editing the first version

I just finished editing the first version of the project, to include the sound!

I will export the material and will post the first version soon!

FINAL - music edited to sound - part 2

Earlier, we have worked on this option, a bit for upbeat towards the end, I could still keep it as an option for future use. This option lasts for 13 minutes approximately.

FINAL - music edited to sound

I worked along with a friend* of mine on the layering of music to sound.

There are 2 versions we worked on, 1 is continuous and brings a soft ending, while the second gets a bit more vibrant towards the end.

This is the 1st option (the one I used for the live show in Beirut, I'll be explaining more about this live in another post), it lasts for 15 minutes approximately.

*He decided not to get accreditation and to remain anonymous, since it's editing sounds while he usually composes.

Ziad Voice Layer Final

This is the voice layer, the sentences that I have written earlier are performed by tenor Ziad Nehme. I asked him to just give me a first draft, a brainstorm like singing, for the long sentences, I asked him to just read them. These are the joined clips, they were placed later randomly on the edited music layer. I randomized the sentences to manipulate the live clips accordingly.

The whole sentences topped up to 9 minutes approximately.

Ziad's other works could be found on the following link: http://www.ziadnehme.com/

draft_sound_1

here are some of the sentences in Ziad's voice, these will be later embedded within the sound.

Final Sentences Sound and Voices

2 weeks ago, I asked a tenor friend Ziad Nehme, to try to read operatically the sentences I would like to embed in the sound layer of the project. I also contacted another friend (who would like to remain anonymous for professional reasons) to compose and edit the sound layer.
There is no one reason why I would like to include an operatic narrator in the project. I love Ziad's voice, and in the drafts he sent me (to be posted in another note) he reminded me of when I used to come up with songs when we were young, a very common boredom related exercise. Do children still do that?
Here are the sentences I asked him to sing, the long ones will be rather read.

- Transitional Digital Objects: Fluidity in compositing an autobiography or a failure to create a portrait of the whole?
- Look at me not falling apart.
- Look at my sister.
- Look at my mother.
- Look at me, randomizing the course of my events.
- Autocorrecting my autobiography.
- My arbitrary decisions are random.
- How can I embed meaning in my random life?
- At the age of 5 I was like a black and white film, silent until further notice.
- My communication consisted of muttering few words intermittently.
- My memories are abundant there’s a jungle in my head.
- I whistle in the vacuum to retrieve a memory.
- It is all so connected like threads woven with threads.
- It is all so connected like a contour of an amorphous form.
- In a football game, the player reads and anticipates the action of the other.
- In this game, I can read and anticipate the action of you, the other.
- The idea of restoration of dialogue is omnipresent.
- We were two kids, my older sister and I, living with our parents. Our entertainment was to watch the plants grow and the flowers blossom. My mother’s efforts in providing us amusement included, one day, an outing to watch a football game at the only playing field in the village. Upon our arrival, one of the players kicks the ball and the ball hits me squarely in the face. As my nose starts bleeding, my mom quickly takes me into her lap and places my head on her shoulder. She runs back with me towards our house to nurse my injury. That day, my nose bled so much it ruined the removable collar of my mother’s dress.
- The removal or reduction of the ‘bread and circuses’ from mass culture will threaten the continued operation of the market and society, as well as higher philosophical truth.
- Beirut had become a potential ‘winning’ project; the mere existence of the country on the map is a victory.
- The citizens reclaim symbols of the republic, the flag and the national anthem which otherwise are usually confiscated as the property of right wing nationalists.
- The delirious crowd, the intellectuals glued to their television screens, and the public literally colonized by magical passes or punches.
- “Voluntarism of imagination” on a small screen.
- The simulacrum of the field is a field in reduction, a micro-field.
- On ultra big screens: the ability to imagine is reduced to zero.
- The screen enlarges players, giving back to the audience, as in their early days of movie theaters, their childhood perceptions… a period where all adults appeared as giants.
- The relation between the public and the television screen is revealed at the end of the match; suddenly the event is no longer inside the screen, but totally outside it.
- The screen is reduced to its modest role as witness, or substitute with the mere task of giving older and sick people a reflection of what is happening elsewhere.
- The urge instantly felt by each viewer to meet the crowd. There’s something to share, something that does not exist outside the sharing process; and that is the object that the screen cannot contain. It is at the same time the victory and the limits of the media… the moment when television screens become abandoned by all those who rush to the streets to congratulate each other.
- It is not by accident that, twenty years later, I still recall the football hitting my face that day in my parent’s village. It has become the alarm that wakes me up every morning.
- A marble / A crane / My white heels key holder / A button / the Sun / Plastic purple heart / Ladder / Flower / Wave / Me / My sister / My mother.

rheo: 5 Horizons by Ryoichi Kurokawa

This video audiovisual installation is composed of 5 flat-panel displays and five multi-channel speakers, each panel connected to a mono channel sound, audio is synchronizing the video, while each panel acts independently, together the 5 panels create a sort of an ensemble. I was intending to use this work as an example in my research paper, in the paper that speaks about the fluidity of the New Media Object, then again, It was going to be hard to explain both process and the details and then place this work within the context of the paper. Kurokawa's piece is brilliant and the implementations it suggests, the independent yet self-contained units could be hard to imagine otherwise. check out the video, the quality is much better on the DVD, yet, it is an OK option for now.

Celluloïd-E by André Décosterd, Michel Décosterd / Cod.Act

While researching for the paper, I was watching the Prix Ars Electronica DVD (2010), and I saw the piece entitled "Celluloïd-E" by André Décosterd, Michel Décosterd / Cod.Act. Later from the description I realized that they have been searching mechanisms that capture and produce visible undulatory movements and try to link this movement with sound. Their resulted piece was a motorized pendulum that generates sounds while rotating and shifting in space. A sound sculpture that works.

Watch the video on the following link:

http://www.codact.ch/videos/cycloid/cycloid_video.html

Below are stills from the sculpture in motion.

on 'Material Memories' by DJ Spooky

Paul D. Miller aka Dj Spooky that Subliminal Kid, in his essay entitled “Material Memories: Time And The Cinematic Image”, lyrically writes about the different themes that constitute the art of cinema, time, screen, projection, unfolding images through action, rhythms of fragmentation… and the list is long…

I have regained this old habit of taking notes. While reading a text, and to be able to concentrate more, I used to write the keywords that interest me on my notebook, or write a shiny sentence that makes great sense to me on as a side note, now with the ‘reading from the screen’ mode, copy pasting and recompositing the author’s text to understand it in my context is my latest way or grasping… this is what happens below, reading and taking the parts that interest me, or chaptering the information with titles to suit my agenda.

MNEMONICS IN TOTAL FILM

First, DJ Spooky would refer to the films by Maya Deren, ‘Ritual in Transfigured Time’, ‘Divine Horsemen’ and ‘Meditation on Violence’. He speaks of her exploration of “ritual time, and visual time, as part of a new history unfolding on the white screens of her contemporary world.” He says that Deren “sought a new art to mold time out of dance, a social sculpture carved out of celluloid gestures and body movements caught in the prismatic light of the camera lens”, quoting her "in this sense [ritual] is art, and even historically, all art derives from ritual. Being a film ritual, it is achieved not in spatial terms alone, but in terms of Time created by the camera." He would add that “in the lens of the camera the dance became a way of making time expand and become a ritual reflection of reality itself. Film became total. Became time itself - a mnemonic, a memory palace made of the gestures captured on the infinitely blank screen.” This description stimulates the reflection on the material to be filmed; upon reading this article, I thought about filming people watching the football matches in public venues. In Beirut, and am positive everywhere in the world, all the pubs and cafés replace their menu chalkboard with a flat screen television whenever there’s a big sports related event happening, this year (June 2010), it will be the world cup taking place in South Africa.

SEQUENCE AND THE ACT OF AUTOMATIC WRITING

Then DJ Spooky would bring up the “Surrealists' walking dream put into a contemporary context. Andre Breton first stated the kind of will to break from the industrial roles culture assigned everyone in Europe back in 1930: ‘the simplest Surrealist act consists of dashing down into the street, pistol in hand, and firing blindly as fast as you can, as fast as you can pull the trigger, into the crowd. Anyone who at least once in his life, has not dreamed of thus putting an end to the petty system of debasement and cretinization in effect has a well-defined place in that crowd, with his belly at barrel level.” DJ Spooky argues that “automatic writing as described by surrealists, ‘letting subconscious thought become a formalized artistic act’ gets flipped, becoming a gangsta dreamtime remix, like an open source Linux coded operating system, psychogeographic shareware for the open market in a world where identity is for sale to the highest bidder”… “Set your browser to drift mode and simply float: the sequence really doesn't care what you do as long as you are watching. ‘Now’ becomes a method for exploring the coded landscapes of contemporary post-industrial reality, a flux, a Situationist reverie, a ‘psychogeographie’ - a drift without beginning or end...”

SYNCHRONIZED TIME

Dj Spooky describes Chronos, the Greek god of Time, as a cannibal: “he devoured his children and left the universe barren. From time all things emerge and into Time all things go. Chronos at the heart of Europe, Chronos at the crossroads becomes a signpost in suspension - multiplication of time versus the all-consuming one track time, one track mind.”

DATA OR FRAGMENTS AS I WOULD LOOK AT IT FROM MY APPROACH

“A million intangibles of the present moment, an infinite permutation of what could be... the thought gets caught... You get the picture… In the data cloud of collective consciousness, it's one of those issues that just seems to keep popping up… it's that flash of insight, a way of looking at the fragments of time. Check it: visual mode - open source, a kinematoscope of the unconscious: a bullet that cuts through everything like a Doc Edgerton, E.J. Maret or Muybridge flash frozen frame. You look for the elements of the experience, and if you think about it, even the word "analysis" means to break down something into its component parts.”

A NOTE ON THE ESSAY OR CONTEXT AS METATEXT

He would say: “As I sit here and type on my laptop, even the basic format of the words I write still mirrors some of the early developments in graphical user interface based texts, still echoes not only in how I write, but how I think about the temporal placement of the words and ideas I'm thinking about. It's a world-view that definitely ain't linear but came out of the graphical user interfaces invented by the likes of Alan Kay, and Douglas Engelberts, and Ivan Sutherland - stuff that let you move into the screen and interact with the icons and objects on the monitors surface. Into the picture, into the frame... Context becomes metatext, and the enframing process, as folks as diverse as Iannis Xenakis, Kool Keith aka Dr. Octagon or Eminem can tell you, like Freidrich Kittler, ‘Aesthetics begins as 'pattern recognition.'”

REPETITION

Or “the multiplying effects of digital media on self representation… the sense here is one of prolonging the formal implications of the expressive act - move into the frame, get the picture, re-invent your name. Movement, flow, flux: the nomad takes on the sedentary qualities of the urban dweller. Movement on the screen becomes an omnipresent quality. Absolute time becomes dream machine flicker… Digital codes become a reflection, a mirror permutation of the nation.”

A STORY ABOUT THE ‘CUT’ (FLOW, RUPTURE, AND FRAGMENTATION)

And he tells a story to add up on the context and the metatext: “Sometimes the best way to get an idea across is to simply tell it as a story. It's been a while since one autumn afternoon in 1896 when Georges Melies was filming a late afternoon Paris crowd caught in the ebb and flow of the city's traffic. Melies was in the process of filming an omnibus as it came out of a tunnel, and his camera jammed. He tried for several moments to get it going again, but with no luck. After a couple of minutes he got it working again, and the camera's lens caught a hearse going by. It was an accident that went unnoticed until he got home. When the film was developed and projected it seemed as if the bus morphed into a funeral hearse and back to its original form again. In the space of what used to be called actualites - real contexts reconfigured into stories that the audiences could relate to - a simple opening and closing of a lens had placed the viewer in several places and times simultaneously. In the space of one random error, Melies created what we know of today as the ‘cut’ - words, images, sounds flowing out the lens projection would deliver, like James Joyce used to say ‘sounds like a river.’ Flow, rupture, and fragmentation - all seamlessly bound to the viewers perspectival architecture of film and sound, all utterly malleable - in the blink of an eye space and time as the pre-industrial culture had known it came to an end.”

SELECTION AND THE MECHANISM OF STREAMING COORDINATING SHIFTING CREATING A NEW WAY OF THINKING THROUGH AN ACCIDENT

“Whenever you look at an image, there's a ruthless logic of selection that you have to go through to simply create a sense of order. The end-product of this palimpsest of perception is a composite of all the thoughts and actions you sift through over the last several micro-seconds - a soundbite reflection of a process… The eyes stream data to the brain through something like two million fiber bundles of nerves. Consider the exponential aspects of perception when you multiply this kind of density by the fact that not only does the brain do this all the time, but the millions of bits of information streaming through your mind at any moment have to be coordinated. Any shift in the traffic of information - even the slightest rerouting - can create, like the hearse and omnibus of Melies film accident, not only new thoughts, but new ways of thinking. Literally. Non-fiction, check the meta-contradiction... Back in the early portion of the 20th century this kind of emotive fragmentation implied a crisis of representation, and it was filmakers, not Dj's who were on the cutting edge of how to create a kind of subjective intercutting of narratives and times - there's even the famous story of how President Woodrow Wilson when he saw the now legendary amount of images and narrative jump-cuts that were in turn cut and spliced up in D.W. Griffiths's film classic Birth of a Nation called the style of ultra-montage ‘like writing history with lightning.’”

THE MONTAGE OF ATTRACTIONS, THE MIX, SIFTING THROUGH THE NARRATIVE RUBBLE OR THE INDEXICAL PRESENT

“Film makers like D.W. Griffith, Dziga Vertov, Oscar Michaux, and Sergei Eisenstein (especially with his theory of "dialectal montage" or "montage of attractions" that created a kind of subjective intercutting of multiple layers of stories within stories) were forging stories for a world just coming out of the throes of World War I. A world which, like ours, was becoming increasingly inter-connected, and filled with stories of distant lands, times and places - a place where cross-cutting allowed the presentation not only of parallel actions occurring simultaneously in separate spatial dimensions, but also parallel actions occurring on separate temporal…”

… “What Mikhail Bakhtin might have once called ‘diacritical difference’ now becomes ‘the mix’ or as James B. Twitchell says … the ‘carnival of the everyday’ in the images and sounds that make up the fabric of … daily life: ‘[the situations are] homologues (having the same relation) of each other and semilogues of those in the genre. Entertainments share diachronic and synchronic similarities; they refer to individual texts as well as to all precursors and successors — every programmer’s worst fear is that we might change the channel.’ If you compare that kind of flux to stuff like Dj mixes, you can see a similar logic at work: it's all about selection of sound as narrative. I guess that's traveling by synecdoche (figure of speech meaning part is made to represent the whole). It's a process of sifting through the narrative rubble of a phenomenon that conceptual artist Adrian Piper liked to call the ‘indexical present’ “I use the notion of the 'indexical present' to describe the way in which I attempt to draw the viewer into a direct relationship with the work, to draw the viewer into a kind of self critical standpoint which encourages reflection on one's own responses to the work…”

TO PLAY OR NOT

“Griffith's: it's all about how you play with the variables that creates the art piece. If you play, you get something out of the experience. If you don't, the medium becomes a reinforcement of what's already there, and or as one critic, said a long time ago of Griffith's Intolerance: "history itself seems to pour like a cataract across the screen…”

IMMERSION AND TRAVELING WITHOUT MOVING

Describing his method: “Like an acrobat drifting through the topologies of codes, glyphs and signs that make up the fabric of my everyday life, I like to flip things around… Contemporary 21st Century aesthetics needs to focus on how to cope with the immersion we experience on a daily level - a density that Sergei Eisenstein back in 1929 spoke of when he was asked about travel and film: ‘the hieroglyphic language of the cinema is capable of expressing any concept, any idea of class, any political or tactical slogan, without recourse to the help of suspect dramatic or psychological past’. Does this mean that we make our own films as we live them? Traveling without moving. It's something even Aristotle's ‘Unmoved Mover’ wouldn't have thought possible.”

dan black 'symphonies' video

The only issue that gets in my way when referencing a contemporary practitioner is the fact that I can't predict whether this artist/designer/writer will remain in the field. Who decides when is the right moment this person has become an established professional? I am so far convinced that I have the right to reference whomever/whatever I find suitable, but I am not sure of how this could be correct in the academic term.

On his website http://www.danblacksound.com, Dan Black has a bits and pieces page where he displays his avatars, among others the following:



Otherwise, I am still insisting on his 'symphonies' piece, only now I found its video below:

The word 'Symphony' is by definition 'an elaborate musical composition for full orchestra, typically in four movements, at least one of which is traditionally in sonata form.' Could be also 'something regarded, typically favorably, as a composition of different elements : autumn is a symphony of texture and pattern.' The feeling I get from listening to Dan's piece is basically a combination of both meanings.

YAS get it right

It's year 2019, the launch of the first Arab spaceship, the 'star wars' style typographic introduction explains, I specifically appreciate the organic aspect, the shots of the vernacular and the non existence of the spaceship in this which I interpreted as a sweet type of mockery.

'Symphonies' by Dan Black

Inspiring practices: two versions of 'symphonies' a musical piece by Dan Black a version featuring Kid Cudi and another version remixed by Passion Pit.

Symphonies by DAN BLACK

http://rcrdlbl.com/trk/457ace201d00f769aa5524d1aa2bb0df/share

MPR Conclusions and recap on Tutorial Session

MPR feedback

Here are my colleagues feedback on my MPR.

I will be reflecting on the below information and post my comments soon.

Maya Chami: My research question ‚ 'foot kicking a ball: Narrative falling apart in the V.J.ing playground'‚ portrays the project I am developing: V.J.ing as an eye candy challenged into a narrative form.

I am interested in using the old habit of intermittent communication or my inability to tell a story in a shortcut way as a form in the narrative.

I am working now on narratives' 'leftovers' or the stories that come out and revolve around a theme, but not specifically portray it.

done

Jonathan Kearney (jkearney): several comments here about how this is a similar project to Jean's, good idea to creae a dialogue between you 2

Jonathan Kearney (jkearney): Jean asks, how is sound incorporated into this?

Jonathan Kearney (jkearney): or is the plan to include sound at al

Jonathan Kearney (jkearney): VJing is also repsonsive, reponding to the sound - like a DJ responds to the crowd....

Jonathan Kearney (jkearney): so is VJing actually the right word to use at all

Jonathan Kearney (jkearney): is there another term that can be used

Satbinder Kooner (skooner): can anyone explain VJing - sorry not familar with the term

Jonathan Kearney (jkearney): what about looking at the history of hip hop to give a context

David Tatnell (davidtatnell): I like the autobiographical sense of a vj set - not entirely documentary but hinting more to memory flash backs

Jonathan Kearney (jkearney): hip hop is also responsive, often to local issues, verbalizing what is going on

Jonathan Kearney (jkearney): Jean - VJing is manipulating video in real time

Jonathan Kearney (jkearney): but Jean also points out that VJing (VJ = video jockey) can be different in clubbing type setting rather than a cinema type setting

Jonathan Kearney (jkearney): there is a feel of improvisation - influenced by what is going on around the VJ

Jonathan Kearney (jkearney): the concept of 'input/output' is important to VJing, along with manipulation the footage you are working with

David Tatnell (davidtatnell): by taking it out of the clubs and into the gallery, how/will its context change?

Melanie Menard (m_menard): Do VJs normally work with D?J/musician (they agree beforehand on type of visual that match music) or usually completely separate ? If so, would you work with specific musician Maya ?

Jonathan Kearney (jkearney): also Jean points out the differences between simply 'live editing' footage just creating a sequence, and manipulating for example by adding effects

Melanie Menard (m_menard): I thought Maya wanted to perform in clubs, but maybe I misunderstood

Satbinder Kooner (skooner): What will the content of the video be - what is it's focus?

Andrew Stiff (astiff): if thisnk this is an interesting dialogue that we are having here - the response mechanism within vjing - input and output and feedback

Andrew Stiff (astiff): how does this work within a narrative

Melanie Menard (m_menard): I think it's childhood memories but sort of abstracted + external images she relates to them for some reason ?

Satbinder Kooner (skooner): ok that sounds good

Melanie Menard (m_menard): (was answer to sat)

Satbinder Kooner (skooner): thanks Melanie

Jonathan Kearney (jkearney): do you want this to be a performance in a club or a gallery or both - does this raise stylistic issues, what are people expecting in the different settings?

Jonathan Kearney (jkearney): Chan, suggests the visuals in a club setting might not be the best setting if you wnat people to focus and give atention to your images

Jonathan Kearney (jkearney): but maybe it is possible to make a club setting the right space, by thinking differently about how a visual narrative is constructed

Andrew Stiff (astiff): ok time .....

Andrew Stiff (astiff): thanks Maya - again many more questions

Andrew Stiff (astiff): definitely strike up a conversation with Jean

Maya Chami: thank you, i will!

Melanie Menard (m_menard): personal experience only, why not experimental music concerts? there's nothing much going on on stage (guy fiddling with machines) so they always look for VJs. SO you keep the not-art-world/festive setting, but people usually pay attention to the visuals and appreciate more, and are not so, hum, drunk or other :)

on another note, Matt emailed me his feedback, here it is:

Hey Maya these were my thoughts on your project...

- What is it that makes this medium eyecandy? This seems to be an easy trap
to fall into - how can this be avoided?
- Can there be certain sections of the narrative that are ‘corner stones' or
repetitions through which the non-linear parts happen?

- Maybe look more into the idea of memories and how these can be visualized.
How memories distort/ mix/ fade/ abstract/ fragment over time.
- Maybe look more into the concept of time in relation to memory and also
film theory.
- Play with time and pace - Run shorter clips alongside/ over the top of
longer clips? Check out...
- Vertov – Man with a movie camera (sequences layered on top of each other)
Able Gance - Napoleon (running narratives Simultaneously alongside each
other/ triptic)

1W3 Douglas Gordon and Philippe Parreno's film: 'Zidane a 21st century portrait'

‘From the first kick of the ball until the final whistle.’

‘Madrid, Saturday 23rd, 2005, who could have imagined that in the future, an ordinary day like this, might be forgotten or remembered as anything more or less significant than a walk in the park. Face to face, as close as it lasts, for as long as it takes’ These are the words that release the football match filmed by the two directors, Douglas Gordon and Philippe Parreno with their super quality cameras. The film starts with an extreme close up on the field and the match, a zoom in to the extent that the only visible material the spectator gets is the digitized coloured bits, changing from green to red then yellow and so on, depending on what the camera is rolling over. 17 cameras around the set with magnificent zoom lenses, the longest, for the first time in the commercial use, all the cameras are following the football player Zinédine Zidane, the icon of the national French football team, playing for Real Madrid.

The directors manage to scrutinize Zidane’s movements, his sweat is so close to the film viewer, and so are his spits, the movement of his eyes, his sight’s fields, the scratch of his nose, having researched the techniques of filming a football match, Gordon and Parreno add their artistic practice on that layer to create a football related cinematic language with moments of abstraction or gazing in a another world, could be a detail of the green grass, a projector emitting heat, a digital clock hanging on a banner, a kellogg’s frosties advertising in motion… Immersion is definitely part of the viewing experience, and at moments, I started thinking that it is actually becoming awkward not to film the actual ball but a star player, it was playing on the ‘ordinary’, the one they mention in the beginning of the film. A fall on the ground would become a poetic landscape, using the same technique of replaying the scene but with a slower pace, and played against Mogwai’s music, created for the original soundtrack of the film. Football never seemed so lonely for me, it was no longer a collective play, it was Zidane, alone, the football field as a deserted place, with the whole ‘ghost like’ ambiance that is out there but that we - the film’s spectators - cannot reach or see.

In the ‘following Zidane’ trip, the directors are looking closely and lovingly to him, Zidane would look up to the sky, and the cameramen follow his sight field, only to show us what is on his mind at this specific brief second, they show us the heat emitted by the light projectors and carry on by a narrative, in Zidane’s words, that takes us backwards to his early childhood years, yet giving a backup for the directors’ way of working; ‘As a child, I had a running commentary in my head when I was playing. It wasn’t really my own voice; it was the voice of Pierre Cangioni, a television anchor of the 1970s. Every time I heard his voice, I would run towards the TV as close as I could get, for as long as I could. It wasn’t that his words were so important, but the tone, the accent, the atmosphere was everything…’

I was taken by Zidane t-shirt’s number 5, for me when I was 5 years old, I thought I looked like number 5, very thin on the top with a big belly, and this is practically the age that as far as I know, is the limit of when I remember myself in my childhood years.

‘When you step into the field, you can hear and feel, the presence of the crowd. There is sound, the sound of noise.’ Zidane follows the appearance of these words, standing alone in the frame, applauding, but we - film’s spectators – did not see what happened on the field to deserve applause, while the field spectators did. ‘When you are immersed in the game, you don’t really hear the crowd, you can almost decide for yourself what you want to hear, you are never alone, I can hear someone shift around in their chair, I can hear someone coughing, I can hear someone whisper in the ear of the person next to him, I can imagine that I can hear the ticking of a watch. Maybe if things are going badly, you become conscious of people’s reaction. When it is not going well, you feel less involved and more likely to hear the insults, the whistles. You start to have negative thoughts sometimes you want to forget.’

‘The game, the event, is not necessarily experienced or remembered in ‘real time’, my memories of games and events are fragmented, sometimes when you arrive in the stadium, you feel that everything has already been decided, the script has already been written’.

It is a whole match, one whole match for Real Madrid, Zidane manages to do it all, he helps Ronaldinho score, Ronaldinho kisses Zidane on the cheek, Zidane fights with the other team’s player, he is penalized, the jury’s red card forces him to leave the field, the directors zoom out from the player to the football field, the whole architecture of the playing field, and it is in Zidane’s words that the film ends: ‘magic is sometimes close to nothing at all, when I retire I will miss the green of the field, ‘le carré vert’’.

1W1 Bus Stories

Bus on diversion:
The other day, the bus was on diversion, so I had to walk to another bus to continue my journey. Road works were taking place; at a certain point I heard the sizzling sound of the asphalt; the heat and odor emitted were really strong. I was intrigued to research the sounds of still material.
Later that day, I was telling a friend about that, so she practically told me that, when filming a football match, there are actual microphones that are inserted inside the balls, which makes the sounds of the ball hitting the ground audible to the spectators.

Bus 48 to London Bridge:
On the bus 48 to London Bridge, the driver was humming and whistling the ‘London Bridge is falling down’ nursery rhyme.