[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:14.97,Default,,0000,0000,0000,,{\i1}34c3 intro{\i0}
Dialogue: 0,0:00:14.97,0:00:16.06,Default,,0000,0000,0000,,Saud Al-Zaid: What I want to talk about
Dialogue: 0,0:00:16.06,0:00:22.78,Default,,0000,0000,0000,,today is the conundrum of reality and non-\Nreality of our world and the fictional or
Dialogue: 0,0:00:22.78,0:00:27.42,Default,,0000,0000,0000,,artificial worlds and works of art and\Neverything from what graces museums and
Dialogue: 0,0:00:27.42,0:00:34.48,Default,,0000,0000,0000,,galleries to what enters our living rooms\Nin the form of television or video games.
Dialogue: 0,0:00:34.48,0:00:38.55,Default,,0000,0000,0000,,The title as you may know is in reference\Nto the works of Walter Benjamin, the
Dialogue: 0,0:00:38.55,0:00:45.66,Default,,0000,0000,0000,,most important procrastinator in modern\Nhistory. Benjamin is a pioneer in Media
Dialogue: 0,0:00:45.66,0:00:50.71,Default,,0000,0000,0000,,Studies with his study of cinema and how\Nwe consume media on a societal level in
Dialogue: 0,0:00:50.71,0:00:55.79,Default,,0000,0000,0000,,dark movie theaters from Berlin to New\NYork watching technically reproduced
Dialogue: 0,0:00:55.79,0:01:00.24,Default,,0000,0000,0000,,images like the one we have in this Beamer\Nand today streamed on the Internet over
Dialogue: 0,0:01:00.24,0:01:05.50,Default,,0000,0000,0000,,and over again his essay is one of the\Nmost assigned texts in the humanities
Dialogue: 0,0:01:05.50,0:01:11.11,Default,,0000,0000,0000,,itself technically reproduced and\Nculturally consumed on a hyper meta level.
Dialogue: 0,0:01:11.11,0:01:15.86,Default,,0000,0000,0000,,Its primary theoretical focus is on\Nideology specifically Benjamins rather
Dialogue: 0,0:01:15.86,0:01:21.34,Default,,0000,0000,0000,,unique Marxist perspective about political\Nprogress and the fascist political order
Dialogue: 0,0:01:21.34,0:01:27.13,Default,,0000,0000,0000,,that he was working under during World War\N2. What I want to connect this to is what
Dialogue: 0,0:01:27.13,0:01:32.28,Default,,0000,0000,0000,,I call the current conflict what others\Ncall the war on terror and the things that
Dialogue: 0,0:01:32.28,0:01:38.24,Default,,0000,0000,0000,,go along with it. So over here is a the\Nfirst page of a legal memo regarding the
Dialogue: 0,0:01:38.24,0:01:43.41,Default,,0000,0000,0000,,applicability of federal criminal laws and\Nthe Constitution to the contemplated to
Dialogue: 0,0:01:43.41,0:01:49.09,Default,,0000,0000,0000,,the contemplated lethal operations against\NAnwar al-Aulaqi. Aulaqi was not a military
Dialogue: 0,0:01:49.09,0:01:55.48,Default,,0000,0000,0000,,general or a terrorist tactician he was\Nprimarily a propagandist. This authorizes
Dialogue: 0,0:01:55.48,0:02:00.20,Default,,0000,0000,0000,,the killing of an American citizen without\Ntrial by jury an authorized violation of
Dialogue: 0,0:02:00.20,0:02:06.20,Default,,0000,0000,0000,,the Constitution in both the 6th and if\Nyou think about it the 1st amendment. The
Dialogue: 0,0:02:06.20,0:02:09.86,Default,,0000,0000,0000,,violation of the 6th amendment hasn't\Nhappened in the American in the American
Dialogue: 0,0:02:09.86,0:02:16.23,Default,,0000,0000,0000,,context since the Civil War and this one\Nwas executed by a Reaper drone. This is an
Dialogue: 0,0:02:16.23,0:02:21.92,Default,,0000,0000,0000,,artifact from reality. This artifact I\Nwant to connect to the artifacts of our
Dialogue: 0,0:02:21.92,0:02:26.92,Default,,0000,0000,0000,,current fiction such as those found all\Nover in popular media of an intolerant
Dialogue: 0,0:02:26.92,0:02:31.44,Default,,0000,0000,0000,,Muslim world\Nraging with anger against your freedoms.
Dialogue: 0,0:02:31.44,0:02:36.83,Default,,0000,0000,0000,,As the West violates our lives and bodies\Nin the hundreds of thousands and indeed
Dialogue: 0,0:02:36.83,0:02:43.28,Default,,0000,0000,0000,,violating its own rules. And why art? It's\Nbecause the relationship between art and
Dialogue: 0,0:02:43.28,0:02:47.90,Default,,0000,0000,0000,,reality is not an easy one. I want to\Npoint that even the most basic terms of
Dialogue: 0,0:02:47.90,0:02:52.23,Default,,0000,0000,0000,,our current reality say a word like\Nassassination or assassin have multiple
Dialogue: 0,0:02:52.23,0:02:58.44,Default,,0000,0000,0000,,layers and historical residues. The term\Nassassin comes from the Arabic Hashashin or
Dialogue: 0,0:02:58.44,0:03:03.90,Default,,0000,0000,0000,,those who take hashish or stoners. It was\Nduring the Crusades that the assassin word
Dialogue: 0,0:03:03.90,0:03:08.72,Default,,0000,0000,0000,,entered into European languages and as\Nmeaning specifically as someone who does
Dialogue: 0,0:03:08.72,0:03:14.90,Default,,0000,0000,0000,,targeted political killing. It's based on\Na myth or fictional propaganda against a
Dialogue: 0,0:03:14.90,0:03:20.40,Default,,0000,0000,0000,,small sect in Islam known as the Ismailis.\NThe story went that there was an old man
Dialogue: 0,0:03:20.40,0:03:24.50,Default,,0000,0000,0000,,of the mountain who would take young men\Nto the garden and give them so much
Dialogue: 0,0:03:24.50,0:03:29.01,Default,,0000,0000,0000,,hashish that they believed they were in\Nheaven. In more elaborate versions there
Dialogue: 0,0:03:29.01,0:03:34.66,Default,,0000,0000,0000,,were gardens full of naked women music\Nwine you know you get the idea. When the
Dialogue: 0,0:03:34.66,0:03:40.32,Default,,0000,0000,0000,,hashish wore off and they're kind of going\Nover there hashish hangover the old man
Dialogue: 0,0:03:40.32,0:03:45.65,Default,,0000,0000,0000,,would convince the young men that the only\Nway for them to go back to heaven is by
Dialogue: 0,0:03:45.65,0:03:49.79,Default,,0000,0000,0000,,killing one of his enemies in what is\Neffectively a suicide mission. When the
Dialogue: 0,0:03:49.79,0:03:53.98,Default,,0000,0000,0000,,young assassins, the hashashin, were\Nkilled the immediately in a sense come
Dialogue: 0,0:03:53.98,0:03:58.90,Default,,0000,0000,0000,,back to the garden. The purpose of this\Nstory is to make the assassins look weak
Dialogue: 0,0:03:58.90,0:04:03.55,Default,,0000,0000,0000,,willed and even stupid - though the sect\Nmay have performed political
Dialogue: 0,0:04:03.55,0:04:08.79,Default,,0000,0000,0000,,assassinations, marijuana was not likely\Ninvolved. The story is probably completely
Dialogue: 0,0:04:08.79,0:04:14.93,Default,,0000,0000,0000,,bullshit. But now we're stuck with the\Nword assassin. It's a fictional error or
Dialogue: 0,0:04:14.93,0:04:20.49,Default,,0000,0000,0000,,propaganda glitch in our current\Nlinguistic reality. Can you spot the
Dialogue: 0,0:04:20.49,0:04:26.59,Default,,0000,0000,0000,,difference? In case you need the slide\Nexplained to you: at the top its drone
Dialogue: 0,0:04:26.59,0:04:34.46,Default,,0000,0000,0000,,operators up there and in the bottom its\NCheech and Chong. Assassins - hashashin or
Dialogue: 0,0:04:34.46,0:04:39.40,Default,,0000,0000,0000,,vice versa. My argument is that the\Ndifference between reality and fiction or
Dialogue: 0,0:04:39.40,0:04:44.57,Default,,0000,0000,0000,,our serious acknowledgement that this is\Nreal and that over there is myth, just a
Dialogue: 0,0:04:44.57,0:04:49.63,Default,,0000,0000,0000,,story, just the TV show, just a video game\Nis an ideological difference on the level
Dialogue: 0,0:04:49.63,0:04:55.59,Default,,0000,0000,0000,,of ideas during the current conflict.\NIdeas that have a life of their own that
Dialogue: 0,0:04:55.59,0:04:59.65,Default,,0000,0000,0000,,are animated by new technologies like\Npieces of paper in the Middle Ages that
Dialogue: 0,0:04:59.65,0:05:05.19,Default,,0000,0000,0000,,propagated the crusader myths of the\Nassassins. Cultural ADIF artifacts reflect
Dialogue: 0,0:05:05.19,0:05:12.13,Default,,0000,0000,0000,,multiple facets those signs of human\Nadvancement and human tragedy. The work of
Dialogue: 0,0:05:12.13,0:05:17.16,Default,,0000,0000,0000,,art even as an object has a political\Nvalence the artist and the and the artwork
Dialogue: 0,0:05:17.16,0:05:22.08,Default,,0000,0000,0000,,are all constituent parts of what we\Ncolloquially call the art scene. That
Dialogue: 0,0:05:22.08,0:05:26.63,Default,,0000,0000,0000,,somewhat kind of toxic social construct\Nthat in turn makes up the art market and
Dialogue: 0,0:05:26.63,0:05:32.51,Default,,0000,0000,0000,,even more toxic construct. Does anyone\Nrecognize the unimpressive painting? You
Dialogue: 0,0:05:32.51,0:05:36.78,Default,,0000,0000,0000,,normally wouldn't - except it was done by\Na young struggling Austrian artist by the
Dialogue: 0,0:05:36.78,0:05:42.52,Default,,0000,0000,0000,,name of Adolf Hitler. Hitler was rejected\Nfrom art school struggling to pay rent in
Dialogue: 0,0:05:42.52,0:05:46.99,Default,,0000,0000,0000,,a gentrifying but vibrant Vienna, the\Nfirst steps in a sequence of events that
Dialogue: 0,0:05:46.99,0:05:52.71,Default,,0000,0000,0000,,gave us the most devastating leader of the\Nlast century. In case you're wondering:
Dialogue: 0,0:05:52.71,0:05:59.02,Default,,0000,0000,0000,,yes I'm saying the art world gave us\NHitler. Speaking about art I don't want to
Dialogue: 0,0:05:59.02,0:06:04.20,Default,,0000,0000,0000,,make like the Fasil with the Trump\Ntransition but it's hard to avoid.
Dialogue: 0,0:06:04.20,0:06:08.27,Default,,0000,0000,0000,,Television creatives were the minds behind\NThe Apprentice and the creation of Trump
Dialogue: 0,0:06:08.27,0:06:13.76,Default,,0000,0000,0000,,as a public persona with leadership\Nqualities. Maybe life imitates art maybe
Dialogue: 0,0:06:13.76,0:06:18.36,Default,,0000,0000,0000,,art imitates life but reality television\Nmight be remembered as the highest form of
Dialogue: 0,0:06:18.36,0:06:25.83,Default,,0000,0000,0000,,terrorism. Okay so let's move on to good\Nor better arts at least. Chris Burden's
Dialogue: 0,0:06:25.83,0:06:33.53,Default,,0000,0000,0000,,1981 art installation a Tale of Two Cities\Nis composed of 26 tons of sand rocks
Dialogue: 0,0:06:33.53,0:06:41.62,Default,,0000,0000,0000,,plants and thousands of toys depicting a\Nwar zone. It shows the frontier of two
Dialogue: 0,0:06:41.62,0:06:46.16,Default,,0000,0000,0000,,bordering states at war with one of the\Nstates being larger and more developed
Dialogue: 0,0:06:46.16,0:06:50.81,Default,,0000,0000,0000,,than the other. There is a harbor and\Nairport and mountainous region, toy
Dialogue: 0,0:06:50.81,0:06:56.17,Default,,0000,0000,0000,,airplanes and fighter jets hang overhead\Nin flight. There is a small town an urban
Dialogue: 0,0:06:56.17,0:07:02.11,Default,,0000,0000,0000,,center and what looks like a tribal area\Nand here you can see the relief of the
Dialogue: 0,0:07:02.11,0:07:06.85,Default,,0000,0000,0000,,mountain side. One side\Nis scarred with evidence of bombing and
Dialogue: 0,0:07:06.85,0:07:11.89,Default,,0000,0000,0000,,devastation. The other appears unharmed\Nthough it is surrounded by military
Dialogue: 0,0:07:11.89,0:07:17.58,Default,,0000,0000,0000,,infrastructure. Burdens installation was\Non display several times since 1981 and
Dialogue: 0,0:07:17.58,0:07:22.09,Default,,0000,0000,0000,,changed kind of organically over time\Nuntil it took kind of a final shape in the
Dialogue: 0,0:07:22.09,0:07:27.42,Default,,0000,0000,0000,,new museum retrospective in 2013 and it\Nwas replicated in the permanent collection
Dialogue: 0,0:07:27.42,0:07:31.86,Default,,0000,0000,0000,,of the Orange County Museum of Art which\NI'd like to thank for the images. A Tale
Dialogue: 0,0:07:31.86,0:07:36.36,Default,,0000,0000,0000,,of Two Cities straddles the historical\Ntimeframe of the so-called war on terror -
Dialogue: 0,0:07:36.36,0:07:42.51,Default,,0000,0000,0000,,2 decades before and one decade after 9/11\Nand one can help imagine that the two
Dialogue: 0,0:07:42.51,0:07:48.04,Default,,0000,0000,0000,,cities became a metaphor for North America\Nand the Middle East. Burdens work is both
Dialogue: 0,0:07:48.04,0:07:51.89,Default,,0000,0000,0000,,a premonition and a testament to the\Nnature of the current conflict. The
Dialogue: 0,0:07:51.89,0:07:56.92,Default,,0000,0000,0000,,juvenile nature of war from the aggressors\Nside no less shows how removed Western
Dialogue: 0,0:07:56.92,0:08:02.46,Default,,0000,0000,0000,,democratic societies are from the side of\Nconflict. It is a game going on over there
Dialogue: 0,0:08:02.46,0:08:10.31,Default,,0000,0000,0000,,far away. My question for today is how can\Npeople in the West even make political art
Dialogue: 0,0:08:10.31,0:08:14.45,Default,,0000,0000,0000,,with so much historical baggage in the\Ncontemporary moment? The following are
Dialogue: 0,0:08:14.45,0:08:21.17,Default,,0000,0000,0000,,collages by a Syrian artist his name is\NAeham Jaber who mixes scenes of the war in
Dialogue: 0,0:08:21.17,0:08:25.72,Default,,0000,0000,0000,,Syria and the refugee crisis with these\Nkind of kitschy surreal movie images from
Dialogue: 0,0:08:25.72,0:08:30.50,Default,,0000,0000,0000,,from Hollywood of the 1950s and 60s -\Nshowing kind of the bombing of places like
Dialogue: 0,0:08:30.50,0:08:35.81,Default,,0000,0000,0000,,Damascus is being perpetuated by UFOs.\NInstead of Russians Americans and
Dialogue: 0,0:08:35.81,0:08:43.29,Default,,0000,0000,0000,,Emiratis. Placing the surreal devastation\Nof Aleppo as an extraterrestrial
Dialogue: 0,0:08:43.29,0:08:49.93,Default,,0000,0000,0000,,experience as if Syria is not even on the\Nplanet Earth. Jabbar's play on scale and
Dialogue: 0,0:08:49.93,0:08:55.36,Default,,0000,0000,0000,,perspective attempts to contextualize and\Nthe historical heaviness of the current
Dialogue: 0,0:08:55.36,0:08:59.94,Default,,0000,0000,0000,,refugee crisis by showing these kind of\Nover sized children sleeping on the beach
Dialogue: 0,0:08:59.94,0:09:06.27,Default,,0000,0000,0000,,side or the overreaction to displays of\NWestern culture of Muslim culture in the
Dialogue: 0,0:09:06.27,0:09:12.66,Default,,0000,0000,0000,,West like the burkini incident in France.\NThe horror of surpassing the imagined
Dialogue: 0,0:09:12.66,0:09:17.37,Default,,0000,0000,0000,,futures of the past, where control centers\Ndetermine the fate of poor innocent
Dialogue: 0,0:09:17.37,0:09:20.80,Default,,0000,0000,0000,,people, seen through\Nthe glassy gaze of technology, trying to
Dialogue: 0,0:09:20.80,0:09:27.10,Default,,0000,0000,0000,,ensure the security of faraway States that\Nare completely unaffected by the conflict.
Dialogue: 0,0:09:27.10,0:09:32.21,Default,,0000,0000,0000,,This next section I kind of put in jest\Nbut I am also like partially serious and I
Dialogue: 0,0:09:32.21,0:09:35.74,Default,,0000,0000,0000,,want to kind of leave you with the idea\Nthat for better or worse the two most
Dialogue: 0,0:09:35.74,0:09:40.80,Default,,0000,0000,0000,,important artists today working today are\Nprobably Banksy and Anish Kapoor and still
Dialogue: 0,0:09:40.80,0:09:45.82,Default,,0000,0000,0000,,in a way that their work embodies the\Nissues of the art world with within the
Dialogue: 0,0:09:45.82,0:09:51.19,Default,,0000,0000,0000,,sent the idea of the current conflict.\NFrom below and above the art world feels
Dialogue: 0,0:09:51.19,0:09:55.40,Default,,0000,0000,0000,,compelled to be political to the point\Nthat if you make non-political art its
Dialogue: 0,0:09:55.40,0:10:00.100,Default,,0000,0000,0000,,some ways it's perceived as not only goosh\Nbut devastating or shows the you are kind
Dialogue: 0,0:10:00.100,0:10:05.04,Default,,0000,0000,0000,,of so removed from reality that you occupy\Nand it's always interesting when we think
Dialogue: 0,0:10:05.04,0:10:09.00,Default,,0000,0000,0000,,about how art collectors seem to be\Nindifferent to the actual art itself and
Dialogue: 0,0:10:09.00,0:10:13.78,Default,,0000,0000,0000,,think of it only as market value. As\Nconsumers and critics we need to voice our
Dialogue: 0,0:10:13.78,0:10:19.28,Default,,0000,0000,0000,,concern about the context and not just the\Ncontent of the art we are subjected to.
Dialogue: 0,0:10:19.28,0:10:23.15,Default,,0000,0000,0000,,From the artists point of view they feel\Nthe compulsion to affect the world through
Dialogue: 0,0:10:23.15,0:10:28.66,Default,,0000,0000,0000,,their spray can or massives art\Ncommissions. But those energies remain in
Dialogue: 0,0:10:28.66,0:10:33.75,Default,,0000,0000,0000,,their niches they become self-serving as\Nways for careers to be made, they need to
Dialogue: 0,0:10:33.75,0:10:38.51,Default,,0000,0000,0000,,be translated into something far more\Nconcrete, more sincere and more human than
Dialogue: 0,0:10:38.51,0:10:47.24,Default,,0000,0000,0000,,the absurd unending wars we're constantly\Nin and {\i1}Pause{\i0} yeah I guess we have plenty
Dialogue: 0,0:10:47.24,0:10:52.48,Default,,0000,0000,0000,,of time for questions as I said I found\Nout about this presentation 9 p.m.
Dialogue: 0,0:10:52.48,0:10:58.14,Default,,0000,0000,0000,,yesterday and was a little worried I was\Ngoing to take off way more time so thank
Dialogue: 0,0:10:58.14,0:11:09.64,Default,,0000,0000,0000,,you very much for listening. {\i1}Applause{\i0}\NHerald: Thank you Saud. We have time for
Dialogue: 0,0:11:09.64,0:11:17.49,Default,,0000,0000,0000,,questions. If anyone wants to ask please\Ngo to one of the microphones in the row.
Dialogue: 0,0:11:17.49,0:11:31.91,Default,,0000,0000,0000,,There is two on each area.\NSaud: Don't all rush all at once. Yeah
Dialogue: 0,0:11:31.91,0:11:38.44,Default,,0000,0000,0000,,that's actually my second chaos in a row\Nspeaking so {\i1}Laughs{\i0} this one is far more
Dialogue: 0,0:11:38.44,0:11:42.88,Default,,0000,0000,0000,,chaotic than the first I must say oh yeah.\NBut yeah thank you very much everyone.
Dialogue: 0,0:11:42.88,0:11:49.70,Default,,0000,0000,0000,,Herald: Thank you Saud. You said that you\Nhad squezed in ten ...
Dialogue: 0,0:11:49.70,0:11:52.91,Default,,0000,0000,0000,,Saud: yeah. like\NHerald: lectures into this talk, can you
Dialogue: 0,0:11:52.91,0:11:55.95,Default,,0000,0000,0000,,tell us about that?\NSaud: Yeah I had more artists that I
Dialogue: 0,0:11:55.95,0:12:01.11,Default,,0000,0000,0000,,wanted to talk to but again the context of\Nhow to fit in Harun Farocki or you know
Dialogue: 0,0:12:01.11,0:12:07.06,Default,,0000,0000,0000,,sort of bigger more intellectual projects\Nand the putting Burden
Dialogue: 0,0:12:07.06,0:12:12.01,Default,,0000,0000,0000,,versus Jaber for\Nme was in one hand using a very
Dialogue: 0,0:12:12.01,0:12:17.12,Default,,0000,0000,0000,,established conceptual artist who's known\Nto someone who is unknown who's just
Dialogue: 0,0:12:17.12,0:12:21.23,Default,,0000,0000,0000,,working actually entrapped in Syria and\Ncan't leave and I went to show that there
Dialogue: 0,0:12:21.23,0:12:26.17,Default,,0000,0000,0000,,is a genuine difference even if the\Nintention of the artist is good that the
Dialogue: 0,0:12:26.17,0:12:34.45,Default,,0000,0000,0000,,the content and the context is an\Nin a sense devastating when you put it in
Dialogue: 0,0:12:34.45,0:12:42.25,Default,,0000,0000,0000,,the larger sphere of the war. And {\i1}Pause{\i0}\NI to connect everything from television
Dialogue: 0,0:12:42.25,0:12:47.45,Default,,0000,0000,0000,,shows and video games to gallery art as\Nbeing part of the same ecosystem is not an
Dialogue: 0,0:12:47.45,0:12:51.71,Default,,0000,0000,0000,,easy thing you can do, yeah in 30 minutes\Nor in my case 10.
Dialogue: 0,0:12:51.71,0:12:57.16,Default,,0000,0000,0000,,Herald: And you have been working on this\Nfor quite some years?
Dialogue: 0,0:12:57.16,0:13:01.94,Default,,0000,0000,0000,,Saud: This is like postdoctoral work so\Nthis is the stuff I didn't in my PhD work
Dialogue: 0,0:13:01.94,0:13:06.03,Default,,0000,0000,0000,,I actually do the aesthetics of the\NIslamic movement from themselves so it's
Dialogue: 0,0:13:06.03,0:13:11.58,Default,,0000,0000,0000,,actually kind of a more internal thing\Nthan from the external parties, yeah. Now
Dialogue: 0,0:13:11.58,0:13:17.23,Default,,0000,0000,0000,,this is kind of a 1 circle removed from\Nwhat I was actually trained in but yeah.
Dialogue: 0,0:13:20.39,0:13:28.11,Default,,0000,0000,0000,,Herald: In this case we don't see any more\Nquestions, unless there is anyone running
Dialogue: 0,0:13:28.11,0:13:34.16,Default,,0000,0000,0000,,to the microphones now - O someone is\Nrunning to microphone number 3. So
Dialogue: 0,0:13:34.16,0:13:41.85,Default,,0000,0000,0000,,microphone number 3 please, that is you\Nactually, please make sure to speak
Dialogue: 0,0:13:41.85,0:13:48.02,Default,,0000,0000,0000,,clearly into the microphone please.\NMicrophone 3: Yes, hello, yes I'm on maybe
Dialogue: 0,0:13:48.02,0:13:52.36,Default,,0000,0000,0000,,you can just tell us some more about the\Npictures you've shown us?
Dialogue: 0,0:13:52.36,0:13:59.54,Default,,0000,0000,0000,,Saud: {\i1}mm-hmm{\i0} Oh the collages Jaber work?\NHe actually is a self trained well or
Dialogue: 0,0:13:59.54,0:14:02.77,Default,,0000,0000,0000,,Chris Burden?\NMic3: Maybe put the pictures on?
Dialogue: 0,0:14:02.77,0:14:05.45,Default,,0000,0000,0000,,Saud: Sure, sure, sure.\NMic3: Thanks
Dialogue: 0,0:14:05.45,0:14:14.53,Default,,0000,0000,0000,,Saud: So well I guess Burdens installation\Nis kind of famous. He himself am i on? I
Dialogue: 0,0:14:14.53,0:14:24.90,Default,,0000,0000,0000,,think I'm switched off. Hello? Okay, yeah\NBurdens work his first work is that he got
Dialogue: 0,0:14:24.90,0:14:29.74,Default,,0000,0000,0000,,famous for was called shoot where he was\Nactually shot by a colleague of his in a
Dialogue: 0,0:14:29.74,0:14:35.04,Default,,0000,0000,0000,,gallery by a 22 rifle and it was recorded\Non video and this was his kind of
Dialogue: 0,0:14:35.04,0:14:41.03,Default,,0000,0000,0000,,performance art that broke him into the\Nconceptual art world and his art works in
Dialogue: 0,0:14:41.03,0:14:44.70,Default,,0000,0000,0000,,the 70s got bigger and bigger and this is\None of the ones that culminated and kind
Dialogue: 0,0:14:44.70,0:14:50.90,Default,,0000,0000,0000,,of a very tongue-in-cheek anti-war - Is\Nthe image? No it isn't. So he I was
Dialogue: 0,0:14:50.90,0:14:55.05,Default,,0000,0000,0000,,trying to put like the context of someone\Nwho was kind of very very established to
Dialogue: 0,0:14:55.05,0:15:02.05,Default,,0000,0000,0000,,someone who's basically working on his\Nlaptop using illustrator and Photoshop.
Dialogue: 0,0:15:02.05,0:15:09.78,Default,,0000,0000,0000,,And that at the end of the day I think\Nthat {\i1}Pauses{\i0} the current conflict
Dialogue: 0,0:15:09.78,0:15:14.63,Default,,0000,0000,0000,,depicting itself in these images is in a\Nsense its own constant. Oh yeah.
Dialogue: 0,0:15:15.00,0:15:20.24,Default,,0000,0000,0000,,Herald: We are sorry we won't be able to\Nget the english sub right now. We are also
Dialogue: 0,0:15:20.24,0:15:27.26,Default,,0000,0000,0000,,still throwing all that technology in this\Nnew location. Yes i think you have a
Dialogue: 0,0:15:27.26,0:15:40.75,Default,,0000,0000,0000,,question? Is there someone on microphone\Nnumber 4? Do you have a question? Please
Dialogue: 0,0:15:40.75,0:15:45.23,Default,,0000,0000,0000,,speak into the microphone.\NMicrophone 4: No
Dialogue: 0,0:15:45.23,0:15:50.04,Default,,0000,0000,0000,,Herald: Ok . So Thank you everyone.\NSaud: Thank you everyone
Dialogue: 0,0:15:50.05,0:15:55.89,Default,,0000,0000,0000,,Herald: Thank you very much\N{\i1}Applause{\i0}
Dialogue: 0,0:15:55.89,0:16:00.83,Default,,0000,0000,0000,,{\i1}34c3 outro{\i0}
Dialogue: 0,0:16:00.83,0:16:17.00,Default,,0000,0000,0000,,subtitles created by c3subtitles.de\Nin the year 2018. Join, and help us!