[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:08.13,0:00:10.92,Default,,0000,0000,0000,,JENNIFER ALLORA: Pass me the \Nvacuum cleaner thing again.
Dialogue: 0,0:00:10.92,0:00:13.65,Default,,0000,0000,0000,,This is definitely the spot for the trombone.
Dialogue: 0,0:00:14.20,0:00:16.98,Default,,0000,0000,0000,,It’s going to be like that with \Nthat thing, with a hand here.
Dialogue: 0,0:00:16.98,0:00:17.48,Default,,0000,0000,0000,,GUILLERMO CALZADILLA: Yeah.
Dialogue: 0,0:00:17.51,0:00:19.32,Default,,0000,0000,0000,,ALLORA: And then we’re going to \Nhave to extend the mouthpiece
Dialogue: 0,0:00:19.32,0:00:21.50,Default,,0000,0000,0000,,so you can actually sit there and play it.
Dialogue: 0,0:00:22.28,0:00:23.34,Default,,0000,0000,0000,,CALZADILLA: That’s perfect. Cymbals.
Dialogue: 0,0:00:23.44,0:00:25.37,Default,,0000,0000,0000,,ALLORA: And then a trumpet over there.
Dialogue: 0,0:00:25.37,0:00:26.89,Default,,0000,0000,0000,,CALZADILLA: A trom...\NALLORA: It has to go like up and out like that.
Dialogue: 0,0:00:26.89,0:00:31.72,Default,,0000,0000,0000,,CALZADILLA: Twenty feet in diameter. \NThat’s great. That’s funny.
Dialogue: 0,0:00:35.51,0:00:36.76,Default,,0000,0000,0000,,CALZADILLA: It looks like a gun.
Dialogue: 0,0:00:36.76,0:00:40.26,Default,,0000,0000,0000,,ALLORA: We’ll cut this part out so you \Ncan get in closer, but for now at least...
Dialogue: 0,0:00:40.26,0:00:43.77,Default,,0000,0000,0000,,CALZADILLA: Play...play it \Nthere to see. Really loud.
Dialogue: 0,0:00:46.10,0:00:49.08,Default,,0000,0000,0000,,CALZADILLA: That’s the tuba over there...
Dialogue: 0,0:00:49.08,0:00:51.91,Default,,0000,0000,0000,,ALLORA: Yeah, and then we have \Nthis one, an award tuba...
Dialogue: 0,0:00:56.30,0:00:58.61,Default,,0000,0000,0000,,CALZADILLA: How do you call this thing?
Dialogue: 0,0:00:59.28,0:01:00.95,Default,,0000,0000,0000,,ALLORA: Cymbal. That’s also good.
Dialogue: 0,0:01:07.36,0:01:12.44,Default,,0000,0000,0000,,ALLORA: What we do often with our projects is \Nit’s kind of an excuse to research something.
Dialogue: 0,0:01:12.44,0:01:15.00,Default,,0000,0000,0000,,ALLORA: This here is the same thing, \Nlike see how it is like the cannons...
Dialogue: 0,0:01:15.00,0:01:15.68,Default,,0000,0000,0000,,CALZADILLA: Yeah.
Dialogue: 0,0:01:15.68,0:01:17.04,Default,,0000,0000,0000,,ALLORA: This is what the openings are for.
Dialogue: 0,0:01:17.04,0:01:18.28,Default,,0000,0000,0000,,It was for the weapon.
Dialogue: 0,0:01:19.00,0:01:22.68,Default,,0000,0000,0000,,It’s this chance to learn more \Nabout something in the world
Dialogue: 0,0:01:22.68,0:01:25.48,Default,,0000,0000,0000,,and be able to formulate some kind of response.
Dialogue: 0,0:01:27.12,0:01:29.92,Default,,0000,0000,0000,,ALLORA: Alright so, this was this one about the…
Dialogue: 0,0:01:32.16,0:01:34.76,Default,,0000,0000,0000,,the sounds for the news networks and
Dialogue: 0,0:01:34.76,0:01:38.36,Default,,0000,0000,0000,,what they use to represent \Nthe coverage of the war.
Dialogue: 0,0:01:38.86,0:01:43.48,Default,,0000,0000,0000,,CALZADILLA: Now we’re making \Nbasically an archive of music of war
Dialogue: 0,0:01:43.48,0:01:46.72,Default,,0000,0000,0000,,from different times and places in the world.
Dialogue: 0,0:01:46.72,0:01:48.12,Default,,0000,0000,0000,,It’s called CLAMOR.
Dialogue: 0,0:01:48.12,0:01:51.08,Default,,0000,0000,0000,,It’s about music of war, music as a…
Dialogue: 0,0:01:51.08,0:01:52.68,Default,,0000,0000,0000,,as a sound weapon.
Dialogue: 0,0:01:53.77,0:01:57.68,Default,,0000,0000,0000,,CALZADILLA: So for example, there you \Nhave a trumpet from the American Civil War
Dialogue: 0,0:01:57.68,0:01:59.88,Default,,0000,0000,0000,,mixed up with a Japanese tuba,
Dialogue: 0,0:01:59.88,0:02:04.40,Default,,0000,0000,0000,,basically sounds of all different \Neras until today making this montage
Dialogue: 0,0:02:04.40,0:02:06.04,Default,,0000,0000,0000,,that is going to be part of two things.
Dialogue: 0,0:02:06.04,0:02:07.71,Default,,0000,0000,0000,,One is going to be part of a sculpture,
Dialogue: 0,0:02:08.84,0:02:14.20,Default,,0000,0000,0000,,in which basically is gonna be a concert \Nbut the band is going to be live musicians,
Dialogue: 0,0:02:14.20,0:02:17.29,Default,,0000,0000,0000,,are going to be inside this \Nobject, this sculpture.
Dialogue: 0,0:02:21.97,0:02:24.12,Default,,0000,0000,0000,,ALLORA: From the very \Nbeginning of our work together,
Dialogue: 0,0:02:24.12,0:02:25.72,Default,,0000,0000,0000,,we’re interested in materials.
Dialogue: 0,0:02:25.72,0:02:30.38,Default,,0000,0000,0000,,What are the meanings are connoted \Nby the use of certain materials.
Dialogue: 0,0:02:30.88,0:02:34.32,Default,,0000,0000,0000,,CALZADILLA: Certain materials \Ntalk or speak of their usage
Dialogue: 0,0:02:34.32,0:02:37.16,Default,,0000,0000,0000,,and have like a practical function.
Dialogue: 0,0:02:37.16,0:02:40.60,Default,,0000,0000,0000,,But you know there’s also this \Nsymbolic dimension that a material has.
Dialogue: 0,0:02:42.58,0:02:47.52,Default,,0000,0000,0000,,ALLORA: In the case of CHALK we were \Njust interested in the matter-of-factness
Dialogue: 0,0:02:47.52,0:02:48.64,Default,,0000,0000,0000,,of what chalk is.
Dialogue: 0,0:02:48.64,0:02:51.19,Default,,0000,0000,0000,,It is at once an ideological...
Dialogue: 0,0:02:51.19,0:02:51.93,Default,,0000,0000,0000,,CALZADILLA: Tool.
Dialogue: 0,0:02:51.93,0:02:53.34,Default,,0000,0000,0000,,ALLORA: ...something that \Nyou find in the classroom.
Dialogue: 0,0:02:53.34,0:02:54.71,Default,,0000,0000,0000,,CALZADILLA: That is ideological.
Dialogue: 0,0:02:54.71,0:02:56.48,Default,,0000,0000,0000,,ALLORA: But it’s also a geological substance.
Dialogue: 0,0:02:56.48,0:02:59.40,Default,,0000,0000,0000,,It’s...chalk is something that’s \Nfound naturally in the earth,
Dialogue: 0,0:02:59.40,0:03:04.01,Default,,0000,0000,0000,,and because of its nature \Nit is ephemeral and fragile.
Dialogue: 0,0:03:07.01,0:03:09.24,Default,,0000,0000,0000,,CALZADILLA: This idea of \Nmaking these gigantic chalks,
Dialogue: 0,0:03:09.24,0:03:12.84,Default,,0000,0000,0000,,you can write big words, physically, \Nbut perhaps also symbolically.
Dialogue: 0,0:03:17.16,0:03:19.64,Default,,0000,0000,0000,,ALLORA: Our idea was to place the chalks
Dialogue: 0,0:03:19.64,0:03:25.16,Default,,0000,0000,0000,,where the governmental \Nbuildings of Peru are located.
Dialogue: 0,0:03:25.16,0:03:28.36,Default,,0000,0000,0000,,Every day if they would allow for protestors to go
Dialogue: 0,0:03:28.36,0:03:31.20,Default,,0000,0000,0000,,and make a kind of lap around the plaza,
Dialogue: 0,0:03:31.20,0:03:35.90,Default,,0000,0000,0000,,and that’s your opportunity to publicly \Nvoice whatever demands you might have.
Dialogue: 0,0:03:38.45,0:03:43.20,Default,,0000,0000,0000,,ALLORA: The protestors, they realize \Nit was like another way to vocalize
Dialogue: 0,0:03:43.20,0:03:45.84,Default,,0000,0000,0000,,and to make visible their demands.
Dialogue: 0,0:03:45.84,0:03:49.28,Default,,0000,0000,0000,,People were writing they’re \Nfor this political party,
Dialogue: 0,0:03:49.28,0:03:51.78,Default,,0000,0000,0000,,and then someone would cross it \Nout and write something else.
Dialogue: 0,0:03:52.41,0:03:55.10,Default,,0000,0000,0000,,CALZADILLA: People writing declarations of love.
Dialogue: 0,0:03:55.23,0:03:57.96,Default,,0000,0000,0000,,ALLORA: And it really became \Na complex sort of forum
Dialogue: 0,0:03:57.96,0:04:00.31,Default,,0000,0000,0000,,that was all being registered on this floor.
Dialogue: 0,0:04:01.19,0:04:03.72,Default,,0000,0000,0000,,CALZADILLA: It’s not like a \Nsculpture that has one end
Dialogue: 0,0:04:03.72,0:04:05.84,Default,,0000,0000,0000,,or is only used in one particular way.
Dialogue: 0,0:04:05.84,0:04:08.24,Default,,0000,0000,0000,,You have all this multiplicity of positions.
Dialogue: 0,0:04:09.02,0:04:13.32,Default,,0000,0000,0000,,ALLORA: That piece has the potential \Nto actively disrupt what are
Dialogue: 0,0:04:13.32,0:04:15.97,Default,,0000,0000,0000,,the norms of a particular setting.
Dialogue: 0,0:04:18.28,0:04:21.12,Default,,0000,0000,0000,,CALZADILLA: A police squad, \Nthey arrested the sculpture.
Dialogue: 0,0:04:21.12,0:04:23.62,Default,,0000,0000,0000,,They took all the chalk, they \Nput them in a military truck …
Dialogue: 0,0:04:23.62,0:04:24.71,Default,,0000,0000,0000,,ALLORA: (INTERRUPTING) They \Nput them in a paddy wagon.
Dialogue: 0,0:04:24.71,0:04:25.56,Default,,0000,0000,0000,,CALZADILLA: … and they took them away.
Dialogue: 0,0:04:26.32,0:04:30.33,Default,,0000,0000,0000,,It shows the limits of free speech \Nin a so-called democratic society,
Dialogue: 0,0:04:30.72,0:04:34.40,Default,,0000,0000,0000,,but also talks about sculpture \Nand about historical references,
Dialogue: 0,0:04:34.40,0:04:35.78,Default,,0000,0000,0000,,about poetic dimension.
Dialogue: 0,0:04:40.00,0:04:44.12,Default,,0000,0000,0000,,ALLORA: This thing that comes \Nfrom...from Ottoman music.
Dialogue: 0,0:04:44.12,0:04:45.88,Default,,0000,0000,0000,,It’s like this...we argued,
Dialogue: 0,0:04:45.88,0:04:49.00,Default,,0000,0000,0000,,this is I think probably what \Nit made most close to each other
Dialogue: 0,0:04:49.00,0:04:52.76,Default,,0000,0000,0000,,and really defines our relationship \Nas a collaborative and as…
Dialogue: 0,0:04:52.76,0:04:54.28,Default,,0000,0000,0000,,personally is our fighting.
Dialogue: 0,0:04:54.28,0:04:55.52,Default,,0000,0000,0000,,We just like have…
Dialogue: 0,0:04:55.52,0:04:58.76,Default,,0000,0000,0000,,make it an art form to argue with \Neach other, about everything.
Dialogue: 0,0:04:58.76,0:05:02.72,Default,,0000,0000,0000,,But in a way that’s good because \Nit’s kind of like going to battle
Dialogue: 0,0:05:02.72,0:05:05.68,Default,,0000,0000,0000,,because finally at the end \Nof the day when we both have,
Dialogue: 0,0:05:05.68,0:05:09.28,Default,,0000,0000,0000,,you know, gave it our best with each other,\Nwe settle on something,
Dialogue: 0,0:05:09.28,0:05:13.98,Default,,0000,0000,0000,,what’s left over is what we both truly \Nagree with and truly find in common.
Dialogue: 0,0:05:13.98,0:05:16.52,Default,,0000,0000,0000,,CALZADILLA: Ah, but it’s more questioning.
Dialogue: 0,0:05:16.52,0:05:20.48,Default,,0000,0000,0000,,It’s this endless...endless questioning \Nof anything but why this and not that.
Dialogue: 0,0:05:20.48,0:05:24.00,Default,,0000,0000,0000,,ALLORA: Exactly. I mean it’s \Nnot...not trivial or childlike.
Dialogue: 0,0:05:24.00,0:05:25.40,Default,,0000,0000,0000,,But it’s constantly arguing.
Dialogue: 0,0:05:25.40,0:05:27.52,Default,,0000,0000,0000,,ALLORA: Okay, let’s just try things out now.
Dialogue: 0,0:05:27.52,0:05:28.73,Default,,0000,0000,0000,,That’s the...that’s the point.
Dialogue: 0,0:05:28.73,0:05:29.27,Default,,0000,0000,0000,,CALZADILLA: All right.
Dialogue: 0,0:05:29.27,0:05:33.08,Default,,0000,0000,0000,,ALLORA: At the end those things that we \Nboth can’t argue with each other about,
Dialogue: 0,0:05:33.08,0:05:35.51,Default,,0000,0000,0000,,are the things that we tend to then, you know,
Dialogue: 0,0:05:36.52,0:05:40.35,Default,,0000,0000,0000,,use as starting points to move \Nforward in some project of ours.
Dialogue: 0,0:05:42.94,0:05:46.52,Default,,0000,0000,0000,,CALZADILLA: Humor can be beautiful, \Ncan be horrific, can be political…
Dialogue: 0,0:05:46.52,0:05:47.72,Default,,0000,0000,0000,,can be poetic, can be transformative.
Dialogue: 0,0:05:47.72,0:05:49.10,Default,,0000,0000,0000,,ALLORA: It can be transformative \N. . . and it can be critical.
Dialogue: 0,0:05:49.10,0:05:50.76,Default,,0000,0000,0000,,CALZADILLA: But what I like is that physically,
Dialogue: 0,0:05:50.76,0:05:55.76,Default,,0000,0000,0000,,it’s a physiological transformation that \Nthis thing there still has affected you.
Dialogue: 0,0:05:55.76,0:05:59.36,Default,,0000,0000,0000,,We finding each other laughing at the same thing
Dialogue: 0,0:05:59.36,0:06:02.46,Default,,0000,0000,0000,,was a recognition that we \Nboth identify with this thing.
Dialogue: 0,0:06:02.46,0:06:08.23,Default,,0000,0000,0000,,ALLORA: And that became a way for us to find \Nthings in common and identify with each other.
Dialogue: 0,0:06:12.61,0:06:15.28,Default,,0000,0000,0000,,(SOUND OF HORN)
Dialogue: 0,0:06:15.28,0:06:18.60,Default,,0000,0000,0000,,ALLORA: Sometimes, though, we see \Nthings that aren’t like a joke,
Dialogue: 0,0:06:18.60,0:06:21.80,Default,,0000,0000,0000,,but it’s rather just this sort of incredible,
Dialogue: 0,0:06:21.80,0:06:25.40,Default,,0000,0000,0000,,absurd, unusual juxtaposition \Nof something that just seems
Dialogue: 0,0:06:25.40,0:06:29.56,Default,,0000,0000,0000,,totally out of place but at the same \Ntime seems perfectly sensible and right.
Dialogue: 0,0:06:32.80,0:06:38.04,Default,,0000,0000,0000,,ALLORA: We were interested in the activity \Nthat was happening in the Island of Vieques
Dialogue: 0,0:06:38.04,0:06:42.52,Default,,0000,0000,0000,,which is off the mainland of Puerto \NRico used as this bomb testing site.
Dialogue: 0,0:06:43.36,0:06:47.32,Default,,0000,0000,0000,,CALZADILLA: This was filmed the \Nweek that they opened the land
Dialogue: 0,0:06:47.32,0:06:51.60,Default,,0000,0000,0000,,that was previously occupied for sixty \Nyears by the military to the population.
Dialogue: 0,0:06:51.60,0:06:54.44,Default,,0000,0000,0000,,You have people who their entire \Nlives that have never been able to
Dialogue: 0,0:06:54.44,0:06:55.96,Default,,0000,0000,0000,,go around the entire island.
Dialogue: 0,0:06:55.96,0:06:58.100,Default,,0000,0000,0000,,So this is the first time \Nthat this entire land is open.
Dialogue: 0,0:07:06.00,0:07:10.60,Default,,0000,0000,0000,,ALLORA: And it felt like some sort of \Ncommemorative sound should accompany that,
Dialogue: 0,0:07:10.60,0:07:13.28,Default,,0000,0000,0000,,be emblematic of that popular struggle
Dialogue: 0,0:07:13.28,0:07:16.04,Default,,0000,0000,0000,,which in common terms is \Nusually understood as an anthem.
Dialogue: 0,0:07:16.04,0:07:18.72,Default,,0000,0000,0000,,CALZADILLA: So we looked into \Nthe etymology of the word anthem
Dialogue: 0,0:07:18.72,0:07:20.72,Default,,0000,0000,0000,,and we find something that we like much more,
Dialogue: 0,0:07:20.72,0:07:22.50,Default,,0000,0000,0000,,which is the sounding in answer.
Dialogue: 0,0:07:23.40,0:07:25.58,Default,,0000,0000,0000,,And so we call it RETURNING A SOUND.
Dialogue: 0,0:07:30.90,0:07:35.84,Default,,0000,0000,0000,,CALZADILLA: The acceleration of the \Nmotorcycle and all the accidents in the roads,
Dialogue: 0,0:07:35.84,0:07:39.00,Default,,0000,0000,0000,,the bumps, generated a score,
Dialogue: 0,0:07:39.00,0:07:42.63,Default,,0000,0000,0000,,a musical composition that \Nwas completely accidental.
Dialogue: 0,0:07:50.00,0:07:52.84,Default,,0000,0000,0000,,ALLORA: It was really interesting \Nto see the reaction of that work,
Dialogue: 0,0:07:52.84,0:07:55.12,Default,,0000,0000,0000,,and I remember there was one person who,
Dialogue: 0,0:07:55.12,0:07:57.28,Default,,0000,0000,0000,,he was like screaming when the land came open
Dialogue: 0,0:07:57.28,0:08:01.47,Default,,0000,0000,0000,,and he liked the fact that the \Ntrumpet in a way was like a scream.
Dialogue: 0,0:08:21.82,0:08:24.76,Default,,0000,0000,0000,,ALLORA: In Vieques in fact, \Nwhile there were so many people
Dialogue: 0,0:08:24.76,0:08:26.36,Default,,0000,0000,0000,,who had one thing in common,
Dialogue: 0,0:08:26.36,0:08:28.35,Default,,0000,0000,0000,,get the military out of Vieques,
Dialogue: 0,0:08:28.64,0:08:32.78,Default,,0000,0000,0000,,the majority of them are in complete disagreement \Nabout every other aspect of the island.
Dialogue: 0,0:08:33.24,0:08:36.25,Default,,0000,0000,0000,,CALZADILLA: So we somehow wanted \Nto mobilize this discussion.
Dialogue: 0,0:08:40.00,0:08:42.00,Default,,0000,0000,0000,,ALLORA: Through the metaphor \Nof the discussion table
Dialogue: 0,0:08:42.00,0:08:45.03,Default,,0000,0000,0000,,we arrived at this work which \Nwe call UNDER DISCUSSION.
Dialogue: 0,0:08:45.03,0:08:59.67,Default,,0000,0000,0000,,(SOUND OF OUTBOARD MOTOR)
Dialogue: 0,0:08:59.67,0:09:02.28,Default,,0000,0000,0000,,ALLORA: We used this person \Nto take the discussion table
Dialogue: 0,0:09:02.28,0:09:05.61,Default,,0000,0000,0000,,into the areas whose fate is uncertain.
Dialogue: 0,0:09:13.60,0:09:16.56,Default,,0000,0000,0000,,There is something in that antagonism or tension
Dialogue: 0,0:09:16.56,0:09:19.31,Default,,0000,0000,0000,,that could be understood anywhere in the world.
Dialogue: 0,0:09:20.38,0:09:22.00,Default,,0000,0000,0000,,While their actions are absurd,
Dialogue: 0,0:09:22.00,0:09:25.20,Default,,0000,0000,0000,,like taking the discussion table \Nof the island and making it a boat,
Dialogue: 0,0:09:25.20,0:09:27.84,Default,,0000,0000,0000,,it’s like a way to confront something which
Dialogue: 0,0:09:27.84,0:09:30.32,Default,,0000,0000,0000,,may seem in general overwhelming
Dialogue: 0,0:09:30.32,0:09:33.56,Default,,0000,0000,0000,,and finding a way to own it \Nand then contribute something.
Dialogue: 0,0:09:36.71,0:09:39.04,Default,,0000,0000,0000,,ALLORA: You know that’s kind \Nof the nature of making art,
Dialogue: 0,0:09:39.04,0:09:41.84,Default,,0000,0000,0000,,is to do that, is to kind of \Nturn something upside down
Dialogue: 0,0:09:41.84,0:09:43.36,Default,,0000,0000,0000,,and then when you see it upside down,
Dialogue: 0,0:09:43.36,0:09:45.08,Default,,0000,0000,0000,,then you start to see it completely differently
Dialogue: 0,0:09:45.08,0:09:46.73,Default,,0000,0000,0000,,and new meanings come out of it.
Dialogue: 0,0:09:58.56,0:10:02.64,Default,,0000,0000,0000,,ALLORA: Both of our backgrounds was \Ninformed by studies in the sciences.
Dialogue: 0,0:10:03.84,0:10:11.26,Default,,0000,0000,0000,,Forms like geology, biology, light, we \Nlook at through the lens of an artist.
Dialogue: 0,0:10:14.49,0:10:17.84,Default,,0000,0000,0000,,CALZADILLA: Our scientific \Ninterest comes in filter,
Dialogue: 0,0:10:17.84,0:10:21.10,Default,,0000,0000,0000,,I think, through absurdity or pure nonsense.
Dialogue: 0,0:10:38.60,0:10:43.61,Default,,0000,0000,0000,,ALLORA: SWEAT GLANDS, SWEAT LANDS was one of \Nthe more complicated video projects.
Dialogue: 0,0:10:47.94,0:10:50.60,Default,,0000,0000,0000,,CALZADILLA: Come Christmastime, \Neveryone fries their pork,
Dialogue: 0,0:10:50.60,0:10:54.03,Default,,0000,0000,0000,,you have to fry that pork \Nfor hours with your hands.
Dialogue: 0,0:10:57.10,0:10:59.88,Default,,0000,0000,0000,,CALZADILLA: That piece of metal \Nin which the pork is fried,
Dialogue: 0,0:10:59.88,0:11:03.16,Default,,0000,0000,0000,,we had welded to the back wheel of a car
Dialogue: 0,0:11:03.16,0:11:05.41,Default,,0000,0000,0000,,when you accelerate and the pork rotates.
Dialogue: 0,0:11:07.11,0:11:11.00,Default,,0000,0000,0000,,ALLORA: And understanding the logic \Nof the spit as a kind of connection
Dialogue: 0,0:11:11.00,0:11:12.62,Default,,0000,0000,0000,,between these two systems...
Dialogue: 0,0:11:12.62,0:11:14.54,Default,,0000,0000,0000,,CALZADILLA: They had a symbolic dimension.
Dialogue: 0,0:11:20.99,0:11:22.60,Default,,0000,0000,0000,,ALLORA: The guy, he’s not really doing anything,
Dialogue: 0,0:11:22.60,0:11:25.52,Default,,0000,0000,0000,,he’s just sitting there kind of overseeing this…
Dialogue: 0,0:11:25.52,0:11:26.48,Default,,0000,0000,0000,,this activity.
Dialogue: 0,0:11:26.48,0:11:30.80,Default,,0000,0000,0000,,He’s smoking himself so he’s being \Nsmoked while the pork is being smoked.
Dialogue: 0,0:11:33.15,0:11:35.16,Default,,0000,0000,0000,,CALZADILLA: This is a very violent image.
Dialogue: 0,0:11:36.21,0:11:38.04,Default,,0000,0000,0000,,ALLORA: I’m interested in that violence of it.
Dialogue: 0,0:11:38.04,0:11:41.64,Default,,0000,0000,0000,,I’m interested in the \Ngrotesque and vulgarity of it
Dialogue: 0,0:11:41.64,0:11:49.60,Default,,0000,0000,0000,,because I think it speaks to a kind of \Nexcessive overheating of society and violence.
Dialogue: 0,0:12:00.00,0:12:02.92,Default,,0000,0000,0000,,ALLORA: So just to reiterate, \Nthey were the first thing was
Dialogue: 0,0:12:02.92,0:12:07.48,Default,,0000,0000,0000,,to use your instruments to \Nmake a kind of abstract sounds
Dialogue: 0,0:12:07.48,0:12:09.52,Default,,0000,0000,0000,,that are very strong and loud,
Dialogue: 0,0:12:09.52,0:12:11.00,Default,,0000,0000,0000,,like a siren or an ambulance
Dialogue: 0,0:12:11.00,0:12:13.50,Default,,0000,0000,0000,,or any other kind of reference \Nyou want to think about.
Dialogue: 0,0:12:13.90,0:12:15.44,Default,,0000,0000,0000,,CALZADILLA: For us it’s very important,
Dialogue: 0,0:12:15.44,0:12:21.62,Default,,0000,0000,0000,,the idea of having a work that have \Nall these contradictions in itself.
Dialogue: 0,0:12:22.56,0:12:26.12,Default,,0000,0000,0000,,How can you put all these things that \Nhave nothing to do with the other one?
Dialogue: 0,0:12:26.12,0:12:27.04,Default,,0000,0000,0000,,Well, you use glue.
Dialogue: 0,0:12:27.04,0:12:29.16,Default,,0000,0000,0000,,You use an ideological glue.
Dialogue: 0,0:12:29.16,0:12:43.89,Default,,0000,0000,0000,,(LIVE MUSIC)
Dialogue: 0,0:12:44.12,0:12:45.84,Default,,0000,0000,0000,,CALZADILLA: This frustration, this absurdity,
Dialogue: 0,0:12:45.84,0:12:47.40,Default,,0000,0000,0000,,this nonsense, this paradox,
Dialogue: 0,0:12:47.40,0:12:49.73,Default,,0000,0000,0000,,all these things constitute \Npart of the meaning of the work.
Dialogue: 0,0:12:49.73,0:12:52.98,Default,,0000,0000,0000,,(LIVE MUSIC)