[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:03.13,0:00:16.50,Default,,0000,0000,0000,,{\i1}35C3 preroll music{\i0}
Dialogue: 0,0:00:16.50,0:00:23.53,Default,,0000,0000,0000,,Herald: Most recently in South Africa, it\Nwas an awesome experience, awesome people,
Dialogue: 0,0:00:23.53,0:00:30.55,Default,,0000,0000,0000,,awesome culture but while I only\Nexperienced the tourists way, Sélim Harbi
Dialogue: 0,0:00:30.55,0:00:36.45,Default,,0000,0000,0000,,brings us the local guide culture. Sélim\Nallows an immersive and almost physical
Dialogue: 0,0:00:36.45,0:00:44.80,Default,,0000,0000,0000,,experience of the African identity. Please\Nwelcome on stage Sélim Harby and
Dialogue: 0,0:00:44.80,0:00:54.22,Default,,0000,0000,0000,,Afroroutes.\N{\i1}Applause{\i0}
Dialogue: 0,0:00:54.22,0:00:59.33,Default,,0000,0000,0000,,Sélim: Hi, can you hear me? So first of\Nall thank you very much to be here.
Dialogue: 0,0:00:59.33,0:01:05.75,Default,,0000,0000,0000,,I wasn't expecting so much crowd. So again,\Ngive a big applause for yourself. Thank
Dialogue: 0,0:01:05.75,0:01:14.08,Default,,0000,0000,0000,,you very, very much to be here. {\i1}Applause{\i0}\NAnd thank you for the CCC. It's the first time I'm
Dialogue: 0,0:01:14.08,0:01:19.58,Default,,0000,0000,0000,,here and really experiencing something\Ntotally new for me. And thank you for the
Dialogue: 0,0:01:19.58,0:01:26.17,Default,,0000,0000,0000,,curators. Thank you for really giving me\Nthe stage to explore with you further this
Dialogue: 0,0:01:26.17,0:01:34.40,Default,,0000,0000,0000,,project which is Afroroutes. First of all,\NI want to tell you something which is very
Dialogue: 0,0:01:34.40,0:01:41.58,Default,,0000,0000,0000,,personal. The very first time when I was\Nin Africa, in North Africa, I was invited
Dialogue: 0,0:01:41.58,0:01:47.60,Default,,0000,0000,0000,,for a ceremony, a ritual, in Morocco. This\Nceremony is Gnaoua. I don't know if you
Dialogue: 0,0:01:47.60,0:01:53.97,Default,,0000,0000,0000,,heard about it. So basically I was\Nsurrounded by African descendants and I
Dialogue: 0,0:01:53.97,0:01:59.57,Default,,0000,0000,0000,,knew that those descendants are slave\Ndescendants that has been transported and
Dialogue: 0,0:01:59.57,0:02:06.90,Default,,0000,0000,0000,,displaced from sub-Saharan Africa to\NMorocco. So this ceremony was a pretty
Dialogue: 0,0:02:06.90,0:02:13.64,Default,,0000,0000,0000,,powerful for me. The more I asked the\Nquestion about what is the purpose of
Dialogue: 0,0:02:13.64,0:02:21.65,Default,,0000,0000,0000,,this, why are you doing that. I really\Nstarted to explore the history of Africa
Dialogue: 0,0:02:21.65,0:02:30.64,Default,,0000,0000,0000,,through that. So a couple of years after\Nthat I was luckily able to be in Brazil in
Dialogue: 0,0:02:30.64,0:02:39.28,Default,,0000,0000,0000,,Salvador de Bahía. I was also invited to a\Nkind of ceremony called Candomblé, I don't
Dialogue: 0,0:02:39.28,0:02:46.18,Default,,0000,0000,0000,,know if some of you heard about it, and\Nthe thing is that during the Candomblé
Dialogue: 0,0:02:46.18,0:02:52.37,Default,,0000,0000,0000,,ritual they were explaining me that, we do\Nthat just to reconnect to the African
Dialogue: 0,0:02:52.37,0:03:01.51,Default,,0000,0000,0000,,continent, to reconnect with our ancestors\Nand our history, our slavery history, so
Dialogue: 0,0:03:01.51,0:03:09.32,Default,,0000,0000,0000,,between Morocco and Brazil I knew that my\Nstory is there. So, Afroroutes is born out of
Dialogue: 0,0:03:09.32,0:03:18.04,Default,,0000,0000,0000,,this conviction that the displaced culture\Nfrom Africa crossing the sea to Latin
Dialogue: 0,0:03:18.04,0:03:26.10,Default,,0000,0000,0000,,America was a pretty unexplored story. We\Nsee it like slavery. Slavery could be a
Dialogue: 0,0:03:26.10,0:03:34.37,Default,,0000,0000,0000,,very, very large concept, large idea, very\Nheavy history for the Africans themselves.
Dialogue: 0,0:03:34.37,0:03:39.98,Default,,0000,0000,0000,,And I wanted to absolutely to avoid this\Nkind of images that we used to see, I
Dialogue: 0,0:03:39.98,0:03:45.26,Default,,0000,0000,0000,,don't know if some of you saw Amistad, the\Nfilm, and this is like classical narrative
Dialogue: 0,0:03:45.26,0:03:51.64,Default,,0000,0000,0000,,of blacks being beaten etc. which is\Nreality. I wanted to go beyond that and I
Dialogue: 0,0:03:51.64,0:03:56.54,Default,,0000,0000,0000,,wanted to explore how those diasporas\Nstill connected with their ancestors and
Dialogue: 0,0:03:56.54,0:04:02.50,Default,,0000,0000,0000,,how is the function of music within this\Nceremony. So basically, Afroroots is born
Dialogue: 0,0:04:02.50,0:04:15.86,Default,,0000,0000,0000,,out of this perspective. Second of all,\NI've been also luckily involved in a great
Dialogue: 0,0:04:15.86,0:04:21.32,Default,,0000,0000,0000,,project, three, four years ago where I\Nexplored or I got in touch with a
Dialogue: 0,0:04:21.32,0:04:27.15,Default,,0000,0000,0000,,fantastic medium which is Virtual Reality.\NI don't know if some of you tried some VR,
Dialogue: 0,0:04:27.15,0:04:34.56,Default,,0000,0000,0000,,but VR was for me a really new exploration\Nof how we can tell the story differently.
Dialogue: 0,0:04:34.56,0:04:41.93,Default,,0000,0000,0000,,How can we really engage and create\Nanother type of connection with stories
Dialogue: 0,0:04:41.93,0:04:46.20,Default,,0000,0000,0000,,and have a totally different approach with\Ntime and space. This project called The
Dialogue: 0,0:04:46.20,0:04:51.91,Default,,0000,0000,0000,,Enemy allows me really to widen my\Nperspective as a storyteller and really go
Dialogue: 0,0:04:51.91,0:04:59.56,Default,,0000,0000,0000,,into a totally different path, so I\Ndecided to use this medium which is the
Dialogue: 0,0:04:59.56,0:05:10.62,Default,,0000,0000,0000,,VR, not because I'm most like many of\Nactors now in the media field, surfing the
Dialogue: 0,0:05:10.62,0:05:15.94,Default,,0000,0000,0000,,hype or whatever, it's cool to have the\Ngoggles and say, wow it's fantastic. It's
Dialogue: 0,0:05:15.94,0:05:26.56,Default,,0000,0000,0000,,just because I was deeply convinced that\NVR is the proper medium for this story.
Dialogue: 0,0:05:26.56,0:05:36.88,Default,,0000,0000,0000,,So Virtual Reality, I'm not here the preacher of VRs.\NIt's for me a very powerful medium in the
Dialogue: 0,0:05:36.88,0:05:43.01,Default,,0000,0000,0000,,sense of it puts you really in the center\Nof a reality. You don't have to receive
Dialogue: 0,0:05:43.01,0:05:49.46,Default,,0000,0000,0000,,data, you don't receive a narrative, you\Ndon't receive, you just put into center of
Dialogue: 0,0:05:49.46,0:05:54.83,Default,,0000,0000,0000,,reality and you empower your view somehow\Nto really interpret data in a very
Dialogue: 0,0:05:54.83,0:06:02.35,Default,,0000,0000,0000,,subjective way what you see and what you\Nfeel. In my eyes, it could be also as I
Dialogue: 0,0:06:02.35,0:06:09.19,Default,,0000,0000,0000,,hear you can see, it could be really the\Nnext anthropology tool and in that sense,
Dialogue: 0,0:06:09.19,0:06:13.68,Default,,0000,0000,0000,,it will transform the whole knowledge that\Nwe could have one century long into real
Dialogue: 0,0:06:13.68,0:06:19.45,Default,,0000,0000,0000,,experiences which is totally different\Nthan just reading a book that someone else
Dialogue: 0,0:06:19.45,0:06:29.02,Default,,0000,0000,0000,,wrote it or imagined. So VR is creating\Npowerful memories because just for the
Dialogue: 0,0:06:29.02,0:06:43.04,Default,,0000,0000,0000,,fact that it provides the context of what\Nyou are seeing. Please, first of all, take
Dialogue: 0,0:06:43.04,0:06:54.91,Default,,0000,0000,0000,,a look at the trailer of Afroroutes and we\Ntalk a little bit after.
Dialogue: 0,0:06:54.91,0:07:04.62,Default,,0000,0000,0000,,{\i1}Video starts playing{\i0}
Dialogue: 0,0:07:04.62,0:07:07.89,Default,,0000,0000,0000,,Sélim: No sound.
Dialogue: 0,0:07:22.54,0:07:25.62,Default,,0000,0000,0000,,It's ok. It happens.
Dialogue: 0,0:07:31.54,0:07:37.90,Default,,0000,0000,0000,,{\i1}Sound starts{\i0}
Dialogue: 0,0:08:03.31,0:08:04.31,Default,,0000,0000,0000,,Sélim in the video: Centuries ago, many
Dialogue: 0,0:08:04.31,0:08:09.04,Default,,0000,0000,0000,,Africans were forced to leave their\Ncountries. They were spread in different
Dialogue: 0,0:08:09.04,0:08:15.36,Default,,0000,0000,0000,,corners of the world. A long, long journey\Nthrough lands and seas. They left
Dialogue: 0,0:08:15.36,0:08:20.34,Default,,0000,0000,0000,,everything behind. They had to leave. They\Ncould only keep their language, their
Dialogue: 0,0:08:20.34,0:08:25.41,Default,,0000,0000,0000,,culture and of course, their music. So\Nthere is a bigger story than slavery
Dialogue: 0,0:08:25.41,0:08:30.100,Default,,0000,0000,0000,,itself. This project is not another\Napology of slavery. I want to look beyond
Dialogue: 0,0:08:30.100,0:08:38.12,Default,,0000,0000,0000,,that. What happened after? Where are the\Nslaves descendants today? What did they
Dialogue: 0,0:08:38.12,0:08:43.61,Default,,0000,0000,0000,,produce in terms of cultures? How was\Ntheir heritage leave they celebrated?
Dialogue: 0,0:08:43.61,0:08:48.42,Default,,0000,0000,0000,,Is there any tangible memory form. So I\Ndecided to follow the path of the slavery
Dialogue: 0,0:08:48.42,0:08:51.100,Default,,0000,0000,0000,,roads and I knew that music will guide my\Njourney.
Dialogue: 0,0:08:58.34,0:09:00.56,Default,,0000,0000,0000,,For many years, I travelled in
Dialogue: 0,0:09:00.56,0:09:04.96,Default,,0000,0000,0000,,different countries and met several\Ndiasporas and experienced their well-
Dialogue: 0,0:09:04.96,0:09:10.18,Default,,0000,0000,0000,,conserved cultures and of course their\Nmusic. No history book could explain me
Dialogue: 0,0:09:10.18,0:09:17.49,Default,,0000,0000,0000,,slavery and the cultural dynamics within\Nbetter than being almost there.
Dialogue: 0,0:09:17.49,0:09:24.53,Default,,0000,0000,0000,,This is exactly what Afroroutes project is about.\NI'm using Virtual Reality in 360 videos to
Dialogue: 0,0:09:24.53,0:09:28.89,Default,,0000,0000,0000,,take you on a journey to meet those\NAfrican descendants, to hear their stories
Dialogue: 0,0:09:28.89,0:09:40.91,Default,,0000,0000,0000,,and experience their heritage.\NHere is my concept. As you start to
Dialogue: 0,0:09:40.91,0:09:46.73,Default,,0000,0000,0000,,experience, you will be surrounded by four\Ncharacters. Simply by choosing one, you
Dialogue: 0,0:09:46.73,0:09:51.71,Default,,0000,0000,0000,,will be brought to a destination. The\Ncharacter will tell you his story, will
Dialogue: 0,0:09:51.71,0:09:57.67,Default,,0000,0000,0000,,show you his surroundings before bringing\Nyou to a specific ritual.
Dialogue: 0,0:09:57.67,0:10:09.50,Default,,0000,0000,0000,,{\i1}Voice singing in the video{\i0}
Dialogue: 0,0:10:09.50,0:10:15.60,Default,,0000,0000,0000,,Man speaking in video: My name is ... I'm ...
Dialogue: 0,0:10:15.60,0:10:23.73,Default,,0000,0000,0000,,in Tangier, Morocco. I am born in ... a slaves\Nhouse. I grew up there.
Dialogue: 0,0:10:40.39,0:10:45.90,Default,,0000,0000,0000,,Sélim in the video: And that's not all. We\Nwant to bring you much closer. At the end,
Dialogue: 0,0:10:45.90,0:10:52.70,Default,,0000,0000,0000,,you will be invited to play music with the\Ncharacters to feel that physical experience.
Dialogue: 0,0:11:07.33,0:11:11.90,Default,,0000,0000,0000,,Sélim: Thank you very much.
Dialogue: 0,0:11:11.90,0:11:15.26,Default,,0000,0000,0000,,{\i1}applause{\i0}\NSélim: So basically I decided to go on
Dialogue: 0,0:11:15.26,0:11:22.31,Default,,0000,0000,0000,,music in this journey because before\Ndrafting the first prototype by writing
Dialogue: 0,0:11:22.31,0:11:29.05,Default,,0000,0000,0000,,the concept of this project, I did a lot\Nresearch and one of my biggest hurdle was,
Dialogue: 0,0:11:29.05,0:11:34.28,Default,,0000,0000,0000,,I wasn't able to find trustful archives. I\Nwasn't able to find really powerful
Dialogue: 0,0:11:34.28,0:11:41.48,Default,,0000,0000,0000,,testimonies of what happened exactly. The\Nonly archives I could found were somewhere
Dialogue: 0,0:11:41.48,0:11:49.31,Default,,0000,0000,0000,,in the Western world, not in Africa, not\Nin African bibliotheks, somehow kind of
Dialogue: 0,0:11:49.31,0:11:54.62,Default,,0000,0000,0000,,jailed into Western bibliotheks of big\Ninstitutions. So for me it was a big
Dialogue: 0,0:11:54.62,0:12:00.32,Default,,0000,0000,0000,,problem and most of this narrative or the\Nversion of this narrative is basically
Dialogue: 0,0:12:00.32,0:12:06.46,Default,,0000,0000,0000,,written by people who enslaved the\NAfricans. So for me it was a big problem.
Dialogue: 0,0:12:06.46,0:12:12.75,Default,,0000,0000,0000,,I can not tell this story from the\Nperspective of Western perspective which I
Dialogue: 0,0:12:12.75,0:12:19.36,Default,,0000,0000,0000,,used of course because it gives a lot of\Ndata and information. So for me it was
Dialogue: 0,0:12:19.36,0:12:25.62,Default,,0000,0000,0000,,clear, in order to tell this story I need\Nto go deeper into archives. I really need
Dialogue: 0,0:12:25.62,0:12:32.55,Default,,0000,0000,0000,,to go into what we call the meta archives\Nwhich is simply the oral tradition. It's
Dialogue: 0,0:12:32.55,0:12:35.87,Default,,0000,0000,0000,,what the people used to say and transmit\Ngeneration after generation. In this case,
Dialogue: 0,0:12:35.87,0:12:42.01,Default,,0000,0000,0000,,music was absolutely what I was looking\Nfor because, if you look at little bit of
Dialogue: 0,0:12:42.01,0:12:47.85,Default,,0000,0000,0000,,the history, those communities wherever\Nthrough the trans-Atlantic slave trade,
Dialogue: 0,0:12:47.85,0:12:52.52,Default,,0000,0000,0000,,the trans-Pacific slave trade or the\Ntrans-Saharan slave trade, that's like
Dialogue: 0,0:12:52.52,0:12:59.59,Default,,0000,0000,0000,,400, 500 years, but the communities in\NBrazil for example, they're still speaking
Dialogue: 0,0:12:59.59,0:13:05.12,Default,,0000,0000,0000,,Yoruba which is the language from western\Ncoast. The people the Siddi in India, they
Dialogue: 0,0:13:05.12,0:13:11.07,Default,,0000,0000,0000,,still talking Kiswahili. So it is really\Npowerful how the music could maintain this
Dialogue: 0,0:13:11.07,0:13:17.68,Default,,0000,0000,0000,,intangible form in a very intact way and\Nit's still very very powerful. So I
Dialogue: 0,0:13:17.68,0:13:25.05,Default,,0000,0000,0000,,decided to go absolutely on music and\Nexplore this displacement through music.
Dialogue: 0,0:13:25.05,0:13:33.15,Default,,0000,0000,0000,,As you can see in this map, I could\Nidentify also several diasporas. First of
Dialogue: 0,0:13:33.15,0:13:38.41,Default,,0000,0000,0000,,all, in North Africa which is the Gnawa\Nand Stambeli communities which are sub-
Dialogue: 0,0:13:38.41,0:13:44.25,Default,,0000,0000,0000,,Saharan, African transported through the\Nslavery caravans from the Sahara to North
Dialogue: 0,0:13:44.25,0:13:50.90,Default,,0000,0000,0000,,Africa. You have also the trans-Atlantic\Nslave trade which is mainly, the entry
Dialogue: 0,0:13:50.90,0:13:56.36,Default,,0000,0000,0000,,door was Salvador de Bahía. 90 percent of\Nall slaves transported from the western
Dialogue: 0,0:13:56.36,0:14:00.64,Default,,0000,0000,0000,,coast where proceed. The entry door was\NSalvador de Bahía and from there was they
Dialogue: 0,0:14:00.64,0:14:06.74,Default,,0000,0000,0000,,were spread into the whole Caribbean and\Nfrom there to the US. So for me, Salvador
Dialogue: 0,0:14:06.74,0:14:14.12,Default,,0000,0000,0000,,de Bahía was a key point to explore this\Nand another very untold story, I'm coming
Dialogue: 0,0:14:14.12,0:14:20.06,Default,,0000,0000,0000,,like three weeks ago from Gujarat from\NIndia where I've been able to visit and
Dialogue: 0,0:14:20.06,0:14:27.72,Default,,0000,0000,0000,,explore a little bit the other journey\Nwhich is the trans-Pacific journey. From
Dialogue: 0,0:14:27.72,0:14:34.48,Default,,0000,0000,0000,,the Indian cities, the African descended\Nfrom the eastern coast, Zanzibar and
Dialogue: 0,0:14:34.48,0:14:40.97,Default,,0000,0000,0000,,Kenya. So I tried to have this three\Ndestinations to have a better overview of
Dialogue: 0,0:14:40.97,0:14:49.15,Default,,0000,0000,0000,,what those traditions are. Let me explain\Nyou shortly what you can expect in this
Dialogue: 0,0:14:49.15,0:14:54.19,Default,,0000,0000,0000,,experience. So basically you will have a\Nmenu. Three characters would be in front
Dialogue: 0,0:14:54.19,0:14:59.35,Default,,0000,0000,0000,,of you. And as I say in the trailer, you\Njust have to pick up one, you choose one,
Dialogue: 0,0:14:59.35,0:15:03.37,Default,,0000,0000,0000,,and you just embark. You don't know who is\Nthe person and you don't know where you
Dialogue: 0,0:15:03.37,0:15:08.90,Default,,0000,0000,0000,,embark. It's exactly like the slaves\Ncondition in that time. So you embark to a
Dialogue: 0,0:15:08.90,0:15:18.36,Default,,0000,0000,0000,,destination and at the end, you will\Ndiscover where is the destination. So you
Dialogue: 0,0:15:18.36,0:15:24.77,Default,,0000,0000,0000,,will meet three characters. First of all,\Nwhat you saw in the trailer was a maestro,
Dialogue: 0,0:15:24.77,0:15:36.41,Default,,0000,0000,0000,,healer Abdullah el Gordh from Tangier,\NMorocco. Luzinho do Jeje, a percussionist
Dialogue: 0,0:15:36.41,0:15:45.96,Default,,0000,0000,0000,,in a Candomblé group in Salvador de Bahía\Nand Siddi Goma which is a band in Siddi in
Dialogue: 0,0:15:45.96,0:15:52.69,Default,,0000,0000,0000,,India, African descendant and performing\Nthe what they call Damal which is a ritual
Dialogue: 0,0:15:52.69,0:16:04.79,Default,,0000,0000,0000,,from the Southern India. Ok, so the\Nexperience is quite simple. You get into
Dialogue: 0,0:16:04.79,0:16:11.98,Default,,0000,0000,0000,,this menu, you choose a character and then\Nyou have a very linear story, 360 story.
Dialogue: 0,0:16:11.98,0:16:19.34,Default,,0000,0000,0000,,Actually the purpose of that is to have\Nthis character trying to define the place,
Dialogue: 0,0:16:19.34,0:16:27.14,Default,,0000,0000,0000,,the environment, who he is, and trying\Nto introduce you slowly to this to his
Dialogue: 0,0:16:27.14,0:16:32.31,Default,,0000,0000,0000,,community. And after that you will be\Ntotally in a ceremony and a ritual, in a
Dialogue: 0,0:16:32.31,0:16:37.72,Default,,0000,0000,0000,,specific ritual. You could ask me why\Nritual, what is ritual, why you choose to
Dialogue: 0,0:16:37.72,0:16:47.12,Default,,0000,0000,0000,,put us in the ritual? Personally I think\Nthat a ritual or ceremony is in one hand
Dialogue: 0,0:16:47.12,0:16:51.98,Default,,0000,0000,0000,,the pure manifestation of that well-\Nconserved memory, once, and in the other
Dialogue: 0,0:16:51.98,0:16:58.83,Default,,0000,0000,0000,,hand it is a multimedia explosion. You see\Nthings, you see colors, you see dance, you
Dialogue: 0,0:16:58.83,0:17:05.53,Default,,0000,0000,0000,,listen to music, you just explore in all\Nsenses and in that sense, VR is very
Dialogue: 0,0:17:05.53,0:17:16.34,Default,,0000,0000,0000,,powerful to transmit that. Of course as\Nuser you will be able to stop if you want
Dialogue: 0,0:17:16.34,0:17:21.47,Default,,0000,0000,0000,,but and this is why how technology is\Nvery powerful in this project. You can't
Dialogue: 0,0:17:21.47,0:17:26.72,Default,,0000,0000,0000,,go further because the structure of the\Nritual is basically, the music is gonna go
Dialogue: 0,0:17:26.72,0:17:36.25,Default,,0000,0000,0000,,a little bit up and up and up in the\Nritual. The people go in trance. Why?
Dialogue: 0,0:17:36.25,0:17:44.11,Default,,0000,0000,0000,,Because this trances is the way to\Nreconnect with their ancestors. For some
Dialogue: 0,0:17:44.11,0:17:49.70,Default,,0000,0000,0000,,people maybe it's like something really\Nnew. But the music frequencies that are
Dialogue: 0,0:17:49.70,0:17:53.75,Default,,0000,0000,0000,,produced during a ceremony whatever with\Ndrums, whatever with other instrument
Dialogue: 0,0:17:53.75,0:18:02.30,Default,,0000,0000,0000,,jingles etc. put them in a situation\Nwhere they really connect with their
Dialogue: 0,0:18:02.30,0:18:08.10,Default,,0000,0000,0000,,ancestors were there with their heritage,\Nwith the memories and the challenge of
Dialogue: 0,0:18:08.10,0:18:17.32,Default,,0000,0000,0000,,this project was to reproduce this. Me or\Nyou, you may want to experience that. So
Dialogue: 0,0:18:17.32,0:18:22.30,Default,,0000,0000,0000,,what you are doing now basically is, we\Nare working on a technical solution,
Dialogue: 0,0:18:22.30,0:18:32.01,Default,,0000,0000,0000,,basically an algorithm which measuring\Nyour frequencies and your body movement.
Dialogue: 0,0:18:32.01,0:18:37.12,Default,,0000,0000,0000,,If you want to go in trance you can. If\Nyou want to stay in the ritual you can.
Dialogue: 0,0:18:37.12,0:18:41.46,Default,,0000,0000,0000,,The more you stay, the more the music will\Ngo up and more will transport you with
Dialogue: 0,0:18:41.46,0:18:48.02,Default,,0000,0000,0000,,them. If you if it is too much for you,\Nyou step back and you go back to the menu,
Dialogue: 0,0:18:48.02,0:18:57.30,Default,,0000,0000,0000,,as simple as that. Those are some\Ntestimonies because during this project,
Dialogue: 0,0:18:57.30,0:19:01.72,Default,,0000,0000,0000,,as many of you doing projects, you have\Nmoments when you are doubting. You say
Dialogue: 0,0:19:01.72,0:19:09.03,Default,,0000,0000,0000,,what the fuck are you doing. What's this?\NWhy are you doing that? So what I always
Dialogue: 0,0:19:09.03,0:19:12.96,Default,,0000,0000,0000,,do is like when I produce the first\Nprototype, I go to the people back and say
Dialogue: 0,0:19:12.96,0:19:21.01,Default,,0000,0000,0000,,look, this is what I'm doing. What do you\Nthink? So, this Maestro of Genua told me,
Dialogue: 0,0:19:21.01,0:19:24.80,Default,,0000,0000,0000,,this is what I always dreamed about. I\Nknew that I have brothers and the other
Dialogue: 0,0:19:24.80,0:19:30.68,Default,,0000,0000,0000,,side. So for me it's a very powerful\Ntestimony that their memories still
Dialogue: 0,0:19:30.68,0:19:36.77,Default,,0000,0000,0000,,gravitating between the sea and they know\Nthat they have parents, family that
Dialogue: 0,0:19:36.77,0:19:41.46,Default,,0000,0000,0000,,crossed the borders or crossed the sea and\Nthey are there. So for me it's very
Dialogue: 0,0:19:41.46,0:19:45.54,Default,,0000,0000,0000,,powerful to know that those people\Nunderstand what is the purpose of this
Dialogue: 0,0:19:45.54,0:19:53.21,Default,,0000,0000,0000,,work and from the other side too. So in\NBrazil I had this crazy testimony which
Dialogue: 0,0:19:53.21,0:19:58.82,Default,,0000,0000,0000,,with where this Maos de Santos told me,\Nwe don't need passports anymore, so we can
Dialogue: 0,0:19:58.82,0:20:10.07,Default,,0000,0000,0000,,be everywhere. Lately in India, Mr Sabia\Nwhich is the lead singer of the Cidi told
Dialogue: 0,0:20:10.07,0:20:15.94,Default,,0000,0000,0000,,me this is our music there. So for me all\Nthose testimonies show me that this
Dialogue: 0,0:20:15.94,0:20:22.75,Default,,0000,0000,0000,,project is on a good path somehow and the\Npurpose why I'm doing that is actually
Dialogue: 0,0:20:22.75,0:20:28.95,Default,,0000,0000,0000,,and I think beyond music and beyond\Nslavery and et cetera this dynamics of
Dialogue: 0,0:20:28.95,0:20:33.21,Default,,0000,0000,0000,,displacement when people move from place\Nto place, they carry on a set of
Dialogue: 0,0:20:33.21,0:20:41.21,Default,,0000,0000,0000,,knowledge, set of wisdom with them and\Nsometimes we think it's gonna be lost
Dialogue: 0,0:20:41.21,0:20:50.20,Default,,0000,0000,0000,,somehow in the space but I don't think so.\NPersonally I think that memory is still a
Dialogue: 0,0:20:50.20,0:20:58.49,Default,,0000,0000,0000,,life always. And music is really powerful\Nto tell us that the memory can be always
Dialogue: 0,0:20:58.49,0:21:05.09,Default,,0000,0000,0000,,kept intact. And what I learned also\Nthrough this project is that through the
Dialogue: 0,0:21:05.09,0:21:12.77,Default,,0000,0000,0000,,suffering of being displaced of being\Ntaken somewhere as they create beauty.
Dialogue: 0,0:21:12.77,0:21:19.67,Default,,0000,0000,0000,,Beauty has been created, celebrated,\Ntranscended into new identity which is
Dialogue: 0,0:21:19.67,0:21:24.62,Default,,0000,0000,0000,,very beautiful because if you see the\NBrazilians. They are now part of Brazil,
Dialogue: 0,0:21:24.62,0:21:29.33,Default,,0000,0000,0000,,despite the whole harsh situation that\Nthey are living in, their living there,
Dialogue: 0,0:21:29.33,0:21:34.51,Default,,0000,0000,0000,,that they're still, they adapted to new\Nenvironment where they are and it's the
Dialogue: 0,0:21:34.51,0:21:44.16,Default,,0000,0000,0000,,same for all displaced cultures from\NAfrica. So outputs of this project, first
Dialogue: 0,0:21:44.16,0:21:48.64,Default,,0000,0000,0000,,of all, we will produce an app which is\Ngoing to be free to download so that
Dialogue: 0,0:21:48.64,0:21:56.31,Default,,0000,0000,0000,,everyone can experience it on very normal\Nbasic cardboard and also multi user
Dialogue: 0,0:21:56.31,0:22:04.28,Default,,0000,0000,0000,,experience. So one of my main purpose and\Nof doing this project, so I want to have
Dialogue: 0,0:22:04.28,0:22:10.99,Default,,0000,0000,0000,,a kind of social impact through that. I\Nwant to explain somehow slavery in a
Dialogue: 0,0:22:10.99,0:22:17.30,Default,,0000,0000,0000,,totally different way. I want to have a\Nkind of educational part of this project.
Dialogue: 0,0:22:17.30,0:22:22.91,Default,,0000,0000,0000,,So I want that children can go through\Nthat, listen to some music, listen to some
Dialogue: 0,0:22:22.91,0:22:30.68,Default,,0000,0000,0000,,strong story but also understand\Ndifferently what happens. Because maybe we
Dialogue: 0,0:22:30.68,0:22:34.60,Default,,0000,0000,0000,,love to dance on soul music, jazz music\Nbut somehow we forget where it's coming
Dialogue: 0,0:22:34.60,0:22:40.34,Default,,0000,0000,0000,,from and then what is the whole journey\Nthat we all today's pretend that we are
Dialogue: 0,0:22:40.34,0:22:44.43,Default,,0000,0000,0000,,open and love this jazz music and stuff.\NBut we don't understand where it's coming
Dialogue: 0,0:22:44.43,0:22:58.53,Default,,0000,0000,0000,,from. Why is it like this? How those\Ndisplaced communities had lived. That we
Dialogue: 0,0:22:58.53,0:23:07.11,Default,,0000,0000,0000,,today can listen to their music and enjoy\Nit. So I actually I am, in order to finish
Dialogue: 0,0:23:07.11,0:23:21.84,Default,,0000,0000,0000,,this small speech. You know what's this?\NActually I made, I made some research
Dialogue: 0,0:23:21.84,0:23:30.98,Default,,0000,0000,0000,,because early this year I was invited to\Nhave a TedX-Talk in Cape Verde and the theme
Dialogue: 0,0:23:30.98,0:23:39.78,Default,,0000,0000,0000,,was roots, Wurzeln, and I made some\Nresearch and I found out that 99 percent
Dialogue: 0,0:23:39.78,0:23:49.26,Default,,0000,0000,0000,,of the plants on this earth cannot live\Nwithout roots in the site. Only one plant
Dialogue: 0,0:23:49.26,0:23:56.32,Default,,0000,0000,0000,,and this plant is magic. This plant could\Ntransform the role of the roots in the
Dialogue: 0,0:23:56.32,0:24:04.30,Default,,0000,0000,0000,,soil through the leaves. The name of this\Nplant is Tillandsias and it's a very
Dialogue: 0,0:24:04.30,0:24:09.86,Default,,0000,0000,0000,,inspiring plant because it has like\Nthrough the years transformed the role of
Dialogue: 0,0:24:09.86,0:24:14.56,Default,,0000,0000,0000,,the roots into to something else. It\Nlives without roots. For me it's a very
Dialogue: 0,0:24:14.56,0:24:20.73,Default,,0000,0000,0000,,inspiring plant because it kind of\Nreminds us that we we are all like kind of
Dialogue: 0,0:24:20.73,0:24:23.98,Default,,0000,0000,0000,,we can reinvent ourself and this is the\Ncase also for those displaced
Dialogue: 0,0:24:23.98,0:24:30.69,Default,,0000,0000,0000,,communities. They reinvented something.\NThey really transformed and transformed,
Dialogue: 0,0:24:30.69,0:24:37.32,Default,,0000,0000,0000,,transcended that identity to something\Nbeautiful. So far, I came to the end of
Dialogue: 0,0:24:37.32,0:24:41.90,Default,,0000,0000,0000,,my pitch. Thank you very much. If\Nyou have questions ...
Dialogue: 0,0:24:41.90,0:24:46.30,Default,,0000,0000,0000,,{\i1}applause{\i0}
Dialogue: 0,0:24:50.15,0:24:55.15,Default,,0000,0000,0000,,Herald: Small note on the end. He said\Nearlier that he brought the prototype.
Dialogue: 0,0:24:55.15,0:24:59.04,Default,,0000,0000,0000,,{\i1}Sélim confirms{\i0}\NHerald: I think you're able and willing to
Dialogue: 0,0:24:59.04,0:25:02.84,Default,,0000,0000,0000,,show.\NSélim: Yes. If people want to test it to
Dialogue: 0,0:25:02.84,0:25:06.60,Default,,0000,0000,0000,,have a prototype with me so outside maybe,\Nyes.
Dialogue: 0,0:25:06.60,0:25:12.09,Default,,0000,0000,0000,,Herald: Perfect. In this case I think you\Nmeet each other outside, in front of the
Dialogue: 0,0:25:12.09,0:25:20.21,Default,,0000,0000,0000,,room. If you have questions there are two\Nmicrophones. Please ask your questions and
Dialogue: 0,0:25:20.21,0:25:27.83,Default,,0000,0000,0000,,please speak out loud into the microphone\Ndirectly. Number two please.
Dialogue: 0,0:25:27.83,0:25:32.41,Default,,0000,0000,0000,,F1: Ok, thank you for our talk. I know\Nfrom Brazil but I think this is valid for
Dialogue: 0,0:25:32.41,0:25:36.97,Default,,0000,0000,0000,,the other locations too, that they are\Nactually discussions that ceremonies like
Dialogue: 0,0:25:36.97,0:25:41.82,Default,,0000,0000,0000,,this which are sacred should not be easily\Naccessible to outsiders and especially
Dialogue: 0,0:25:41.82,0:25:45.46,Default,,0000,0000,0000,,Europeans who come there usually as a\Ntourist and see that as like cheap
Dialogue: 0,0:25:45.46,0:25:50.89,Default,,0000,0000,0000,,attraction and then they go and go back to\Nthe resort or something. So how would you
Dialogue: 0,0:25:50.89,0:25:54.89,Default,,0000,0000,0000,,situate your project in those discussion\Nor did you take part in them?
Dialogue: 0,0:25:54.89,0:25:59.09,Default,,0000,0000,0000,,Sélim: Okay. Thank you for this question.\NActually it took me one and a half
Dialogue: 0,0:25:59.09,0:26:07.29,Default,,0000,0000,0000,,year to find the right person and to work\Nit out to get into a Candomblé session,
Dialogue: 0,0:26:07.29,0:26:12.21,Default,,0000,0000,0000,,exactly they didn't want to reduce it to\Ncheap entertainment which is not the case.
Dialogue: 0,0:26:12.21,0:26:17.19,Default,,0000,0000,0000,,First of all, they were saying to me: "What\Nyou come from Europe, you want to just to
Dialogue: 0,0:26:17.19,0:26:24.14,Default,,0000,0000,0000,,reduce our spirituality into an\Nentertainment." It took me a lot of time to
Dialogue: 0,0:26:24.14,0:26:30.72,Default,,0000,0000,0000,,really convince my local producer there\Nwhich is part of the family of Candomblé.
Dialogue: 0,0:26:30.72,0:26:35.62,Default,,0000,0000,0000,,That's not the case. I'm coming with a\Ntotally different concept. Of course we
Dialogue: 0,0:26:35.62,0:26:42.89,Default,,0000,0000,0000,,are, it's a kind of golden gate you open\Nfor that and they're not like used to
Dialogue: 0,0:26:42.89,0:26:48.85,Default,,0000,0000,0000,,let everybody to those ceremonies and\Nthose rituals, especially in Brazil where
Dialogue: 0,0:26:48.85,0:26:54.81,Default,,0000,0000,0000,,the socio-economic pressure and situation\Nis really special. It's really harsh. So
Dialogue: 0,0:26:54.81,0:27:00.06,Default,,0000,0000,0000,,for them Candomblé is a kind of identity,\Nit's us, you know, it's kind of: this is us
Dialogue: 0,0:27:00.06,0:27:05.72,Default,,0000,0000,0000,,and this is the other Brazil. So yes it\Ntook me a long time to convince the people
Dialogue: 0,0:27:05.72,0:27:11.54,Default,,0000,0000,0000,,to establish trust and to really be there\Nmany times and to and to let them
Dialogue: 0,0:27:11.54,0:27:18.75,Default,,0000,0000,0000,,understand look, it is a project that aims\Nto connect those diasporic heritage. You
Dialogue: 0,0:27:18.75,0:27:25.49,Default,,0000,0000,0000,,know I want to show this to maybe your\Nbrothers and sisters in India, in Morocco.
Dialogue: 0,0:27:25.49,0:27:35.07,Default,,0000,0000,0000,,And it's worked out, so somehow, VR, it's\Ngiving you as author also this question of
Dialogue: 0,0:27:35.07,0:27:46.19,Default,,0000,0000,0000,,ethics because you don't frame something,\Nyou put the user inside a set. So, for them
Dialogue: 0,0:27:46.19,0:27:51.91,Default,,0000,0000,0000,,it's a kind of secret. You know, I don't\Nknow, if some people of you have been in a
Dialogue: 0,0:27:51.91,0:27:56.58,Default,,0000,0000,0000,,Candomblé session. It is very powerful\Nlike when the drums starting and going up
Dialogue: 0,0:27:56.58,0:28:04.64,Default,,0000,0000,0000,,and up and up and up, it's fantastic I mean\Nit's euphoria that goes up and for them it's a
Dialogue: 0,0:28:04.64,0:28:09.22,Default,,0000,0000,0000,,way to be. It's a way to say, here we are.\NWe don't forget, we are here, we
Dialogue: 0,0:28:09.22,0:28:14.37,Default,,0000,0000,0000,,celebrate, we cry, we love and we live\Nhere and we don't forget where we're
Dialogue: 0,0:28:14.37,0:28:20.19,Default,,0000,0000,0000,,coming from. So this magical gates that we\Nare is up. Of course it keeps the whole
Dialogue: 0,0:28:20.19,0:28:31.40,Default,,0000,0000,0000,,kind of responsibility somehow.\NHerald: Thank you. Next question, nice. In
Dialogue: 0,0:28:31.40,0:28:33.59,Default,,0000,0000,0000,,this case, I have the opportunity...Number\Ntwo please.
Dialogue: 0,0:28:33.59,0:28:41.86,Default,,0000,0000,0000,,F2: Thank you for your talk. I would like\Nto add a little bit to that
Dialogue: 0,0:28:41.86,0:28:45.10,Default,,0000,0000,0000,,Herald: Questions only please.\NF2: Ok.
Dialogue: 0,0:28:45.10,0:28:52.92,Default,,0000,0000,0000,,Herald: So what's the question?\NF2: The question is, well I can't do that,
Dialogue: 0,0:28:52.92,0:28:58.25,Default,,0000,0000,0000,,I need to add something because I think\Nthat some things are not presented right
Dialogue: 0,0:28:58.25,0:29:03.67,Default,,0000,0000,0000,,or just wrong. Candomblé it's not just\Nanything but it is a direct connection to
Dialogue: 0,0:29:03.67,0:29:05.80,Default,,0000,0000,0000,,the ..\NHerald: Ok, in this case I will shift the
Dialogue: 0,0:29:05.80,0:29:08.98,Default,,0000,0000,0000,,discussion back to the ... Can we have the\Nnext question please?
Dialogue: 0,0:29:08.98,0:29:12.66,Default,,0000,0000,0000,,F2: ...and this is shortened to something\Nwhich cannot be shortened.
Dialogue: 0,0:29:12.66,0:29:18.51,Default,,0000,0000,0000,,Herald: Okay go ahead, sure.\NF2: ...and the Candomblé and Dojoba are
Dialogue: 0,0:29:18.51,0:29:22.70,Default,,0000,0000,0000,,directly connected and have a religious\Nfoundation. So this is just in addition
Dialogue: 0,0:29:22.70,0:29:28.51,Default,,0000,0000,0000,,about that and also there was something\Nwrong in your talk. You said the people
Dialogue: 0,0:29:28.51,0:29:34.95,Default,,0000,0000,0000,,were deported to North America did not go\Nthrough South America. But they also went
Dialogue: 0,0:29:34.95,0:29:39.67,Default,,0000,0000,0000,,directly there, they were transported\Ndirectly there. So just those additions. I
Dialogue: 0,0:29:39.67,0:29:44.68,Default,,0000,0000,0000,,would love to discuss with you this\Nfurther and not to ... also of course
Dialogue: 0,0:29:44.68,0:29:49.08,Default,,0000,0000,0000,,everybody can ask me after that because I\Ndon't want to monopolize this.
Dialogue: 0,0:29:49.08,0:29:52.99,Default,,0000,0000,0000,,Sélim: Ok, thank you very much.\NHerald: Ok, next question please. Number two.
Dialogue: 0,0:29:52.99,0:29:57.70,Default,,0000,0000,0000,,F3: Ok, it's follow up question. If your
Dialogue: 0,0:29:57.70,0:30:05.73,Default,,0000,0000,0000,,only aim were to connect the communities,\Nwhy, how does the free downloadable app
Dialogue: 0,0:30:05.73,0:30:11.79,Default,,0000,0000,0000,,into that so, could you maybe elaborate on\Nthe entertainment part a little bit more
Dialogue: 0,0:30:11.79,0:30:17.55,Default,,0000,0000,0000,,because I don't see that point will be\Ntreated by your answer. The other
Dialogue: 0,0:30:17.55,0:30:23.46,Default,,0000,0000,0000,,question: Is there any profit in your\Nproject? And if yes, who gets that profit.
Dialogue: 0,0:30:23.46,0:30:29.39,Default,,0000,0000,0000,,Sélim: Okay first of all, why an app,\Nbecause basically I want to share it with
Dialogue: 0,0:30:29.39,0:30:36.46,Default,,0000,0000,0000,,people as simple as that. Profit, till now\Nwe don't have any profit. We produce a
Dialogue: 0,0:30:36.46,0:30:42.49,Default,,0000,0000,0000,,prototype after the prototype with a\Ncompany based in Berlin which is in VR. So
Dialogue: 0,0:30:42.49,0:30:48.37,Default,,0000,0000,0000,,we got small money just to produce that\Nand to make it in a good way and to
Dialogue: 0,0:30:48.37,0:30:54.81,Default,,0000,0000,0000,,explore VR, first of all, as as a\Nstorytelling tool. So there is no profit
Dialogue: 0,0:30:54.81,0:31:06.27,Default,,0000,0000,0000,,in that sense. This project is since two\Nand a half year. We got some small grants
Dialogue: 0,0:31:06.27,0:31:14.39,Default,,0000,0000,0000,,from cultural institutions to make\Nresearch but beyond that I mean the main
Dialogue: 0,0:31:14.39,0:31:19.46,Default,,0000,0000,0000,,purpose is not to make money out of this,\Nbasically. The main purpose is to
Dialogue: 0,0:31:19.46,0:31:27.85,Default,,0000,0000,0000,,distribute it, to shift somehow the\Nconscience of people to present this issue
Dialogue: 0,0:31:27.85,0:31:36.46,Default,,0000,0000,0000,,in a totally different way but also to try\Nto somehow engage the debate, you know, to
Dialogue: 0,0:31:36.46,0:31:44.53,Default,,0000,0000,0000,,unroot narratives which is in our\Nconscience still there. We see blacks as
Dialogue: 0,0:31:44.53,0:31:50.65,Default,,0000,0000,0000,,you know slaves etc. We don't have it\Neasy to really decode what happened, you
Dialogue: 0,0:31:50.65,0:31:54.81,Default,,0000,0000,0000,,know, in terms of culture, in terms of\Nanthropology. So this project is an
Dialogue: 0,0:31:54.81,0:32:00.67,Default,,0000,0000,0000,,attempt to that, is a trigger. So that's\Nwhy we're here, to discuss that. So till
Dialogue: 0,0:32:00.67,0:32:07.62,Default,,0000,0000,0000,,now we didn't really have a business plan\Nfor this project but I would be very happy
Dialogue: 0,0:32:07.62,0:32:13.52,Default,,0000,0000,0000,,that people can see it first of all. Thank\Nyou.
Dialogue: 0,0:32:13.52,0:32:21.73,Default,,0000,0000,0000,,Herald: And number two again please.\NF4: Thank you, Sélim, for this talk. You
Dialogue: 0,0:32:21.73,0:32:28.80,Default,,0000,0000,0000,,started with VR as a tool for anthropology\Nand then you refered to it again. Could
Dialogue: 0,0:32:28.80,0:32:33.97,Default,,0000,0000,0000,,you please elaborate a little bit more on\Nthis anthropology, how this plays a role
Dialogue: 0,0:32:33.97,0:32:45.27,Default,,0000,0000,0000,,in your project? I hope my question is\Nclear enough to give you a point for
Dialogue: 0,0:32:45.27,0:32:52.77,Default,,0000,0000,0000,,starting.\NSélim: Yeah. I think that was part in the
Dialogue: 0,0:32:52.77,0:32:59.52,Default,,0000,0000,0000,,answers in the presentation. VR is... I\Nmean I don't pretend to be first of all an
Dialogue: 0,0:32:59.52,0:33:06.34,Default,,0000,0000,0000,,expert on VR. Second of all, nobody can\Npretend to be an expert in VR. It's a very
Dialogue: 0,0:33:06.34,0:33:11.96,Default,,0000,0000,0000,,nascent new tool and everybody's like\Nexperimenting. Some works are good, some
Dialogue: 0,0:33:11.96,0:33:17.24,Default,,0000,0000,0000,,works are consequent, some works are\Npowerful but some work are total failures.
Dialogue: 0,0:33:17.24,0:33:22.06,Default,,0000,0000,0000,,So let's be honest about that, so nobody\Ncan pretend to having the magical formula
Dialogue: 0,0:33:22.06,0:33:33.86,Default,,0000,0000,0000,,to do the best VR piece ever. But I think\Npersonally it's a tool that can really put us in
Dialogue: 0,0:33:33.86,0:33:39.94,Default,,0000,0000,0000,,a situation when we can really embrace the\Nworld in a totally different way. If you
Dialogue: 0,0:33:39.94,0:33:44.23,Default,,0000,0000,0000,,go back a little bit in the history and\Nyou see like the the cinema that had been
Dialogue: 0,0:33:44.23,0:33:50.05,Default,,0000,0000,0000,,produced in the early 60s or 70s by Jean\NRou for example, in Africa, which is a
Dialogue: 0,0:33:50.05,0:33:57.06,Default,,0000,0000,0000,,very honest work he put in frame like the\Nreality as it is from African living
Dialogue: 0,0:33:57.06,0:34:12.07,Default,,0000,0000,0000,,there. But I think that approach has been\Nalways through the technology approach. We had
Dialogue: 0,0:34:12.07,0:34:18.85,Default,,0000,0000,0000,,always built this pictures of Africa\Nthrough other people's eyes and VR is
Dialogue: 0,0:34:18.85,0:34:26.82,Default,,0000,0000,0000,,totally the opposite of that. Is just you\Nput a camera and you disappear. You have a
Dialogue: 0,0:34:26.82,0:34:32.70,Default,,0000,0000,0000,,360 degree, things happen, you observe,\Nthen you look at the footage you want to
Dialogue: 0,0:34:32.70,0:34:38.73,Default,,0000,0000,0000,,design it, or not, as your choice but\Nbasically the act of filming VR or
Dialogue: 0,0:34:38.73,0:34:45.46,Default,,0000,0000,0000,,capturing 360 content is very easy. It's\Nvery simple. It's just, you put the user
Dialogue: 0,0:34:45.46,0:34:49.79,Default,,0000,0000,0000,,in the centre of something. In that\Nperspective I think it's very powerful
Dialogue: 0,0:34:49.79,0:34:55.44,Default,,0000,0000,0000,,anthropology tool because anthropology is\Nbased on observation, so as simple as
Dialogue: 0,0:34:55.44,0:35:01.02,Default,,0000,0000,0000,,that.\NHerald: Thank you. I think I have the
Dialogue: 0,0:35:01.02,0:35:09.75,Default,,0000,0000,0000,,honor of the last question, finally. You\Nmentioned more modern art or more modern
Dialogue: 0,0:35:09.75,0:35:13.38,Default,,0000,0000,0000,,music project. What are your upcoming\Nprojects and what do you think is the
Dialogue: 0,0:35:13.38,0:35:22.89,Default,,0000,0000,0000,,technology like in 10 years for you,\Nrelated to your upcoming projects?
Dialogue: 0,0:35:22.89,0:35:30.73,Default,,0000,0000,0000,,Sélim: I'm still stuck in this project and\NI think basically we are far from the end
Dialogue: 0,0:35:30.73,0:35:37.60,Default,,0000,0000,0000,,product or output but I'm very happy to\Nsee that people engaged with that. I just
Dialogue: 0,0:35:37.60,0:35:41.92,Default,,0000,0000,0000,,came from another meeting I told you from\Nre:publica in Africa and I realized that
Dialogue: 0,0:35:41.92,0:35:48.64,Default,,0000,0000,0000,,this project, I identified basically\Ntwo audiences. First of all, you have the
Dialogue: 0,0:35:48.64,0:35:54.80,Default,,0000,0000,0000,,African audiences which for them just to\Nbe in a ceremony is enough. It's fantastic
Dialogue: 0,0:35:54.80,0:36:01.88,Default,,0000,0000,0000,,they freak out, It's exactly what they are\Nlooking for, in terms of memory and
Dialogue: 0,0:36:01.88,0:36:07.56,Default,,0000,0000,0000,,displacement. It's very enough and you\Nhave the VR audience. People who would say
Dialogue: 0,0:36:07.56,0:36:12.22,Default,,0000,0000,0000,,ok what can I experience here? You know, I\Nsee people dancing around me, listening to
Dialogue: 0,0:36:12.22,0:36:17.04,Default,,0000,0000,0000,,music, cool, I can dance but what I'm\Nexpecting? We are working on this part we
Dialogue: 0,0:36:17.04,0:36:24.65,Default,,0000,0000,0000,,want to make feel the user how this music\Nand this power of music can work on
Dialogue: 0,0:36:24.65,0:36:30.09,Default,,0000,0000,0000,,your conscience can work on your brain\Nactivity, can engage you physically and
Dialogue: 0,0:36:30.09,0:36:35.71,Default,,0000,0000,0000,,this is how we are working now with music\Nand code. With coding music, we are
Dialogue: 0,0:36:35.71,0:36:39.53,Default,,0000,0000,0000,,analyzing the frequencies that are\Nproducing through the combination of high
Dialogue: 0,0:36:39.53,0:36:46.07,Default,,0000,0000,0000,,frequencies and low frequencies and that\Ncreates this space of trance. And of
Dialogue: 0,0:36:46.07,0:36:52.51,Default,,0000,0000,0000,,course you cannot push users directly into\Ntrance, some people don't want this. So yes,
Dialogue: 0,0:36:52.51,0:37:00.68,Default,,0000,0000,0000,,the next step will be to elaborate this\Ninteractive ceremony, so you can really go
Dialogue: 0,0:37:00.68,0:37:05.97,Default,,0000,0000,0000,,deeper producing CGI the more the trance\Nwill go, the more you will see things
Dialogue: 0,0:37:05.97,0:37:11.35,Default,,0000,0000,0000,,happening. The more you visualize the\Nmemories, the more you will see, the
Dialogue: 0,0:37:11.35,0:37:21.20,Default,,0000,0000,0000,,belief, the spirits, whatever, and the\Nmore you will have this physical
Dialogue: 0,0:37:21.20,0:37:25.56,Default,,0000,0000,0000,,experience of being in a ritual. So, this\Nis a next step, basically.
Dialogue: 0,0:37:25.56,0:37:29.53,Default,,0000,0000,0000,,Herald: Thank you very much.\NSélim: Thank you, thank you a lot.
Dialogue: 0,0:37:29.53,0:37:32.48,Default,,0000,0000,0000,,Herald: I want a round of applause for\NSélim.
Dialogue: 0,0:37:32.48,0:37:38.26,Default,,0000,0000,0000,,{\i1}applause{\i0}
Dialogue: 0,0:37:38.26,0:37:43.06,Default,,0000,0000,0000,,{\i1}postroll music{\i0}
Dialogue: 0,0:37:43.06,0:38:02.00,Default,,0000,0000,0000,,Subtitles created by c3subtitles.de\Nin the year 2020. Join, and help us!