[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:03.50,Default,,0000,0000,0000,,(slow instrumental music)
Dialogue: 0,0:00:05.88,0:00:08.60,Default,,0000,0000,0000,,(foot steps squeaking)
Dialogue: 0,0:00:08.60,0:00:11.27,Default,,0000,0000,0000,,(piano playing)
Dialogue: 0,0:00:12.23,0:00:17.23,Default,,0000,0000,0000,,(piano keys tapping) (metronome clicking)
Dialogue: 0,0:00:17.60,0:00:20.68,Default,,0000,0000,0000,,(instrumental music)
Dialogue: 0,0:00:32.09,0:00:34.50,Default,,0000,0000,0000,,- I don't make paintings,\Nand I don't make sculptures.
Dialogue: 0,0:00:34.50,0:00:39.00,Default,,0000,0000,0000,,What happens is that the things\Nthat I make involve paint,
Dialogue: 0,0:00:39.00,0:00:43.11,Default,,0000,0000,0000,,and photography, drawing,\Nand also involve you know,
Dialogue: 0,0:00:43.11,0:00:46.17,Default,,0000,0000,0000,,materials: wood or metal, and so forth.
Dialogue: 0,0:00:46.17,0:00:49.98,Default,,0000,0000,0000,,To propose and develop concepts and ideas
Dialogue: 0,0:00:49.98,0:00:51.68,Default,,0000,0000,0000,,through the materials.
Dialogue: 0,0:00:51.68,0:00:53.01,Default,,0000,0000,0000,,(slow instrumental music)
Dialogue: 0,0:00:53.01,0:00:56.01,Default,,0000,0000,0000,,You can make art with any\Nnumber of kinds of materials,
Dialogue: 0,0:00:56.01,0:00:58.32,Default,,0000,0000,0000,,and you don't have to learn how to draw,
Dialogue: 0,0:00:58.32,0:01:01.33,Default,,0000,0000,0000,,and learn how to paint\Nin order to be an artist.
Dialogue: 0,0:01:01.33,0:01:04.41,Default,,0000,0000,0000,,(instrumental music)
Dialogue: 0,0:01:05.73,0:01:07.02,Default,,0000,0000,0000,,I was in a painting program
Dialogue: 0,0:01:07.02,0:01:09.30,Default,,0000,0000,0000,,and I discovered that the whole process
Dialogue: 0,0:01:09.30,0:01:12.12,Default,,0000,0000,0000,,of painting didn't hold\Nmuch meaning for me.
Dialogue: 0,0:01:12.12,0:01:13.71,Default,,0000,0000,0000,,There was an overwhelming sense
Dialogue: 0,0:01:13.71,0:01:15.90,Default,,0000,0000,0000,,that the whole thing is arbitrary.
Dialogue: 0,0:01:15.90,0:01:19.38,Default,,0000,0000,0000,,There was a perceived idea\Nthat a work of art was made
Dialogue: 0,0:01:19.38,0:01:22.65,Default,,0000,0000,0000,,from your imagination\Nand from your intuition.
Dialogue: 0,0:01:22.65,0:01:25.38,Default,,0000,0000,0000,,I do believe that there is\Nsuch a thing as intuition
Dialogue: 0,0:01:25.38,0:01:28.20,Default,,0000,0000,0000,,and there is such thing\Nas as the imagination.
Dialogue: 0,0:01:28.20,0:01:29.24,Default,,0000,0000,0000,,I just think these are concepts
Dialogue: 0,0:01:29.24,0:01:32.79,Default,,0000,0000,0000,,that they're culturally realized.
Dialogue: 0,0:01:32.79,0:01:36.48,Default,,0000,0000,0000,,What we come to understand\Nis knowledge and meaning
Dialogue: 0,0:01:36.48,0:01:39.54,Default,,0000,0000,0000,,are not pure products of our genius,
Dialogue: 0,0:01:39.54,0:01:42.60,Default,,0000,0000,0000,,but are built into the\Nstructure where we reside.
Dialogue: 0,0:01:44.67,0:01:47.22,Default,,0000,0000,0000,,So, I wanted to make a type\Nof work whose production
Dialogue: 0,0:01:47.22,0:01:51.36,Default,,0000,0000,0000,,is a consequence of a system,\Nrather than my imagination.
Dialogue: 0,0:01:51.36,0:01:52.92,Default,,0000,0000,0000,,The first piece I did like this is called,
Dialogue: 0,0:01:52.92,0:01:54.24,Default,,0000,0000,0000,,Walnut Tree Orchard.
Dialogue: 0,0:01:54.24,0:01:56.01,Default,,0000,0000,0000,,I photographed a series of walnut trees
Dialogue: 0,0:01:56.01,0:01:59.61,Default,,0000,0000,0000,,and converted the farm\Ninto numbers on a grid.
Dialogue: 0,0:01:59.61,0:02:03.75,Default,,0000,0000,0000,,That silhouette was then\Nused to layer the shape
Dialogue: 0,0:02:03.75,0:02:05.45,Default,,0000,0000,0000,,of the trees on top of each other.
Dialogue: 0,0:02:06.83,0:02:08.64,Default,,0000,0000,0000,,(instrumental music)
Dialogue: 0,0:02:08.64,0:02:11.70,Default,,0000,0000,0000,,It also produces evidence\Nof the differences
Dialogue: 0,0:02:11.70,0:02:14.28,Default,,0000,0000,0000,,between those trees where\Nthe forms don't align,
Dialogue: 0,0:02:14.28,0:02:18.63,Default,,0000,0000,0000,,and the system that I\Nuse allows me to signify
Dialogue: 0,0:02:18.63,0:02:19.86,Default,,0000,0000,0000,,those changes.
Dialogue: 0,0:02:27.31,0:02:28.89,Default,,0000,0000,0000,,In a way, I'm trying to suggest
Dialogue: 0,0:02:28.89,0:02:30.93,Default,,0000,0000,0000,,that the kind of visual\Ndifference that happens
Dialogue: 0,0:02:30.93,0:02:34.17,Default,,0000,0000,0000,,in the system operates the\Nsame way that other concepts
Dialogue: 0,0:02:34.17,0:02:36.36,Default,,0000,0000,0000,,of difference happens in other domains:
Dialogue: 0,0:02:36.36,0:02:39.51,Default,,0000,0000,0000,,politics, gender\Ndifference, race difference,
Dialogue: 0,0:02:39.51,0:02:40.59,Default,,0000,0000,0000,,class difference.
Dialogue: 0,0:02:40.59,0:02:44.43,Default,,0000,0000,0000,,In the drawings, we could\Nsee that those differences
Dialogue: 0,0:02:44.43,0:02:47.04,Default,,0000,0000,0000,,are constructed by the system.
Dialogue: 0,0:02:47.04,0:02:49.62,Default,,0000,0000,0000,,And in the social and political domain,
Dialogue: 0,0:02:49.62,0:02:52.74,Default,,0000,0000,0000,,the differences that we\Nsee are also constructed
Dialogue: 0,0:02:52.74,0:02:53.88,Default,,0000,0000,0000,,by a system.
Dialogue: 0,0:02:55.92,0:03:00.92,Default,,0000,0000,0000,,(inaudible conversation)\N(instrumental scales)
Dialogue: 0,0:03:05.18,0:03:07.26,Default,,0000,0000,0000,,(classical music)
Dialogue: 0,0:03:07.26,0:03:08.79,Default,,0000,0000,0000,,- Manifestos is a\Nproject I've been working
Dialogue: 0,0:03:08.79,0:03:09.93,Default,,0000,0000,0000,,on for several years.
Dialogue: 0,0:03:11.44,0:03:13.72,Default,,0000,0000,0000,,I select a political manifesto
Dialogue: 0,0:03:14.91,0:03:19.35,Default,,0000,0000,0000,,and I take that text and I\Nconvert the letters in the text
Dialogue: 0,0:03:19.35,0:03:20.46,Default,,0000,0000,0000,,to musical notes.
Dialogue: 0,0:03:22.68,0:03:26.28,Default,,0000,0000,0000,,And that conversion is a simple\Nsystem where the letters A
Dialogue: 0,0:03:26.28,0:03:30.00,Default,,0000,0000,0000,,through G are converted\Nto the notes A through G.
Dialogue: 0,0:03:33.39,0:03:34.65,Default,,0000,0000,0000,,All the other letters in the text
Dialogue: 0,0:03:34.65,0:03:38.31,Default,,0000,0000,0000,,are then converted to a\Nsilent beat or a rest.
Dialogue: 0,0:03:39.18,0:03:42.66,Default,,0000,0000,0000,,(classical flute plays)
Dialogue: 0,0:03:42.66,0:03:45.96,Default,,0000,0000,0000,,When you string a whole series\Nof words using the system
Dialogue: 0,0:03:45.96,0:03:50.04,Default,,0000,0000,0000,,then the translated letters\Ninto notes then form a melody.
Dialogue: 0,0:03:51.99,0:03:54.00,Default,,0000,0000,0000,,One of the things I discovered in talking
Dialogue: 0,0:03:54.00,0:03:56.40,Default,,0000,0000,0000,,about these pieces, is\Nthat people didn't believe
Dialogue: 0,0:03:56.40,0:03:59.10,Default,,0000,0000,0000,,that music was created by a random system.
Dialogue: 0,0:03:59.10,0:04:02.52,Default,,0000,0000,0000,,Because I use the diatonic\Nscale to do the translation
Dialogue: 0,0:04:02.52,0:04:06.08,Default,,0000,0000,0000,,and the scale is designed to be melodic.
Dialogue: 0,0:04:06.08,0:04:10.42,Default,,0000,0000,0000,,(classical music continues)
Dialogue: 0,0:04:10.42,0:04:13.17,Default,,0000,0000,0000,,(audience claps)
Dialogue: 0,0:04:14.10,0:04:16.07,Default,,0000,0000,0000,,This project, it's been 10 years
Dialogue: 0,0:04:16.07,0:04:19.59,Default,,0000,0000,0000,,from its beginning and\Nwas a rollercoaster.
Dialogue: 0,0:04:19.59,0:04:21.54,Default,,0000,0000,0000,,Often, we didn't think\Nit was gonna happen,
Dialogue: 0,0:04:21.54,0:04:24.15,Default,,0000,0000,0000,,but somehow, finally, we're here.
Dialogue: 0,0:04:25.26,0:04:28.02,Default,,0000,0000,0000,,When I started the project,\Nthe Black Lives Movement,
Dialogue: 0,0:04:28.02,0:04:29.73,Default,,0000,0000,0000,,Ferguson, started hitting the news
Dialogue: 0,0:04:29.73,0:04:34.17,Default,,0000,0000,0000,,and I wanted to explore the core
Dialogue: 0,0:04:34.17,0:04:38.10,Default,,0000,0000,0000,,or the problem that makes\Nthese things persevere.
Dialogue: 0,0:04:39.34,0:04:42.92,Default,,0000,0000,0000,,(classical symphony music)
Dialogue: 0,0:05:06.87,0:05:10.92,Default,,0000,0000,0000,,This particular piece Manifestos Four
Dialogue: 0,0:05:10.92,0:05:13.50,Default,,0000,0000,0000,,we chose the Dred Scott decision,
Dialogue: 0,0:05:13.50,0:05:17.37,Default,,0000,0000,0000,,of the famous Supreme Court\Ndecision for the text.
Dialogue: 0,0:05:18.99,0:05:21.78,Default,,0000,0000,0000,,Dred and Harriet Scott\Nwere born into slavery
Dialogue: 0,0:05:21.78,0:05:24.18,Default,,0000,0000,0000,,and sued for their freedom
Dialogue: 0,0:05:24.18,0:05:27.42,Default,,0000,0000,0000,,and majority of opinion was\Nthat, in order to file a suit,
Dialogue: 0,0:05:27.42,0:05:28.83,Default,,0000,0000,0000,,you have to be a citizen.
Dialogue: 0,0:05:28.83,0:05:31.44,Default,,0000,0000,0000,,And he said, it's impossible\Nfor Dred and Harriet
Dialogue: 0,0:05:31.44,0:05:32.70,Default,,0000,0000,0000,,to become citizens
Dialogue: 0,0:05:32.70,0:05:34.05,Default,,0000,0000,0000,,because they're not white.
Dialogue: 0,0:05:35.31,0:05:38.22,Default,,0000,0000,0000,,Then there's a text that\Ncomes from Fredrick Douglas's
Dialogue: 0,0:05:38.22,0:05:40.41,Default,,0000,0000,0000,,response to the Dred Scott decision.
Dialogue: 0,0:05:40.41,0:05:41.38,Default,,0000,0000,0000,,And so, I took a section of that
Dialogue: 0,0:05:41.38,0:05:44.12,Default,,0000,0000,0000,,and then arranged it for voice.
Dialogue: 0,0:05:44.12,0:05:49.11,Default,,0000,0000,0000,,♪ Loud and exultingly have we been told ♪
Dialogue: 0,0:05:49.11,0:05:54.11,Default,,0000,0000,0000,,♪ That the slavery question\Nis settled forever ♪
Dialogue: 0,0:05:56.60,0:05:58.47,Default,,0000,0000,0000,,- I think that the whole piece correlates
Dialogue: 0,0:05:58.47,0:06:00.54,Default,,0000,0000,0000,,so well with what's going\Non in the present day.
Dialogue: 0,0:06:00.54,0:06:03.51,Default,,0000,0000,0000,,The same problems continue to exist.
Dialogue: 0,0:06:03.51,0:06:06.54,Default,,0000,0000,0000,,The legal system is based\Nupon a certain logic,
Dialogue: 0,0:06:06.54,0:06:08.10,Default,,0000,0000,0000,,a certain linguistic framing.
Dialogue: 0,0:06:08.10,0:06:10.11,Default,,0000,0000,0000,,(symphony and singing continues)
Dialogue: 0,0:06:10.11,0:06:14.52,Default,,0000,0000,0000,,You see how arbitrary the\Nlaw is in relationship
Dialogue: 0,0:06:14.52,0:06:16.35,Default,,0000,0000,0000,,to the lived experience of people
Dialogue: 0,0:06:16.35,0:06:18.40,Default,,0000,0000,0000,,who have to live by those laws.
Dialogue: 0,0:06:18.40,0:06:23.21,Default,,0000,0000,0000,,♪ We cannot change the essential nature ♪
Dialogue: 0,0:06:23.21,0:06:26.41,Default,,0000,0000,0000,,(classical symphony music continues)
Dialogue: 0,0:06:26.41,0:06:30.65,Default,,0000,0000,0000,,♪ The essential nature ♪
Dialogue: 0,0:06:30.65,0:06:35.40,Default,,0000,0000,0000,,♪ He cannot make evil good and good evil ♪
Dialogue: 0,0:06:47.44,0:06:50.61,Default,,0000,0000,0000,,(upbeat modern music)
Dialogue: 0,0:06:54.48,0:06:56.67,Default,,0000,0000,0000,,- I wanted to know what\Nvegetation life was
Dialogue: 0,0:06:56.67,0:06:59.52,Default,,0000,0000,0000,,in Times Square before the city was built.
Dialogue: 0,0:06:59.52,0:07:01.83,Default,,0000,0000,0000,,We found that one of the common plants
Dialogue: 0,0:07:01.83,0:07:03.09,Default,,0000,0000,0000,,was the sweet gum tree.
Dialogue: 0,0:07:03.09,0:07:07.09,Default,,0000,0000,0000,,(upbeat modern music continues)
Dialogue: 0,0:07:09.30,0:07:11.88,Default,,0000,0000,0000,,One of the characteristics\Nof capitalism is that
Dialogue: 0,0:07:11.88,0:07:14.13,Default,,0000,0000,0000,,it excavates, it moves\Nand takes things away.
Dialogue: 0,0:07:15.06,0:07:17.58,Default,,0000,0000,0000,,The appropriation of Native American land
Dialogue: 0,0:07:17.58,0:07:19.29,Default,,0000,0000,0000,,is a form of excavation,
Dialogue: 0,0:07:20.13,0:07:23.70,Default,,0000,0000,0000,,but Times Square is kind of the\Nbroader trope of capitalism.
Dialogue: 0,0:07:23.70,0:07:25.05,Default,,0000,0000,0000,,So, my thought is that
Dialogue: 0,0:07:25.05,0:07:29.02,Default,,0000,0000,0000,,the upside down tree would\Nbe a gesture to remind us
Dialogue: 0,0:07:29.02,0:07:31.23,Default,,0000,0000,0000,,that this site was produced
Dialogue: 0,0:07:31.23,0:07:33.75,Default,,0000,0000,0000,,as a consequence of\Nremoving what was there.
Dialogue: 0,0:07:39.50,0:07:43.62,Default,,0000,0000,0000,,(mysterious symphony music)
Dialogue: 0,0:07:43.62,0:07:45.99,Default,,0000,0000,0000,,Moving Chains is one of several projects
Dialogue: 0,0:07:45.99,0:07:47.61,Default,,0000,0000,0000,,that makes up this commission.
Dialogue: 0,0:07:47.61,0:07:49.89,Default,,0000,0000,0000,,The dominant subject is\Nthe history of slavery
Dialogue: 0,0:07:49.89,0:07:51.81,Default,,0000,0000,0000,,and the idea of the commodity.
Dialogue: 0,0:07:51.81,0:07:54.06,Default,,0000,0000,0000,,They're doing more before\Nthe big sound test.
Dialogue: 0,0:07:54.06,0:07:54.90,Default,,0000,0000,0000,,They're gonna run some of the chains.
Dialogue: 0,0:07:54.90,0:07:59.90,Default,,0000,0000,0000,,(indistinct conversation)\N(upbeat acoustic music)
Dialogue: 0,0:08:02.86,0:08:05.69,Default,,0000,0000,0000,,(chains rattling)
Dialogue: 0,0:08:09.23,0:08:12.60,Default,,0000,0000,0000,,Moving Chains, is a\Nstructure, is a type of barge
Dialogue: 0,0:08:12.60,0:08:15.42,Default,,0000,0000,0000,,and it was intended to be by a river,
Dialogue: 0,0:08:16.62,0:08:18.75,Default,,0000,0000,0000,,a body of water, where commerce occurs.
Dialogue: 0,0:08:20.73,0:08:22.86,Default,,0000,0000,0000,,What you might think of as a roof,
Dialogue: 0,0:08:22.86,0:08:25.35,Default,,0000,0000,0000,,you find 100 foot long lengths of chain.
Dialogue: 0,0:08:26.70,0:08:29.49,Default,,0000,0000,0000,,Chains are designed to\Nmove from the two layers.
Dialogue: 0,0:08:30.63,0:08:33.15,Default,,0000,0000,0000,,Their movement is supposed to make a link
Dialogue: 0,0:08:33.15,0:08:34.30,Default,,0000,0000,0000,,with the river current.
Dialogue: 0,0:08:39.00,0:08:43.41,Default,,0000,0000,0000,,When you walk into the\Nbarge, underneath the chains,
Dialogue: 0,0:08:43.41,0:08:46.11,Default,,0000,0000,0000,,we want that to be an\Nintimidating experience.
Dialogue: 0,0:08:46.11,0:08:47.60,Default,,0000,0000,0000,,The chains, they're only four feet
Dialogue: 0,0:08:47.60,0:08:50.04,Default,,0000,0000,0000,,above the head of a six foot person.
Dialogue: 0,0:08:50.04,0:08:51.90,Default,,0000,0000,0000,,Since these chains are so big,
Dialogue: 0,0:08:51.90,0:08:55.24,Default,,0000,0000,0000,,we expect that it will\Nmake quite a bit of noise.
Dialogue: 0,0:08:55.24,0:08:58.66,Default,,0000,0000,0000,,(chains loudly rattling)
Dialogue: 0,0:09:21.18,0:09:23.94,Default,,0000,0000,0000,,It's an intentionally theatrical strategy
Dialogue: 0,0:09:23.94,0:09:27.12,Default,,0000,0000,0000,,to make it be an intense emotional space
Dialogue: 0,0:09:27.12,0:09:30.87,Default,,0000,0000,0000,,to give you empathy through\Nmetaphor of the terror
Dialogue: 0,0:09:30.87,0:09:32.58,Default,,0000,0000,0000,,and a horror of a slave ship.
Dialogue: 0,0:09:33.76,0:09:37.53,Default,,0000,0000,0000,,(chains loudly rattle)
Dialogue: 0,0:09:37.53,0:09:41.58,Default,,0000,0000,0000,,The intimidation is important to clarify
Dialogue: 0,0:09:41.58,0:09:43.58,Default,,0000,0000,0000,,the political critique of the work.
Dialogue: 0,0:09:44.76,0:09:48.03,Default,,0000,0000,0000,,That this structure\Nreally was foundational
Dialogue: 0,0:09:48.03,0:09:50.24,Default,,0000,0000,0000,,to the American economy.
Dialogue: 0,0:09:50.24,0:09:51.93,Default,,0000,0000,0000,,(fast-paced symphony music)
Dialogue: 0,0:09:51.93,0:09:53.40,Default,,0000,0000,0000,,As I'm standing here,
Dialogue: 0,0:09:53.40,0:09:55.95,Default,,0000,0000,0000,,I cannot escape the\Nconsequences of that history.
Dialogue: 0,0:09:57.18,0:09:58.38,Default,,0000,0000,0000,,How do we improve the world?
Dialogue: 0,0:09:58.38,0:10:00.27,Default,,0000,0000,0000,,How do we improve life for everybody?
Dialogue: 0,0:10:00.27,0:10:02.64,Default,,0000,0000,0000,,And I don't know if it's possible,
Dialogue: 0,0:10:02.64,0:10:03.93,Default,,0000,0000,0000,,but when the bad things happen,
Dialogue: 0,0:10:03.93,0:10:06.63,Default,,0000,0000,0000,,we should complain about\N'em in order to reduce them.
Dialogue: 0,0:10:07.95,0:10:10.31,Default,,0000,0000,0000,,We should not forget how\Nthings are put together.
Dialogue: 0,0:10:10.31,0:10:14.81,Default,,0000,0000,0000,,(fast-paced symphony music continues)