Webknot

Chris Marker (Sergei Murasaki) présente son exposition dans l’Ouvroir

Pour se ren­dre sur l’Ouvroir

d’autres pho­tos ici / more pho­tos here

(Sergei Murasaki = Chris Marker) Les par­ties en gras et italiques sont des ajouts ultérieurs.

[16:22] Eupali­nos Uga­jin: let’s check so
[16:22] Sergei Murasaki: Here, a bow tro the Grin­ning Cat
[16:23] Sergei Murasaki: Screen­ing room ?
[16:23] Chiyushi Himanez: shall we go to the screen­ing room?
[16:24] Sergei Murasaki: Sorry, not enough seats for every­one
[16:24] kino Svo­boda: no prob­lem
[16:24] Chiyushi Himanez: chris we should split right after this– into the museum…
[16:25] Sergei Murasaki: Etoile, you start ?
[16:25] Chiyushi Himanez: SErgei how did you meet LEILA?
[16:26] Sergei Murasaki: She came to my place and looked inter­ested
[16:26] Chiyushi Himanez: what did guil­laume think…
[16:26] Sergei Murasaki: Then I dis­cov­ered she fright­ened the cat
[16:26] Sergei Murasaki: And she did it for me : first take
[16:26] Pix­els Side­ways: :)
[16:27] Vivre Mai: lol
[16:27] Chiyushi Himanez: She’s a nat­ural!
[16:27] Izutsu Fire­hawk: fan­tas­tic music!
[16:27] Sergei Murasaki: He was already in Cat’s par­adise. He approved
[16:27] Chiyushi Himanez: Sergei– let’s go into the museum
[16:28] Greng Straulino: don’t mind me… i just took off my pants to get comfy for this kitty movie!!
[16:29] Chiyushi Himanez: SERGEI– CAN YOU TELL US ABOUT THE TREE?
[16:29] Sergei Murasaki: Do you see the pho­tos ?
[16:30] Chiyushi Himanez: YES– Can you tell us about the tree?
[16:30] Eloise Spad: what tree,
[16:30] Chiyushi Himanez: SHALL WE LOOK AT THE PHOTOS?
[16:31] Sergei Murasaki: Place de la République is the tra­di­tional gath­er­ing point for the demos
[16:32] kino Svo­boda: What is con­text of the first photo of the tree
[16:32] kino Svo­boda: ?
[16:32] Sergei Murasaki: I took the first photo in ’62. Tense atmos­phere
[16:32] Sergei Murasaki: 8 dead –one mil­lion came to the funeral
[16:33] Sergei Murasaki: In 2002 I xas at the same place
[16:33] Sergei Murasaki: and sud­denly the size of the tree jumped to my eye
[16:33] Chiyushi Himanez: and what about these imaes that you have paired together– like this one?
[16:33] Sergei Murasaki: 40 years of my life were crafted in this tree
[16:33] Sergei Murasaki: Like the slice of red­wood in Ver­tigo
[16:34] Sergei Murasaki: You know, I have a prob­lem : for the firt time, I don’t see the images here
[16:34] Chiyushi Himanez: let’s look at one of the images that move.
[16:34] Sergei Murasaki: They have disappear’d like the fres­coes in Fellini Roima
[16:34] Etoile Set­suko: We can see them
[16:34] Chiyushi Himanez: not for us…
[16:35] Sergei Murasaki: Here I see baguely Simone Sig­noret
[16:36] Sergei Murasaki: Vaguely
[16:36] Chiyushi Himanez: when was this taken?
[16:36] kino Svo­boda: what simone means to you, Ser­guei?
[16:36] Sergei Murasaki: Simone was like my sis­ter. We went to school together
[16:36] Sergei Murasaki: Here she plays in THE CONFESSION Costa Gavras
[16:37] Chiyushi Himanez: how about the images that move?
[16:37] Sergei Murasaki: Which ones ?
[16:38] kino Svo­boda: Did you played together in the the­ater? You and Simone?
[16:38] Chiyushi Himanez: switch­ing between a demo and a still from sans soleil behind you.
[16:38] Sergei Murasaki: Hete May ’68
[16:39] Etoile Set­suko: Did you chose all the pair­ings?
[16:39] Sergei Murasaki: And a serne beauty from Cape Verde
[16:39] kino Svo­boda: Why may 68 and Cuba?
[16:39] Sergei Murasaki: srene
[16:39] kino Svo­boda: sory…
[16:39] Sergei Murasaki: serene, god­damn
[16:39] Chiyushi Himanez: let’s go to the books.
[16:40] Chiyushi Himanez: can you tell us about the PETITE PLANETE book series that you famously edited?
[16:41] Chiyushi Himanez: Sergei– let’s talk about the PETITE PLANETE BOOKS.
[16:41] Sergei Murasaki: The con,cept came from the will to con­tra­dict the tra­di­tional guide books
[16:41] Sergei Murasaki: sal­ways some­what pompous
[16:42] Sergei Murasaki: I inserted also some traits of movie edit­ing, that’sall
[16:42] kino Svo­boda: What about the Petit plan­ete MARS, that appeared in Toute la mem­oire du monde?
[16:42] Chiyushi Himanez: traits of movie edit­ing?
[16:43] Sergei Murasaki: One the book Rus­sia here, you see Guil­laume at the Lenin’ds mau­soleum
[16:43] dow­land Ghost: If there were music play­ing, what would it be?
[16:43] Sergei Murasaki: That’s an idea of Max
[16:43] Sergei Murasaki: You mean with the books
[16:43] khepri Fallen: It would be vio­lon­celle
[16:44] dow­land Ghost: In this room.
[16:44] Havey­ouseen Lubitsch: ok Kurie, ciao
[16:44] Chiyushi Himanez: what about the cov­ers? was this your idea?
[16:44] Sergei Murasaki: Escales, by Jacques Ibert
[16:44] Sergei Murasaki: I doubt you know it
[16:44] Chiyushi Himanez: No i don’t i con­fess
[16:44] dow­land Ghost: Unfor­tu­nately, no.
[16:44] Sergei Murasaki: Yes, close-ups
[16:45] Chiyushi Himanez: were these por­traits you took your­self?
[16:45] Sergei Murasaki: That lokks pretty obvi­ous today, but tyhen they put all sort of unnec­es­sary things on cov­ers
[16:45] Etoile Set­suko: Let’s look at the series of the cov­ers from our keynote file
[16:46] Etoile Set­suko: they are beau­ti­ful!
[16:46] Chiyushi Himanez: and now let’s go to SILENT MOVIE.
[16:47] Chiyushi Himanez: SERGEI BEFORE WE WATCH SILENT MOVIE– CAN YOU TELL US ABOUT THE BASIC CONCEPT OF THIS PIECE– VIDEO TO CELERATE CINEMA’S 100TH YEAR?
[16:47] Sergei Murasaki: I took the pre­text of the 100th anniver­sary to cel­e­brate the BLACK AND WHITE
[16:48] Sergei Murasaki: all my child­hood mem­o­ries of cin­ema as I dis­cov­ered it
[16:48] Sergei Murasaki: the rest came by itself, as usual
[16:49] Etoile Set­suko: Let’s watch Silent Movie
[16:49] Chiyushi Himanez: let’s watch it now.
[16:49] Etoile Set­suko: We are now watch­ing Silent Movie in the HFA screen­ing room
[16:49] Chiyushi Himanez: we’re watch­ing it!
[16:50] Sergei Murasaki: I guess I don’t have enough mem­ory on my lap­top to acco­ma­date so many peo­ple at once
[16:50] Etoile Set­suko: We are not hav­ing prob­lems here
[16:50] Chiyushi Himanez: that’s OK. really.
[16:50] Etoile Set­suko: We can see every­thing
[16:51] Sergei Murasaki: that’s xhy I guess someim­ages dis­ap­pear, and some of you have (sorry) no clothes at all
[16:51] Vivre Mai: lol
[16:51] Mariko Wood­ford: Every­thing looks fine on our end
[16:51] Hum­ming Pera: :-)
[16:51] Chiyushi Himanez: don’t worry– i will ask you about the posters when the film stops in 2 min­utes.
[16:52] Chiyushi Himanez: ever­thing is run­ning smooth from here, just a bit slow with the crowd.
[16:53] Chiyushi Himanez: SERGEI– WE ALSO HAVE A SERIES OF POSTERS– WHAT CAN YOU TELL US ABOUT THESES?
[16:53] Sergei Murasaki: I hope some peo­ple rec­og­nize old movies they saw long ago, didn’t they ?
[16:53] Chiyushi Himanez: we will see them now!
[16:54] Sergei Murasaki: The plain fact that I made them up shoiuldn’t impeach mem­ory to work
[16:54] Sergei Murasaki: Mem­ory was given to man for lying
[16:54] Vivre Mai: :-)
[16:55] Etoile Set­suko: We are still look­ing at them here
[16:55] Etoile Set­suko: O
[16:55] Sergei Murasaki: You can see them bet­ter with the Moiuse look, if you know
[16:55] Sergei Murasaki: Moude
[16:55] Chiyushi Himanez: is this how you remem­berd these films?
[16:55] Izutsu Fire­hawk: mouse
[16:56] Sergei Murasaki: Mouse –sorry
[16:56] Chiyushi Himanez: asfilm– mon­tages?
[16:56] Sergei Murasaki: When you watch on tele­vi­sion a film you saw long ago
[16:57] Sergei Murasaki: It hap­pens tyhat you rejoice to rec­og­nize parts of it
[16:57] Sergei Murasaki: But to me at last, it often hap­pens that i REMEMBERED thiong which are not there
[16:57] Sergei Murasaki: things
[16:57] Chiyushi Himanez: this is mem­ory– no– it works in fragments…broken
[16:58] dow­land Ghost: And there’s always what you can’t imag­ine you didn’t se the first time.
[16:58] Sergei Murasaki: Mem­ory is made to tell fairy tales
[16:58] kino Svo­boda: and cin­ema?
[16:58] Chiyushi Himanez: is LA JETEE A FAIRY TALE?
[16:58] Sergei Murasaki: You could say that
[16:58] Chiyushi Himanez: let’s go down­stairs
[16:59] Chiyushi Himanez: tell us about this gallery of illus­tri­ous direc­tors.
[16:59] Sergei Murasaki: Tarkovsky The Great­est
[17:00] Sergei Murasaki: I went to se him oin loca­tion in Swe­den
[17:00] Sergei Murasaki: I tedted my first video cam­era
[17:00] Sergei Murasaki: I took some parts of his direct­ing
[17:01] Sergei Murasaki: When he came to Paris as a sick man I con­tin­ued
[17:01] Sergei Murasaki: I don’t remem­ber we did talk about it or planned any­thing
[17:01] Sergei Murasaki: I was there I filmed It seemed nat­ural
[17:01] Sergei Murasaki: and I did it until his death bed
[17:02] Sergei Murasaki: As if te God HE believed in had dri­ven me to leave a tes­ti­mony
[17:02] Chiyushi Himanez: you were speak­ing about the ZONE even before Tarkovsky… an incred­i­ble sychronic­ity
[17:02] Sergei Murasaki: Well, Zone is a com­mon word. You find it in Apol­li­naire
[17:03] Chiyushi Himanez: A-ha!
[17:03] Chiyushi Himanez: and onto WENDERS
[17:03] Sergei Murasaki: Here Wim proudly wears a Guil­laume t-shirt
[17:03] Chiyushi Himanez: nice!
[17:03] Sergei Murasaki: in the North­ern Ftes­ti­vazl in Fin­land
[17:03] koala Markus: like us
[17:04] Chiyushi Himanez: the only fes­ti­val you ever attended, no?
[17:04] Sergei Murasaki: As a friend of Angles he was a good recruit for the Cats Inter­na­tionale
[17:04] Sergei Murasaki: An-gels
[17:04] kino Svo­boda: how was the encounter with Wen­ders in la jetée Bar?
[17:05] GEE: Terry Gilliam in Sodankylä, Fin­land, where the sun never sets
[17:05] GEE: Artavazd Pelechian, the for­got­ten giant of Russ­ian cin­ema
[17:05] Sergei Murasaki: La Jetee is the meet­ing place for filmma­hersd arounf tyhe world
[17:06] Sergei Murasaki: Eah one draws a cat on a whisky bot­tle
[17:06] Eupali­nos Uga­jin: talk­ing of movies I was won­der­ing if you had seen “Kin Dza Dza” by Georgi Daneliya ?
[17:06] Sergei Murasaki: We havce the Cop­pola bot­tle, the Jar­musch bot­tle the Her­zog bot­tle
[17:06] Sergei Murasaki: One day you should make an exhi­bi­tion of them
[17:06] Chiyushi Himanez: gladly!
[17:06] Chiyushi Himanez: and who is this here?
[17:07] GEE: Artavazd Pelechian, the for­got­ten giant of Russ­ian cin­ema
[17:07] Sergei Murasaki: Do you peo­ple all know POelechian ?
[17:07] Chiyushi Himanez: NO!
[17:07] Eupali­nos Uga­jin: yes
[17:07] Sergei Murasaki: Pelechian
[17:07] Esther Time­less: yes
[17:07] Chiyushi Himanez: He remains unknow in the U
[17:07] Havey­ouseen Lubitsch: yes they are great !
[17:07] Chiyushi Himanez: S
[17:07] Eupali­nos Uga­jin: just saw the sea­sons once more at “Bouffes du Nord“
[17:08] Havey­ouseen Lubitsch: Mem­o­riy and politic and cin­ema
[17:08] Chiyushi Himanez: what can you tell us?
[17:08] Sergei Murasaki: He’s the last liv­ing inher­i­totr of the great Russ­ian dynasty
[17:09] Sergei Murasaki: Eisen­stein, Dozhenko, Bar­net…
[17:09] koala Markus: does he make films again
[17:09] Vivre Mai: he is armen­ian isn’t he?
[17:10] Sergei Murasaki: Under stal­in­ism he could mlan­age to make films, with much suf­fer­ing
[17:10] Sergei Murasaki: Since democ­racy, non
[17:10] Sergei Murasaki: none
[17:10] Chiyushi Himanez: when did you first see SOVIET films– the silent clas­sics so impor­tant to your work?
[17:11] Sergei Murasaki: First in the film clubs, then I was often in Rus­sia
[17:11] kino Svo­boda: What could you tell us about medved­kine syn­drome?
[17:11] Sergei Murasaki: To make THE LAST BOLSHEVIK I had access to the state archives –a dream
[17:11] Sergei Murasaki: and witrh a cat on my knees
[17:11] Chiyushi Himanez: is this where you first started to think about mon­tage– see­ing soviet films in the film clubs?
[17:12] Sergei Murasaki: Def­i­nitely Ver­tov was my teacher
[17:12] Chiyushi Himanez: what did you learn from ver­tov?
[17:12] Sergei Murasaki: The only teacher I ever had, by the way
[17:13] Etoile Set­suko: Hey, how about Guil­laume?
[17:13] Sergei Murasaki: That, mu deah, would take a whole evening
[17:13] Chiyushi Himanez: and costa-gavras the great, shoul­der­ing the cam­era, and the weight of the world…
[17:14] Sergei Murasaki: Guil­laume wasn’t a teacher-everything, except just that
[17:14] Chiyushi Himanez: and costa-gavras?
[17:14] kino Svo­boda: What about the long sequence of inter­views with exiled latin amer­i­cans with gravas could you tell us a lit­tle about it?
[17:14] Sergei Murasaki: Joris Ivens, the Fly­ing Dutch­man
[17:15] Chiyushi Himanez: let’s go to the HOLLOW MEN. Can you speak about ELIOT who is so impor­tant to your work?
[17:15] Sergei Murasaki: What sequence ?
[17:15] kino Svo­boda: not a sequence in espe­cial, but the research?
[17:16] Chiyushi Himanez: sergei we are watch­ing the HOLOW MEN now.
[17:16] kino Svo­boda: What does it mean for you?
[17:16] kino Svo­boda: Then after you did L~ambassade?
[17:17] Chiyushi Himanez: we are watch­ing the hol­low men now.
[17:17] Sergei Murasaki: Sorry, you men­tioned THE HOOLOW MEN ?
[17:17] Chiyushi Himanez: will be done soon. and then we can speak about T.S. ELIOT…
[17:19] Sergei Murasaki: YOU LEVITATE ?
[17:19] Sergei Murasaki: c
[17:19] dow­land Ghost: What are you work­ing on these days, Sergei?
[17:20] Durgnat Fox­trot: Sergei, have you seen the bande annonce for Godard’s film SOCIALISME?
[17:23] Sergei Murasaki: 6Hey Milla how’re you doing ?
[17:23] Etoile Set­suko: We’re almost fin­ished watch­ing hol­low men
[17:23] JS Meri­doc: you talk­ing to me?
[17:23] Mill­a­grosa Vella: hello cher Sergei
[17:24] JS Meri­doc: i’ve spent half the evening unde­wa­ter
[17:25] Sergei Murasaki: Looks like the sub­way at 6pm
[17:25] kino Svo­boda: What are your mem­o­ries about the great Bazin and the work on Tra­vail et cul­ture?
[17:25] Mill­a­grosa Vella: ahah­hah­haha
[17:25] Sergei Murasaki: Another full day for that
[17:26] Sergei Murasaki: This sys­tem of typ­ing is decid­edly not suited to havce a real con­ver­sa­tion
[17:26] Etoile Set­suko: It’s fine!
[17:26] Sergei Murasaki: I see you’ve been can­on­ized ?
[17:27] kino Svo­boda: ok, thank you… But when could we talk about it?
[17:27] Mill­a­grosa Vella: yesss
[17:27] Pix­els Side­ways: :)
[17:27] Mill­a­grosa Vella: oui
[17:27] Vivre Mai: I heard that ouvroir is to be taken down some time soon. Is that true?
[17:27] Mill­a­grosa Vella: eu sou mila­grosa
[17:27] Mill­a­grosa Vella: santa mila­grosa
[17:27] Sergei Murasaki: in a third life, I’m afraid
[17:28] Mill­a­grosa Vella: nooooo
[17:28] Mill­a­grosa Vella: we are here
[17:28] Vivre Mai: Do your avatars know where they will be going next?
[17:28] Eupali­nos Uga­jin: didn’t you want ouvroir to be some­thing like the inven­tion of Morel ?
[17:31] Pix­els Side­ways: Have you con­sid­ered explor­ing film­mak­ing in VR aka “machin­ima?“
[17:32] Sergei Murasaki: I have already lors of ryshes on my trips in SL what I need is again an extra life to wotk on’em
[17:32] Etoile Set­suko: almost over — maybe a minute
[17:32] Pix­els Side­ways: or a good edi­to­r­ial assis­tant :)
[17:33] Sergei Murasaki: BUT i have seen a few SL movies –quite stim­u­lat­ing
[17:34] Pix­els Side­ways: Are you “rushes” more like travel films or ar they based on pre-defined nar­ra­tives — like scripted work?
[17:35] Sergei Murasaki: No –plain rushes as I did when I was trav­el­ling in real life
[17:35] Chiyushi Himanez: SERGEI– can you tell us about the pho­tographs used in THE HOLLOW MEN? How/where did you find these?
[17:35] Sergei Murasaki: But a scripted movie would be a real adven­ture
[17:35] Pix­els Side­ways: indeed!
[17:36] Sergei Murasaki: IIn HOLLW MEN you have all sorts of mate­r­ial : video stills from tele­vi­sion; post­cards, fam­ily pho­tographs
[17:37] Sergei Murasaki: those of the sol­diers at the his­poital are from my father’s album
[17:37] Sergei Murasaki: and also bits and pieces I found on the Net
[17:37] Sergei Murasaki: I reworked all that with Pho­to­shop
[17:37] GEE: Owls at Noon Pre­lude: The Hol­low Men
[17:37] Chiyushi Himanez: WW1 is such an impor­tant touch­stone for the film and for your work in gen­eral, it seems. you must have heard many sto­ries as a child
[17:38] Sergei Murasaki: Not directly –sol­diers didn’t talk so much about hell –like depor­tees in WWII
[17:39] Sergei Murasaki: but I saw all the great silent war films
[17:39] Sergei Murasaki: and I saw grown-up peo­ple faint­ing in the cin­ema for they couldn’t bear the mem­ory
[17:39] kino Svo­boda: How was your par­tic­i­pa­tion in the resis­tance?
[17:39] Chiyushi Himanez: and yet WINGS stated your love of cin­ema didn’t it?
[17:40] Sergei Murasaki: and avi­a­tion also
[17:40] Chiyushi Himanez: shall we go to the XPLUGS?
[17:40] Chiyushi Himanez: is this guil­laume?
[17:41] Sergei Murasaki: here you should use the Mouse Look
[17:41] Chiyushi Himanez: which of the images would you like to speak about?
[17:41] Sergei Murasaki: I’d pre­fer you to ask
[17:42] Chiyushi Himanez: let’s talk about guil­laume!
[17:42] Chiyushi Himanez: in the gallery. did he love art?
[17:42] Etoile Set­suko: We’ve got all night
[17:42] Sergei Murasaki: He was a bit Duchamp-esque
[17:42] kino Svo­boda: Why Mal­raux with Goya with the title por un revolucion]ãrio??
[17:42] Chiyushi Himanez: in what way?
[17:43] Sergei Murasaki: He loved art in the sec­tret of his soul
[17:43] Sergei Murasaki: he hated the art world and the hype
[17:43] Chiyushi Himanez: let’s go the island– you know where– so we can take audi­ence ques­tions!
[17:43] Pix­els Side­ways: yay for Ducham­pesque :)
[17:44] Chiyushi Himanez: can you turn down your halo?
[17:44] Sergei Murasaki: OK –per­haps all of you won’t fol­low so… thank you and Merry Xmas
[17:47] Etoile Set­suko: We’re tak­ing ques­tions now from the audi­ence
[17:47] Mariko Wood­ford: What are some of the lim­i­ta­tions of SL?
[17:47] Mariko Wood­ford: Thinkgs you would like to do but can’t?
[17:47] Sergei Murasaki: Talk wd be a good thing, instead of this damn typ­ing where I misspelle

Ajout d’Eupalinos : il est tout à fait pos­si­ble d’utiliser un micro dans Sec­ond Life. Un oubli ?

[17:48] Sergei Murasaki: But mainly : hav­ing the posi­bil­ity to briung objects –images for instance– from RL

Ajout d’Eupalinos : il est là aussi pos­si­ble d’importer des images dans SL, mais Marker doit penser à autre chose : quoi ?

[17:48] kino Svo­boda: Why Mal­raux with Goya with the tit­tle por un rev­olu­cioniãrio in the X plu­gin?
[17:49] Etoile Set­suko: We’ll take another ques­tion now
[17:49] Mariko Wood­ford: Next ques­tion:
[17:49] Vivre Mai: what are your strongest mem­o­ries?
[17:49] Sergei Murasaki: It’s an allu­sion to the real Giya etch­ing “por lib­eral“
[17:49] kino Svo­boda: but why Mal­raux?
[17:50] Mariko Wood­ford: What was your involve­ment with M. Chat?
[17:50] Sergei Murasaki: So I mix Mal­raux, the span­ish war and the mem­ory of Spain in anut­shell
[17:50] Sergei Murasaki: I started film­ing cats on the roofs, won­der­ing who was behind
[17:51] Sergei Murasaki: Later on we met, and we became friendfs
[17:51] Vivre Mai: What makes a cat purr?
[17:51] Sergei Murasaki: As I don’t travel any­more, I send him to present the film
[17:51] Etoile Set­suko: Let’s take another ques­tion now
[17:51] Mariko Wood­ford: Another ques­tion from the audi­ence
[17:52] kino Svo­boda: why don’t you travel any­more?
[17:52] Sergei Murasaki: and so jow there are Grin­ning Cats in Hoingkob, Macau, Bei­jin, Seoul
[17:52] Mariko Wood­ford: What are the pos­si­bil­i­ties you see for Machin­ima?
[17:52] Sergei Murasaki: The Cat went asi­atic
[17:52] Pix­els Side­ways: lol
[17:52] kino Svo­boda: there are some cats in Brazil too
[17:53] Sergei Murasaki: Hadn’t time to really test it, buy all that will be used, no doubt
[17:53] Sergei Murasaki: Right
[17:53] Mari­aka Nishi: bon­soir ;-))))
[17:53] Etoile Set­suko: Let’s take another ques­tion
[17:53] Mariko Wood­ford: Another ques­tions from the crowd
[17:53] Sergei Murasaki: bon­soir
[17:54] Sergei Murasaki: xas it a CROWD ?
[17:54] Mariko Wood­ford: Could you talk a lit­tle about the title of the exhi­bi­tion A Farewell to Cin­ema?
[17:54] Pix­els Side­ways: :)
[17:54] Mariko Wood­ford: In the orig­i­nal French
[17:54] kino Svo­boda: there is an image of peo­ple pass­ing stones in Le fond de l’air est rouge , what does it mean?
[17:54] Sergei Murasaki: A FAREWELL TO MOVIES, TO BE EXACT
[17:54] Mariko Wood­ford: Yes — an excel­lent audi­ence
[17:55] kino Svo­boda: that repeats in sans soleil and loin du viet­nam??
[17:55] Mariko Wood­ford: A clar­i­fi­ca­tion
[17:55] Mariko Wood­ford: What would cin­e­matog­ra­phy with­out film be?
[17:55] Sergei Murasaki: I con­sid­ered healthy to draw a line between te so)called film­maker (what I never thought I was) and the hun­fry begin­ner I am in the new fields
[17:55] Sergei Murasaki: hun­gry
[17:56] Sergei Murasaki: What we do, for one
[17:56] Sergei Murasaki: But I also quoted Baude­laire, who wrote in hids Con­sti­tu­tionj
[17:56] Sergei Murasaki: the right to con­tra­dict one­self
[17:57] Mariko Wood­ford: Ready for another one?
[17:57] Mariko Wood­ford: What do you think of our new President’s per­for­mance in his first 100 days?
[17:57] GreenTea(Matcha): Mmmhh… enjoy the best green tea Izutsu Fire­hawk
[17:57] Sergei Murasaki: He did damn well, if you want my opin­ion
[17:58] Etoile Set­suko: You were the one who said he would win two years ago!
[17:58] Sergei Murasaki: With all the traps they set for him, he remains incred­i­bly solid
[17:58] Mariko Wood­ford: Every­one is curi­ous to know how much time you spend in SL?
[17:58] Sergei Murasaki: Not much, unfor­tu­nately
[17:59] Sergei Murasaki: Too mluch to do in this other side of the world called real­ity
[17:59] Mariko Wood­ford: Will you remain active in SL after the exhibit is over?
[17:59] Sergei Murasaki: I’m look­ing for new ways to use the avatarts
[17:59] Mariko Wood­ford: Such as?
[18:00] Sergei Murasaki: Imag­ine that we man­age to pro­gram them with all our mem­o­ris
[18:00] Sergei Murasaki: and that once thay may go by thgem­selves
[18:00] Sergei Murasaki: even wenwe’re not here
[18:00] Pix­els Side­ways: so major A.I. direc­tion
[18:00] Sergei Murasaki: even when we will not be aty all
[18:00] Sergei Murasaki: We will leave them behind like ghosts
[18:00] kino Svo­boda: what the mem­ory of Paul Cebe rep­re­sents for art and social mou­ve­ment?
[18:01] Izutsu Fire­hawk: maybe the avatars have already pro­grammed us with their mem­o­ries.
[18:01] Sergei Murasaki: And after a while nobody coulod telle il the avatar he is speak­ing with‘
[18:01] Sergei Murasaki: is dead or alive
[18:01] Eupali­nos Uga­jin: If Morel’s Inven­tion was invented would you record sev­er­all bits of your life or a sin­gle period ?
[18:01] Pix­els Side­ways: that’s debat­able even now :)
[18:01] Pixels’s trans­la­tor: c’est dis­cutable, même main­tenant:)
[18:02] Sergei Murasaki: That will be –finally– the inven­tion of Morel real­ized
[18:02] Vivre Mai: scary!
[18:02] Sergei Murasaki: I would INVENT a new life
[18:02] Sergei Murasaki: I told you mem­ory is made for lying
[18:02] Pix­els Side­ways: There are sev­eral peo­ple work­ing on A.I. con­figs for SL avatars –
[18:02] Mariko Wood­ford: Can you tell us about your new show in New York?
[18:03] Sergei Murasaki: There is even a videogame where you’re sup­posed to pass the flu ao as many per­sons as pos­si­ble
[18:03] Izutsu Fire­hawk: i have seen some avatars with swine flu
[18:04] Achille Cat­nap: no!
[18:04] Sergei Murasaki: Already ? Speedy world
[18:04] Mariko Wood­ford: Can you talk a lit­tle about your New York show?
[18:05] Vivre Mai: if you have to dis­a­pear tomorow. What wd be the last thing you wd do?
[18:05] Sergei Murasaki: It’s as dis­or­di­nate as pos­si­bloe –pho­tos, Xplugs, word­plays
[18:05] Sergei Murasaki: You know, seen from afar, my path seems a lit­tle con­fuse
[18:05] Sergei Murasaki: but don’t be mis­taken : it is
[18:05] Izutsu Fire­hawk: :)
[18:06] Eupali­nos Uga­jin: would Immem­ory be trans­formed into a web­site or at least adapted to the cur­rent tech­nolo­gies ?
[18:06] Vivre Mai: :-)
[18:06] Etoile Set­suko: We have one more ques­tion
[18:06] Mariko Wood­ford: How do you feel about real life busi­ness adver­tis­ing in SL?
[18:06] Sergei Murasaki: Some­one is work­ing on it –but it ain’t so easy
[18:06] Sergei Murasaki: My idea is to offer, par­al­lel to my vir­tual mluesm
[18:07] Pix­els Side­ways: :)
[18:07] Sergei Murasaki: an open spoace where peo­ple may set their own pho­tos and texts, using my archi­tec­ture
[18:07] Sergei Murasaki: and then be able to burn their own IMMEMORY
[18:07] Izutsu Fire­hawk: that would be fan­tas­tic
[18:07] Sergei Murasaki: work work work
[18:08] Eupali­nos Uga­jin: by archi­tec­ture you mean themes or ?

Ajout d’Eupalinos : Je suis curieux de savoir ce que Marker entend par “archi­tec­ture” dans ce cas pré­cis. Struc­turer la  mémoire c’est courir le risque de la vider des ses éner­gies ? Dans Immem­ory il y avait deux approches : par thème ou par index…

[18:08] Mariko Wood­ford: Do you have an opin­ion abou the adver­tis­ing of RL busi­nesses in SL?
[18:08] Sergei Murasaki: Frankly I never approched the busi­ness side of SL
[18:09] Sergei Murasaki: Alr­erady I doin’t under­stand econ­omy in real life, so here…
[18:09] Sergei Murasaki: All I k,now is thet a Chi­nese woman became bil­lion­aire, start­ing in SL
[18:09] Mariko Wood­ford: Last ques­tion: Did you have any input into the design of the museum?
[18:10] Pix­els Side­ways: and anto­her cinese artists sold a sl sim art­work for 150K to an art col­lec­tor ;)
[18:10] Sergei Murasaki: We dis­cussed a lot with Max, but the oomph of the final thing is entirely his
[18:10] Mariko Wood­ford: Is it really going to close? and when?
[18:11] Sergei Murasaki: We found a spon­sor to pro­lounge six months, then I dunno

Ajout d’Eupalinos : Se ren­seigner davan­tage : hormis la loca­tion de la sim de l’Ouvroir ne doit pas être exces­sif, il y a sans doute d’autres frais ?

[18:11] Pix­els Side­ways: Sl is very tran­sietn — sims come an dgo, new ones evlove — are you inter­sted in doing projects in SL with other art groups?
[18:11] Sergei Murasaki: But things that are birn are due to end, aren’t they ?
[18:11] Sergei Murasaki: born
[18:11] Vivre Mai: :-)
[18:11] Chiyushi Himanez: on that note– shall we have our drink?
[18:11] Vivre Mai: sadly
[18:12] Eupali­nos Uga­jin: We know you fol­low pol­i­tics very closely but do you also fol­low the cur­rent eco­log­i­cal destruc­tion of the planet ?
[18:12] Mar­tini w/ Olive whis­pers: Cheers!
[18:12] Sergei Murasaki: let’s frink to the good peo­ple at Har­card
[18:12] Mar­tini w/ Olive whis­pers: Cheers!
[18:12] Star Cham­pagne Flute : The French say drink­ing cham­pagne is like drink­ing stars, Izutsu Fire­hawk!
[18:12] Mariko Wood­ford: Cheers!
[18:12] Mariko Wood­ford: Thank you, Sergei
[18:12] Izutsu Fire­hawk: any­one for cham­pagne?
[18:12] Mar­tini w/ Olive whis­pers: Cheers!
[18:12] Chiyushi Himanez: thank you sergei– for every­thing
[18:12] Etoile Set­suko: Thank you! They are send­ing their best back to you!
[18:12] Chiyushi Himanez: this has been great!
[18:13] Sergei Murasaki: Na zdaroviye
[18:13] kino Svo­boda: QUE VIVA MARKER!!
[18:13] Eupali­nos Uga­jin: kou !
[18:13] Pix­els Side­ways: TY for shar­ing your time . :)
[18:13] Chiyushi Himanez: oya­sumi nasai!
[18:13] Izutsu Fire­hawk: ban­zai!
[18:13] Sergei Murasaki: Cur­tain ?
[18:13] Chiyushi Himanez: yes! thank you again!!! and bonne nuit!
[18:13] Vivre Mai: spa­sibo!!!
[18:13] Mariko Wood­ford: Good night Sergei
[18:13] Eupali­nos Uga­jin: bonne nuit
[18:14] Mariko Wood­ford: Thanks again
[18:14] Izutsu Fire­hawk: thank you to the organ­is­ers
[18:14] Mariko Wood­ford: Good night SL-ers!
[18:14] Izutsu Fire­hawk: for a fan­tas­tic event
[18:14] Pix­els Side­ways: Great pre­sen­ta­tion. Thank you. Ciao every­one — enjoy!

+ ?

Un pepelatz s’est posé dans L’Ouvroir…

“Mais l’émerveillement devant le chat, connu ou inconnu, et devant la musique, con­nue ou incon­nue, ne con­naît pas la pause, ni l’usure.”

Raf­fle dans une école / Immem­ory / Un potager à la mai­son blanche