07:58,215 --> 00:07:59,457 (Agente: 'Voltati. 162 00:07:59,457 --> 00:08:03,686 Cammina all’indietro, tieni le mani in alto. 163 00:08:03,686 --> 00:08:05,117 Avanti. 164 00:08:05,117 --> 00:08:06,177 Vai indietro. 165 00:08:06,177 --> 00:08:07,110 Ancora indietro 166 00:08:07,110 --> 00:08:08,550 Ancora indietro.') 167 00:08:08,550 --> 00:08:09,390 Mi piace dire che 168 00:08:09,390 --> 00:08:11,490 siamo i canarini nella miniera 169 00:08:11,490 --> 00:08:13,530 della civiltà occidentale. 170 00:08:13,530 --> 00:08:15,060 Nessuno vuole il nostro posto. 171 00:08:15,060 --> 00:08:16,743 Nessuno vuole essere nero. 172 00:08:19,050 --> 00:08:20,100 Ma allo stesso tempo, 173 00:08:20,100 --> 00:08:22,950 quando vedono i neri, quasi paradossalmente, 174 00:08:22,950 --> 00:08:26,220 esistiamo anche come una sorta di emblema della possibilità 175 00:08:26,220 --> 00:08:29,643 di trascendere vincoli profondi. 176 00:08:30,750 --> 00:08:31,740 Capisci che intendo? 177 00:08:31,740 --> 00:08:33,900 Tutti hanno un piede sul nostro collo, 178 00:08:33,900 --> 00:08:35,798 ma noi restiamo in piedi. 179 00:08:35,798 --> 00:08:38,730 (musica elettronica) 180 00:08:38,730 --> 00:08:40,470 Quindi, dato che ci siamo passati 181 00:08:40,470 --> 00:08:44,280 e che questo ha generato ciò che chiamiamo "Blackness", 182 00:08:44,280 --> 00:08:47,130 musica Black, danza Black, forza vitale Black, 183 00:08:47,130 --> 00:08:48,540 tutte queste cose, 184 00:08:48,540 --> 00:08:52,373 come possiamo attingere a tutto ciò? (musica elettronica) 185 00:08:55,710 --> 00:09:00,710 Non è tanto che il campo da gioco non sia equo per le persone nere. 186 00:09:01,470 --> 00:09:03,090 È solo che il campo da gioco 187 00:09:03,090 --> 00:09:05,640 è più complesso per le persone nere 188 00:09:05,640 --> 00:09:06,510 Capisci, no? 189 00:09:06,510 --> 00:09:09,780 Questa è un’opportunità per confrontarsi con un paesaggio 190 00:09:09,780 --> 00:09:13,112 più interessante di una pianura. 191 00:09:13,112 --> 00:09:15,945 (musica a tempo medio) 192 00:09:26,690 --> 00:09:29,190 (musica al piano) 193 00:09:37,570 --> 00:09:40,740 Non si tratta di un handicap. 194 00:09:40,740 --> 00:09:41,790 Non è un handicap. 195 00:09:41,790 --> 00:09:43,653 È un’opportunità per, 196 00:09:45,880 --> 00:09:49,263 è divertente, è come un’opportunità per librarsi. 197 00:09:50,261 --> 00:09:53,178 (musica lenta al piano) 198 00:09:55,152 --> 00:10:00,152 ♪ Oh (indistinto) ♪ 199 00:10:00,850 --> 00:10:03,032 ♪Quando colpisci quella nebbia ♪ 200 00:10:03,032 --> 00:10:08,032 ♪ E inizierà per voi tutti♪ 201 00:10:08,952 --> 00:10:13,952 ♪ Dici che so che ce la faremo tutti♪ 202 00:10:14,170 --> 00:10:16,587 (musica lenta)

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