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35C3 preroll music
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Herald: Most recently in South Africa, it[br]was an awesome experience, awesome people,
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awesome culture but while I only[br]experienced the tourists way, Sélim Harbi
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brings us the local guide culture. Sélim[br]allows an immersive and almost physical
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experience of the African identity. Please[br]welcome on stage Sélim Harby and
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Afroroutes.[br]Applause
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Sélim: Hi, can you hear me? So first of[br]all thank you very much to be here.
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I wasn't expecting so much crowd. So again,[br]give a big applause for yourself. Thank
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you very, very much to be here. Applause[br]And thank you for the CCC. It's the first time I'm
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here and really experiencing something[br]totally new for me. And thank you for the
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curators. Thank you for really giving me[br]the stage to explore with you further this
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project which is Afroroutes. First of all,[br]I want to tell you something which is very
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personal. The very first time when I was[br]in Africa, in North Africa, I was invited
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for a ceremony, a ritual, in Morocco. This[br]ceremony is Gnaoua. I don't know if you
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heard about it. So basically I was[br]surrounded by African descendants and I
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knew that those descendants are slave[br]descendants that has been transported and
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displaced from sub-Saharan Africa to[br]Morocco. So this ceremony was a pretty
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powerful for me. The more I asked the[br]question about what is the purpose of
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this, why are you doing that. I really[br]started to explore the history of Africa
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through that. So a couple of years after[br]that I was luckily able to be in Brazil in
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Salvador de Bahía. I was also invited to a[br]kind of ceremony called Candomblé, I don't
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know if some of you heard about it, and[br]the thing is that during the Candomblé
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ritual they were explaining me that, we do[br]that just to reconnect to the African
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continent, to reconnect with our ancestors[br]and our history, our slavery history, so
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between Morocco and Brazil I knew that my[br]story is there. So, Afroroutes is born out of
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this conviction that the displaced culture[br]from Africa crossing the sea to Latin
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America was a pretty unexplored story. We[br]see it like slavery. Slavery could be a
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very, very large concept, large idea, very[br]heavy history for the Africans themselves.
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And I wanted to absolutely to avoid this[br]kind of images that we used to see, I
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don't know if some of you saw Amistad, the[br]film, and this is like classical narrative
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of blacks being beaten etc. which is[br]reality. I wanted to go beyond that and I
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wanted to explore how those diasporas[br]still connected with their ancestors and
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how is the function of music within this[br]ceremony. So basically, Afroroots is born
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out of this perspective. Second of all,[br]I've been also luckily involved in a great
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project, three, four years ago where I[br]explored or I got in touch with a
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fantastic medium which is Virtual Reality.[br]I don't know if some of you tried some VR,
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but VR was for me a really new exploration[br]of how we can tell the story differently.
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How can we really engage and create[br]another type of connection with stories
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and have a totally different approach with[br]time and space. This project called The
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Enemy allows me really to widen my[br]perspective as a storyteller and really go
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into a totally different path, so I[br]decided to use this medium which is the
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VR, not because I'm most like many of[br]actors now in the media field, surfing the
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hype or whatever, it's cool to have the[br]goggles and say, wow it's fantastic. It's
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just because I was deeply convinced that[br]VR is the proper medium for this story.
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So Virtual Reality, I'm not here the preacher of VRs.[br]It's for me a very powerful medium in the
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sense of it puts you really in the center[br]of a reality. You don't have to receive
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data, you don't receive a narrative, you[br]don't receive, you just put into center of
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reality and you empower your view somehow[br]to really interpret data in a very
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subjective way what you see and what you[br]feel. In my eyes, it could be also as I
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hear you can see, it could be really the[br]next anthropology tool and in that sense,
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it will transform the whole knowledge that[br]we could have one century long into real
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experiences which is totally different[br]than just reading a book that someone else
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wrote it or imagined. So VR is creating[br]powerful memories because just for the
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fact that it provides the context of what[br]you are seeing. Please, first of all, take
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a look at the trailer of Afroroutes and we[br]talk a little bit after.
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Video starts playing
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Sélim: No sound.
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It's ok. It happens.
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Sound starts
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Sélim in the video: Centuries ago, many
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Africans were forced to leave their[br]countries. They were spread in different
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corners of the world. A long, long journey[br]through lands and seas. They left
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everything behind. They had to leave. They[br]could only keep their language, their
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culture and of course, their music. So[br]there is a bigger story than slavery
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itself. This project is not another[br]apology of slavery. I want to look beyond
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that. What happened after? Where are the[br]slaves descendants today? What did they
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produce in terms of cultures? How was[br]their heritage leave they celebrated?
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Is there any tangible memory form. So I[br]decided to follow the path of the slavery
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roads and I knew that music will guide my[br]journey.
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For many years, I travelled in
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different countries and met several[br]diasporas and experienced their well-
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conserved cultures and of course their[br]music. No history book could explain me
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slavery and the cultural dynamics within[br]better than being almost there.
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This is exactly what Afroroutes project is about.[br]I'm using Virtual Reality in 360 videos to
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take you on a journey to meet those[br]African descendants, to hear their stories
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and experience their heritage.[br]Here is my concept. As you start to
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experience, you will be surrounded by four[br]characters. Simply by choosing one, you
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will be brought to a destination. The[br]character will tell you his story, will
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show you his surroundings before bringing[br]you to a specific ritual.
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Voice singing in the video
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Man speaking in video: My name is ... I'm ...
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in Tangier, Morocco. I am born in ... a slaves[br]house. I grew up there.
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Sélim in the video: And that's not all. We[br]want to bring you much closer. At the end,
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you will be invited to play music with the[br]characters to feel that physical experience.
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Sélim: Thank you very much.
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applause[br]Sélim: So basically I decided to go on
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music in this journey because before[br]drafting the first prototype by writing
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the concept of this project, I did a lot[br]research and one of my biggest hurdle was,
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I wasn't able to find trustful archives. I[br]wasn't able to find really powerful
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testimonies of what happened exactly. The[br]only archives I could found were somewhere
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in the Western world, not in Africa, not[br]in African bibliotheks, somehow kind of
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jailed into Western bibliotheks of big[br]institutions. So for me it was a big
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problem and most of this narrative or the[br]version of this narrative is basically
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written by people who enslaved the[br]Africans. So for me it was a big problem.
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I can not tell this story from the[br]perspective of Western perspective which I
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used of course because it gives a lot of[br]data and information. So for me it was
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clear, in order to tell this story I need[br]to go deeper into archives. I really need
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to go into what we call the meta archives[br]which is simply the oral tradition. It's
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what the people used to say and transmit[br]generation after generation. In this case,
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music was absolutely what I was looking[br]for because, if you look at little bit of
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the history, those communities wherever[br]through the trans-Atlantic slave trade,
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the trans-Pacific slave trade or the[br]trans-Saharan slave trade, that's like
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400, 500 years, but the communities in[br]Brazil for example, they're still speaking
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Yoruba which is the language from western[br]coast. The people the Siddi in India, they
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still talking Kiswahili. So it is really[br]powerful how the music could maintain this
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intangible form in a very intact way and[br]it's still very very powerful. So I
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decided to go absolutely on music and[br]explore this displacement through music.
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As you can see in this map, I could[br]identify also several diasporas. First of
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all, in North Africa which is the Gnawa[br]and Stambeli communities which are sub-
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Saharan, African transported through the[br]slavery caravans from the Sahara to North
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Africa. You have also the trans-Atlantic[br]slave trade which is mainly, the entry
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door was Salvador de Bahía. 90 percent of[br]all slaves transported from the western
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coast where proceed. The entry door was[br]Salvador de Bahía and from there was they
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were spread into the whole Caribbean and[br]from there to the US. So for me, Salvador
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de Bahía was a key point to explore this[br]and another very untold story, I'm coming
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like three weeks ago from Gujarat from[br]India where I've been able to visit and
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explore a little bit the other journey[br]which is the trans-Pacific journey. From
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the Indian cities, the African descended[br]from the eastern coast, Zanzibar and
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Kenya. So I tried to have this three[br]destinations to have a better overview of
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what those traditions are. Let me explain[br]you shortly what you can expect in this
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experience. So basically you will have a[br]menu. Three characters would be in front
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of you. And as I say in the trailer, you[br]just have to pick up one, you choose one,
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and you just embark. You don't know who is[br]the person and you don't know where you
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embark. It's exactly like the slaves[br]condition in that time. So you embark to a
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destination and at the end, you will[br]discover where is the destination. So you
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will meet three characters. First of all,[br]what you saw in the trailer was a maestro,
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healer Abdullah el Gordh from Tangier,[br]Morocco. Luzinho do Jeje, a percussionist
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in a Candomblé group in Salvador de Bahía[br]and Siddi Goma which is a band in Siddi in
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India, African descendant and performing[br]the what they call Damal which is a ritual
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from the Southern India. Ok, so the[br]experience is quite simple. You get into
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this menu, you choose a character and then[br]you have a very linear story, 360 story.
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Actually the purpose of that is to have[br]this character trying to define the place,
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the environment, who he is, and trying[br]to introduce you slowly to this to his
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community. And after that you will be[br]totally in a ceremony and a ritual, in a
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specific ritual. You could ask me why[br]ritual, what is ritual, why you choose to
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put us in the ritual? Personally I think[br]that a ritual or ceremony is in one hand
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the pure manifestation of that well-[br]conserved memory, once, and in the other
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hand it is a multimedia explosion. You see[br]things, you see colors, you see dance, you
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listen to music, you just explore in all[br]senses and in that sense, VR is very
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powerful to transmit that. Of course as[br]user you will be able to stop if you want
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but and this is why how technology is[br]very powerful in this project. You can't
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go further because the structure of the[br]ritual is basically, the music is gonna go
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a little bit up and up and up in the[br]ritual. The people go in trance. Why?
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Because this trances is the way to[br]reconnect with their ancestors. For some
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people maybe it's like something really[br]new. But the music frequencies that are
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produced during a ceremony whatever with[br]drums, whatever with other instrument
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jingles etc. put them in a situation[br]where they really connect with their
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ancestors were there with their heritage,[br]with the memories and the challenge of
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this project was to reproduce this. Me or[br]you, you may want to experience that. So
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what you are doing now basically is, we[br]are working on a technical solution,
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basically an algorithm which measuring[br]your frequencies and your body movement.
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If you want to go in trance you can. If[br]you want to stay in the ritual you can.
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The more you stay, the more the music will[br]go up and more will transport you with
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them. If you if it is too much for you,[br]you step back and you go back to the menu,
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as simple as that. Those are some[br]testimonies because during this project,
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as many of you doing projects, you have[br]moments when you are doubting. You say
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what the fuck are you doing. What's this?[br]Why are you doing that? So what I always
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do is like when I produce the first[br]prototype, I go to the people back and say
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look, this is what I'm doing. What do you[br]think? So, this Maestro of Genua told me,
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this is what I always dreamed about. I[br]knew that I have brothers and the other
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side. So for me it's a very powerful[br]testimony that their memories still
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gravitating between the sea and they know[br]that they have parents, family that
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crossed the borders or crossed the sea and[br]they are there. So for me it's very
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powerful to know that those people[br]understand what is the purpose of this
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work and from the other side too. So in[br]Brazil I had this crazy testimony which
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with where this Maos de Santos told me,[br]we don't need passports anymore, so we can
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be everywhere. Lately in India, Mr Sabia[br]which is the lead singer of the Cidi told
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me this is our music there. So for me all[br]those testimonies show me that this
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project is on a good path somehow and the[br]purpose why I'm doing that is actually
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and I think beyond music and beyond[br]slavery and et cetera this dynamics of
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displacement when people move from place[br]to place, they carry on a set of
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knowledge, set of wisdom with them and[br]sometimes we think it's gonna be lost
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somehow in the space but I don't think so.[br]Personally I think that memory is still a
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life always. And music is really powerful[br]to tell us that the memory can be always
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kept intact. And what I learned also[br]through this project is that through the
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suffering of being displaced of being[br]taken somewhere as they create beauty.
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Beauty has been created, celebrated,[br]transcended into new identity which is
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very beautiful because if you see the[br]Brazilians. They are now part of Brazil,
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despite the whole harsh situation that[br]they are living in, their living there,
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that they're still, they adapted to new[br]environment where they are and it's the
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same for all displaced cultures from[br]Africa. So outputs of this project, first
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of all, we will produce an app which is[br]going to be free to download so that
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everyone can experience it on very normal[br]basic cardboard and also multi user
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experience. So one of my main purpose and[br]of doing this project, so I want to have
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a kind of social impact through that. I[br]want to explain somehow slavery in a
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totally different way. I want to have a[br]kind of educational part of this project.
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So I want that children can go through[br]that, listen to some music, listen to some
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strong story but also understand[br]differently what happens. Because maybe we
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love to dance on soul music, jazz music[br]but somehow we forget where it's coming
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from and then what is the whole journey[br]that we all today's pretend that we are
0:22:40.340,0:22:44.430
open and love this jazz music and stuff.[br]But we don't understand where it's coming
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from. Why is it like this? How those[br]displaced communities had lived. That we
0:22:58.530,0:23:07.110
today can listen to their music and enjoy[br]it. So I actually I am, in order to finish
0:23:07.110,0:23:21.840
this small speech. You know what's this?[br]Actually I made, I made some research
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because early this year I was invited to[br]have a TedX-Talk in Cape Verde and the theme
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was roots, Wurzeln, and I made some[br]research and I found out that 99 percent
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of the plants on this earth cannot live[br]without roots in the site. Only one plant
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and this plant is magic. This plant could[br]transform the role of the roots in the
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soil through the leaves. The name of this[br]plant is Tillandsias and it's a very
0:24:04.299,0:24:09.860
inspiring plant because it has like[br]through the years transformed the role of
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the roots into to something else. It[br]lives without roots. For me it's a very
0:24:14.559,0:24:20.730
inspiring plant because it kind of[br]reminds us that we we are all like kind of
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we can reinvent ourself and this is the[br]case also for those displaced
0:24:23.980,0:24:30.690
communities. They reinvented something.[br]They really transformed and transformed,
0:24:30.690,0:24:37.320
transcended that identity to something[br]beautiful. So far, I came to the end of
0:24:37.320,0:24:41.900
my pitch. Thank you very much. If[br]you have questions ...
0:24:41.900,0:24:46.299
applause
0:24:50.149,0:24:55.150
Herald: Small note on the end. He said[br]earlier that he brought the prototype.
0:24:55.150,0:24:59.039
Sélim confirms[br]Herald: I think you're able and willing to
0:24:59.039,0:25:02.840
show.[br]Sélim: Yes. If people want to test it to
0:25:02.840,0:25:06.600
have a prototype with me so outside maybe,[br]yes.
0:25:06.600,0:25:12.090
Herald: Perfect. In this case I think you[br]meet each other outside, in front of the
0:25:12.090,0:25:20.210
room. If you have questions there are two[br]microphones. Please ask your questions and
0:25:20.210,0:25:27.830
please speak out loud into the microphone[br]directly. Number two please.
0:25:27.830,0:25:32.409
F1: Ok, thank you for our talk. I know[br]from Brazil but I think this is valid for
0:25:32.409,0:25:36.970
the other locations too, that they are[br]actually discussions that ceremonies like
0:25:36.970,0:25:41.820
this which are sacred should not be easily[br]accessible to outsiders and especially
0:25:41.820,0:25:45.460
Europeans who come there usually as a[br]tourist and see that as like cheap
0:25:45.460,0:25:50.890
attraction and then they go and go back to[br]the resort or something. So how would you
0:25:50.890,0:25:54.890
situate your project in those discussion[br]or did you take part in them?
0:25:54.890,0:25:59.090
Sélim: Okay. Thank you for this question.[br]Actually it took me one and a half
0:25:59.090,0:26:07.289
year to find the right person and to work[br]it out to get into a Candomblé session,
0:26:07.289,0:26:12.210
exactly they didn't want to reduce it to[br]cheap entertainment which is not the case.
0:26:12.210,0:26:17.190
First of all, they were saying to me: "What[br]you come from Europe, you want to just to
0:26:17.190,0:26:24.140
reduce our spirituality into an[br]entertainment." It took me a lot of time to
0:26:24.140,0:26:30.720
really convince my local producer there[br]which is part of the family of Candomblé.
0:26:30.720,0:26:35.620
That's not the case. I'm coming with a[br]totally different concept. Of course we
0:26:35.620,0:26:42.890
are, it's a kind of golden gate you open[br]for that and they're not like used to
0:26:42.890,0:26:48.850
let everybody to those ceremonies and[br]those rituals, especially in Brazil where
0:26:48.850,0:26:54.809
the socio-economic pressure and situation[br]is really special. It's really harsh. So
0:26:54.809,0:27:00.060
for them Candomblé is a kind of identity,[br]it's us, you know, it's kind of: this is us
0:27:00.060,0:27:05.720
and this is the other Brazil. So yes it[br]took me a long time to convince the people
0:27:05.720,0:27:11.540
to establish trust and to really be there[br]many times and to and to let them
0:27:11.540,0:27:18.750
understand look, it is a project that aims[br]to connect those diasporic heritage. You
0:27:18.750,0:27:25.490
know I want to show this to maybe your[br]brothers and sisters in India, in Morocco.
0:27:25.490,0:27:35.070
And it's worked out, so somehow, VR, it's[br]giving you as author also this question of
0:27:35.070,0:27:46.190
ethics because you don't frame something,[br]you put the user inside a set. So, for them
0:27:46.190,0:27:51.909
it's a kind of secret. You know, I don't[br]know, if some people of you have been in a
0:27:51.909,0:27:56.580
Candomblé session. It is very powerful[br]like when the drums starting and going up
0:27:56.580,0:28:04.640
and up and up and up, it's fantastic I mean[br]it's euphoria that goes up and for them it's a
0:28:04.640,0:28:09.220
way to be. It's a way to say, here we are.[br]We don't forget, we are here, we
0:28:09.220,0:28:14.371
celebrate, we cry, we love and we live[br]here and we don't forget where we're
0:28:14.371,0:28:20.190
coming from. So this magical gates that we[br]are is up. Of course it keeps the whole
0:28:20.190,0:28:31.400
kind of responsibility somehow.[br]Herald: Thank you. Next question, nice. In
0:28:31.400,0:28:33.590
this case, I have the opportunity...Number[br]two please.
0:28:33.590,0:28:41.860
F2: Thank you for your talk. I would like[br]to add a little bit to that
0:28:41.860,0:28:45.100
Herald: Questions only please.[br]F2: Ok.
0:28:45.100,0:28:52.919
Herald: So what's the question?[br]F2: The question is, well I can't do that,
0:28:52.919,0:28:58.250
I need to add something because I think[br]that some things are not presented right
0:28:58.250,0:29:03.670
or just wrong. Candomblé it's not just[br]anything but it is a direct connection to
0:29:03.670,0:29:05.800
the ..[br]Herald: Ok, in this case I will shift the
0:29:05.800,0:29:08.980
discussion back to the ... Can we have the[br]next question please?
0:29:08.980,0:29:12.659
F2: ...and this is shortened to something[br]which cannot be shortened.
0:29:12.659,0:29:18.510
Herald: Okay go ahead, sure.[br]F2: ...and the Candomblé and Dojoba are
0:29:18.510,0:29:22.700
directly connected and have a religious[br]foundation. So this is just in addition
0:29:22.700,0:29:28.510
about that and also there was something[br]wrong in your talk. You said the people
0:29:28.510,0:29:34.950
were deported to North America did not go[br]through South America. But they also went
0:29:34.950,0:29:39.670
directly there, they were transported[br]directly there. So just those additions. I
0:29:39.670,0:29:44.679
would love to discuss with you this[br]further and not to ... also of course
0:29:44.679,0:29:49.080
everybody can ask me after that because I[br]don't want to monopolize this.
0:29:49.080,0:29:52.987
Sélim: Ok, thank you very much.[br]Herald: Ok, next question please. Number two.
0:29:52.987,0:29:57.700
F3: Ok, it's follow up question. If your
0:29:57.700,0:30:05.730
only aim were to connect the communities,[br]why, how does the free downloadable app
0:30:05.730,0:30:11.789
into that so, could you maybe elaborate on[br]the entertainment part a little bit more
0:30:11.789,0:30:17.550
because I don't see that point will be[br]treated by your answer. The other
0:30:17.550,0:30:23.460
question: Is there any profit in your[br]project? And if yes, who gets that profit.
0:30:23.460,0:30:29.390
Sélim: Okay first of all, why an app,[br]because basically I want to share it with
0:30:29.390,0:30:36.460
people as simple as that. Profit, till now[br]we don't have any profit. We produce a
0:30:36.460,0:30:42.490
prototype after the prototype with a[br]company based in Berlin which is in VR. So
0:30:42.490,0:30:48.370
we got small money just to produce that[br]and to make it in a good way and to
0:30:48.370,0:30:54.809
explore VR, first of all, as as a[br]storytelling tool. So there is no profit
0:30:54.809,0:31:06.270
in that sense. This project is since two[br]and a half year. We got some small grants
0:31:06.270,0:31:14.390
from cultural institutions to make[br]research but beyond that I mean the main
0:31:14.390,0:31:19.460
purpose is not to make money out of this,[br]basically. The main purpose is to
0:31:19.460,0:31:27.850
distribute it, to shift somehow the[br]conscience of people to present this issue
0:31:27.850,0:31:36.461
in a totally different way but also to try[br]to somehow engage the debate, you know, to
0:31:36.461,0:31:44.529
unroot narratives which is in our[br]conscience still there. We see blacks as
0:31:44.529,0:31:50.649
you know slaves etc. We don't have it[br]easy to really decode what happened, you
0:31:50.649,0:31:54.810
know, in terms of culture, in terms of[br]anthropology. So this project is an
0:31:54.810,0:32:00.669
attempt to that, is a trigger. So that's[br]why we're here, to discuss that. So till
0:32:00.669,0:32:07.620
now we didn't really have a business plan[br]for this project but I would be very happy
0:32:07.620,0:32:13.520
that people can see it first of all. Thank[br]you.
0:32:13.520,0:32:21.730
Herald: And number two again please.[br]F4: Thank you, Sélim, for this talk. You
0:32:21.730,0:32:28.799
started with VR as a tool for anthropology[br]and then you refered to it again. Could
0:32:28.799,0:32:33.970
you please elaborate a little bit more on[br]this anthropology, how this plays a role
0:32:33.970,0:32:45.270
in your project? I hope my question is[br]clear enough to give you a point for
0:32:45.270,0:32:52.770
starting.[br]Sélim: Yeah. I think that was part in the
0:32:52.770,0:32:59.520
answers in the presentation. VR is... I[br]mean I don't pretend to be first of all an
0:32:59.520,0:33:06.340
expert on VR. Second of all, nobody can[br]pretend to be an expert in VR. It's a very
0:33:06.340,0:33:11.960
nascent new tool and everybody's like[br]experimenting. Some works are good, some
0:33:11.960,0:33:17.240
works are consequent, some works are[br]powerful but some work are total failures.
0:33:17.240,0:33:22.060
So let's be honest about that, so nobody[br]can pretend to having the magical formula
0:33:22.060,0:33:33.860
to do the best VR piece ever. But I think[br]personally it's a tool that can really put us in
0:33:33.860,0:33:39.940
a situation when we can really embrace the[br]world in a totally different way. If you
0:33:39.940,0:33:44.230
go back a little bit in the history and[br]you see like the the cinema that had been
0:33:44.230,0:33:50.050
produced in the early 60s or 70s by Jean[br]Rou for example, in Africa, which is a
0:33:50.050,0:33:57.059
very honest work he put in frame like the[br]reality as it is from African living
0:33:57.059,0:34:12.070
there. But I think that approach has been[br]always through the technology approach. We had
0:34:12.070,0:34:18.849
always built this pictures of Africa[br]through other people's eyes and VR is
0:34:18.849,0:34:26.820
totally the opposite of that. Is just you[br]put a camera and you disappear. You have a
0:34:26.820,0:34:32.700
360 degree, things happen, you observe,[br]then you look at the footage you want to
0:34:32.700,0:34:38.730
design it, or not, as your choice but[br]basically the act of filming VR or
0:34:38.730,0:34:45.459
capturing 360 content is very easy. It's[br]very simple. It's just, you put the user
0:34:45.459,0:34:49.789
in the centre of something. In that[br]perspective I think it's very powerful
0:34:49.789,0:34:55.440
anthropology tool because anthropology is[br]based on observation, so as simple as
0:34:55.440,0:35:01.020
that.[br]Herald: Thank you. I think I have the
0:35:01.020,0:35:09.749
honor of the last question, finally. You[br]mentioned more modern art or more modern
0:35:09.749,0:35:13.380
music project. What are your upcoming[br]projects and what do you think is the
0:35:13.380,0:35:22.890
technology like in 10 years for you,[br]related to your upcoming projects?
0:35:22.890,0:35:30.729
Sélim: I'm still stuck in this project and[br]I think basically we are far from the end
0:35:30.729,0:35:37.599
product or output but I'm very happy to[br]see that people engaged with that. I just
0:35:37.599,0:35:41.920
came from another meeting I told you from[br]re:publica in Africa and I realized that
0:35:41.920,0:35:48.640
this project, I identified basically[br]two audiences. First of all, you have the
0:35:48.640,0:35:54.799
African audiences which for them just to[br]be in a ceremony is enough. It's fantastic
0:35:54.799,0:36:01.880
they freak out, It's exactly what they are[br]looking for, in terms of memory and
0:36:01.880,0:36:07.559
displacement. It's very enough and you[br]have the VR audience. People who would say
0:36:07.559,0:36:12.219
ok what can I experience here? You know, I[br]see people dancing around me, listening to
0:36:12.219,0:36:17.039
music, cool, I can dance but what I'm[br]expecting? We are working on this part we
0:36:17.039,0:36:24.650
want to make feel the user how this music[br]and this power of music can work on
0:36:24.650,0:36:30.089
your conscience can work on your brain[br]activity, can engage you physically and
0:36:30.089,0:36:35.709
this is how we are working now with music[br]and code. With coding music, we are
0:36:35.709,0:36:39.529
analyzing the frequencies that are[br]producing through the combination of high
0:36:39.529,0:36:46.069
frequencies and low frequencies and that[br]creates this space of trance. And of
0:36:46.069,0:36:52.513
course you cannot push users directly into[br]trance, some people don't want this. So yes,
0:36:52.513,0:37:00.680
the next step will be to elaborate this[br]interactive ceremony, so you can really go
0:37:00.680,0:37:05.969
deeper producing CGI the more the trance[br]will go, the more you will see things
0:37:05.969,0:37:11.349
happening. The more you visualize the[br]memories, the more you will see, the
0:37:11.349,0:37:21.200
belief, the spirits, whatever, and the[br]more you will have this physical
0:37:21.200,0:37:25.559
experience of being in a ritual. So, this[br]is a next step, basically.
0:37:25.559,0:37:29.530
Herald: Thank you very much.[br]Sélim: Thank you, thank you a lot.
0:37:29.530,0:37:32.483
Herald: I want a round of applause for[br]Sélim.
0:37:32.483,0:37:38.259
applause
0:37:38.259,0:37:43.059
postroll music
0:37:43.059,0:38:02.000
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