Much has been written about landfills and the monumentality of rubbish, but little attention has been paid to "litter," the small trash that soils the urban pavement, like the bits of chewing gum that some artists decorate. Talking Trash looks at refuse in its early stages, when it is still tiny and unassuming, still lives in the city, and has yet to grow, leave the metropolis, and accumulate in landfills.
The chapters of Talking Trash reflect upon the anthropomorphic nature of urban refuse; upon the poetics and semantics of micro-litterscapes and the archives of all things discarded; upon "Dumpsterology," or the history of the garbage container as a gendered artifact dense with cultural meaning; and upon "dirty innocence," or the complex and contradictory link that ties childhood to muck.
The author also focuses on one significant non-urban scene, the desert landscape and the clothing and other items that immigrants discard as they make a desperate trek across the border.
Cost : Free and open to the public. RSVP is required at above link.
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okay so good day to everybody at UCLA
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and Beyond and welcome to the Center for
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European and Russian studies at UCLA the
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virtual version I'm thrilled to be
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hosting today a panel discussion of the
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recent book by might Zubr a talking
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trash cultural uses of waste published
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in 2019 before I start I just want to
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make a few logistical comments about
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today's zoom procedures this is a
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webinar format as you'll see we are
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video recording the meeting and
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broadcasting on Facebook as well after
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the presentation we'll have some time
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for questions so please use the Q&A
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function at the bottom of your screen to
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write your questions and I will then
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relay them to the speakers and hopefully
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we'll have time for most of them the
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meeting will close at 3:15 I also want
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to welcome you to join our Facebook site
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to consult our Facebook site on for the
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Center for European and Russian studies
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we have really exciting posts and to
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join our mailing list if you're not on
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it okay so let's begin I'm especially
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glad to welcome professor Xue be out as
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she is a valued member of our faculty
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here and also of our very own Advisory
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Committee faculty Advisory Committee
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here at the center and such a dynamic
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and creative thinker writer and artist
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I'm going to have to mercilessly
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truncate what would otherwise be an
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extremely long introduction for all of
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our speakers as they are three
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extraordinarily accomplished scholars so
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with forgiveness from my brevity
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let me introduce first my to herself
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professor Zhu be outing as a PhD in
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comparative literature from Columbia
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University
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she's a literary translator of 19th and
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20th century novels in German and
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Spanish and professor jointly in the
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Department of Germanic languages and the
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department of Spanish and Portuguese she
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has taught at UT and Austin au nom in
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Mexico otama in Mexico and at USC she is
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kopi i and core faculty of the mellon
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urban humanities initiative a
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long-standing member of the faculty
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advisory committee also in digital
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humanities the chair of the honors
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Collegium faculty advisory board
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she is also co p i of the recently
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awarded sawyer seminar on sanctuary
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spaces rhe world in humanism she's the
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author of numerous publications among
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them a book on the dialectics of space
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and gender in 19th century European and
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Latin American realist fiction a book on
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the cultures of the erotic in the ER in
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early 20th century Spain a digital
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archive on early 20th century sexuality
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and in Spain and Europe a co-authored
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book on urban humanities and new
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practices of reimagining the city she's
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presently working on a co-authored
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monograph on cultural representations of
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migrant death at the us-mexico border
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and co-directing a research team working
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on a digital thick map of the us-mexico
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border lands she's also a virtual visual
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artist and collages and under the name
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of filament and at Cruz she has
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initiated a number of artistic
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interventions among them her
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long-standing Venice California
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installation the wall that gives
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maruka da Alison Carruth is associate
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professor in the Department of English
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and Institute of the environment and
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sustainability at UCLA where she
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currently holds the Walter Waldo W
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Niekerk chair for distinguished
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undergraduate teaching and she chairs
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the food studies minor she's an
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affiliate of the UCLA Institute for
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Society in genetics since 2015 she has
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been a founding director of the
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laboratory for environmental narrative
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strategies she is the recipient of
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multiple grants and author of many books
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and articles including global appetites
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American power and litter the literature
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of food cambridge 2013 she is also
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co-author with Amy
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l tigner of literature and food studies
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ravage 2018
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she's a co-founder of the multimedia
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public environment project play the LA
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River and is involved in ongoing
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collaborations with artists scientists
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and media makers so she is also a
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perfect interlocutor for might today
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finally
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Charlene Velez senior black is professor
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of I Barrow American art and Chicano
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Chicana studies her research focuses on
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the art of the barrel american world she
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is the winner of the 2016 gold shield
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faculty prize and author of the
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prize-winning and widely reviewed 2006
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book creating the cult of Saint Joseph's
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art and gender in the Spanish Empire
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she's currently finishing her second
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monograph transforming saints women art
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and conversion in Mexico and Spain 1521
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to 1800 she's also the co-editor the
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editor of the book Chicano art tradition
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and transformation and co-editor of a
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special edition of the Journal of
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interdisciplinary history entitled trade
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networks and materiality art in the age
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of global encounters 1492 to 1800 with
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dr. Maya Alvarez of the day paul Getty
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Museum she has held grants from Getty
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from ACLs Fulbright Mellon
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Woodrow Wilson Foundation and the neh
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and while much of her research
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investigates the politics of religious
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art and global exchange Villa senior
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black is also actively engaged in the
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Chicana and Chicano art scene and as
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such also very much a wonderful
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interlocutor for our book today so with
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that let me turn first to Professor
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Villa senior black for her commentary on
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our book talk Forte
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charleen to you yes I'm give me one
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second
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sure okay here we go
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thank you so much for the invitation to
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be here today from the center of
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European Russian studies at UCLA it's an
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honor to be able to weigh in on
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professor Murthy Surya today's latest
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book talking trash cultural uses of
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waste just published in 2019 and I also
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wanted to mention that it just won this
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amazing award 2020 for best book in the
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area of art or medicine in the Norman L
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and Rosalia J Goldberg prize so I'm a
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professor of art history and Chicano
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Studies here at UCLA I'm kind of a
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border crossing art historian and it's
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my experience in these two fields of art
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history and Chicano Studies that inform
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my thoughts today so there I am crossing
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borders and I'm thrilled to be talking
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about this innovative provocative
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important book on the theme of trash and
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I love the way that professors ouya
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today uses her academic kaleidoscope
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shall we say to look at trash and to
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refract all the important topics bound
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up in that subject so the environment
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feminism Gender Studies racism poverty
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the border capitalism and neoliberalism
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and I appreciate the way this book sheds
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new light on the contemporary moment but
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also looks back at the history of trash
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it's inspired by or I saw it is inspired
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by the spatial turn the interest in and
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theorization of the environment in
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academia in the world but especially the
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material turn in the humanities and for
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me as an art historian I found that very
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exciting for example professor Julie
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auditor demonstrates how trash or waste
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is an important theme or thread and
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contemporary artistic production so I
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was then also introduced to artists I
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didn't know about in particular this
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Spanish
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francisco de pescado and her work also
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helped me rethink artists that I've
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known about in a new way so I thinking
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of her discussions of Teresa Margolis
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and other artists in Mexico City and her
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work reminded me of the importance of
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this thread of trash reuse recycling
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among many contemporary Latin American
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and Latin next artists and her book
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really provided a larger context for
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this important movement for me so
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clearly it's a subject of global
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importance but I was left wondering if
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the theme has a particular resonance
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what is the particular resonance of the
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theme in the Americas so thinking it
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works like this I would cruise me agus
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these constructions made out of trash
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and refuse that Kampf comment on
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homelessness or current or what day this
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recent work that's the carpet from the
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apartment that she grew up in or even
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Doris I'll say it all Colombian artists
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of course this Gabriele Orozco the
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yielding stone that was rolled through
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the streets of Mexico City and picked up
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all of this detritus along the way or
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this very recent work by Catalina I say
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though in that was shown in the Hammer
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Museum that talks about water and talks
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about the environment and then as a
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scholar of Chicano Chicano Studies
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professor Zubr Ray's book also caused me
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to meditate on a squatch a across what
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chisme the term theorized by Tomas about
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a frost Oh a term that has come to
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designate an underdog style in Chicano
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Chicano culture supposedly the term has
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no ethyl origins it originally certainly
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had negative connotations in Mexico
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coding for the poor taste or the
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tackiness of lower-class origins and the
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term was brought to the US with Mexican
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migration eventually though it was
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valorized in the Chicano or Mexican
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American community as a kind of underdog
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code to use the words are you about a
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frost oh so it's a reference to
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vernacular a style and one of its major
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strategies is to Reese
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cycle or upcycle trash leftovers to
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create something new
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elaborate vibrant intense and colorful
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it's a kind of neo-baroque more is more
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aesthetic when I'm showing you just some
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examples notice the glass bottles reused
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in the shrine to the original Guadalupe
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and here's another example this is here
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right here in East LA at the Mercado it
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often reuses recycles what might become
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trash and it manifests a sense of making
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do so old car tires become decorative
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planters in your yard or old plastic
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bottles or coffee cans become garden
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ornaments or flower pots it's an
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aesthetic of accumulation as you can see
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in these yard shrines or in home altars
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discarded bottle caps can become
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earrings and it's different I mean this
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is a discussion for later it's different
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from camp or kitsch I just want to point
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that out so it's an important thread in
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Chicano culture going back I would say
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in literature to the 1920s in theater
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especially at Roca Massino in film and
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music corridos and in cars such as this
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lowrider and in Chicano art so in the
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60s during the Chicano civil-rights
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movement during that you got a movement
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or a Squatch it was revalorisé brought
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to the fore it was important because it
268
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made visible daily life struggles of
269
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mexican-american people's and it made
270
00:12:32,600 --> 00:12:38,029
visible the ways in which we didn't fit
271
00:12:34,880 --> 00:12:39,920
into standard us molds and it valorized
272
00:12:38,029 --> 00:12:41,899
this idea of making do doing your best
273
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it's a view from the bottom los de
274
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araújo
275
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so examples of cross watching the
276
00:12:46,550 --> 00:12:52,160
performance artists Guillermo Gomez Pena
277
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in his role as border Brujo those
278
00:12:52,160 --> 00:12:55,910
wonderful bottle cap earrings by Golda
279
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Garcia who's from Albuquerque New Mexico
280
00:12:55,910 --> 00:13:04,399
and I should have worn those today for
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example this early Chicano artists Ruben
282
00:13:04,399 --> 00:13:11,269
Trejo birth of the jalapeno David Avalos
283
00:13:08,209 --> 00:13:16,100
really works in this rock watch a mode
284
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here's his alter or this hubcap me
285
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Labrador which is from us here
286
00:13:18,110 --> 00:13:22,400
or even the conceptual performance art
287
00:13:20,270 --> 00:13:24,950
group osco and here's a photograph of
288
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one of their performances you can see
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00:13:24,950 --> 00:13:32,660
them there or here artist Linda Vallejo
290
00:13:29,350 --> 00:13:34,640
early work that she did or her more
291
00:13:32,660 --> 00:13:37,190
current work make them all Mexican this
292
00:13:34,640 --> 00:13:38,960
is her most recent series in which she
293
00:13:37,190 --> 00:13:40,370
goes to flea markets and repurposes
294
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these little trinkets and makes them all
295
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makes them all Mexican and then this
296
00:13:44,180 --> 00:13:49,550
artist also her middle Gomez here from
297
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LA great contemporary example who
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00:13:49,550 --> 00:13:54,760
creates these cardboard cutouts of
299
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Latino workers in LA making Latino labor
300
00:13:54,760 --> 00:14:00,800
visible so I wondered about how these
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two connects our Latin American artists
302
00:14:00,800 --> 00:14:08,990
other works fit into this larger picture
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of the cultural uses of trash and I was
304
00:14:08,990 --> 00:14:14,660
also reminded of the long history of
305
00:14:10,910 --> 00:14:16,850
trash or recycling in Mexican art and
306
00:14:14,660 --> 00:14:18,500
I'm teaching colonial art right now and
307
00:14:16,850 --> 00:14:20,000
I just published this article on what
308
00:14:18,500 --> 00:14:22,220
are called encode chavos these are
309
00:14:20,000 --> 00:14:24,350
hybrid artworks mostly from the 18th
310
00:14:22,220 --> 00:14:25,820
century that employs shale mosaic and
311
00:14:24,350 --> 00:14:29,390
you can see the little pieces of shell
312
00:14:25,820 --> 00:14:31,339
fit into this oil painting on panel in
313
00:14:29,390 --> 00:14:33,950
the this recent article I documented the
314
00:14:31,339 --> 00:14:36,620
source of the shell these are created
315
00:14:33,950 --> 00:14:39,380
using shells left over from the pearl
316
00:14:36,620 --> 00:14:41,210
industry these were fished off of the
317
00:14:39,380 --> 00:14:42,350
coast of Baja California and then
318
00:14:41,210 --> 00:14:44,030
instead of throwing all these shells
319
00:14:42,350 --> 00:14:46,760
away once the pearls were extracted
320
00:14:44,030 --> 00:14:49,730
artists bought the shell polished it and
321
00:14:46,760 --> 00:14:51,410
made these amazing artworks and one of
322
00:14:49,730 --> 00:14:53,660
my undergrads pointed out to me this
323
00:14:51,410 --> 00:14:56,830
coordinate this was raw squash a this is
324
00:14:53,660 --> 00:15:02,089
a kind of form of colonial rust watch a
325
00:14:56,830 --> 00:15:03,950
and then I was also curious about the
326
00:15:02,089 --> 00:15:06,260
history of trash in the colonial period
327
00:15:03,950 --> 00:15:08,180
but also in the pre-columbian era before
328
00:15:06,260 --> 00:15:10,550
Europeans arrived in the Americas and
329
00:15:08,180 --> 00:15:12,680
thought of this goddess Russell Te'o
330
00:15:10,550 --> 00:15:14,990
who's a goddess of Filth of trash of
331
00:15:12,680 --> 00:15:16,490
Filth eater and I was thinking a lot
332
00:15:14,990 --> 00:15:22,040
about this longer history of ritualizing
333
00:15:16,490 --> 00:15:23,750
trash excess the abject 'ti unwanted but
334
00:15:22,040 --> 00:15:27,170
something else about this book also
335
00:15:23,750 --> 00:15:29,420
really piqued my interest and that is
336
00:15:27,170 --> 00:15:30,970
the author's alter ego as the artist
337
00:15:29,420 --> 00:15:33,939
Philomena Cruz
338
00:15:30,970 --> 00:15:36,430
and her really wide wide artistic
339
00:15:33,939 --> 00:15:39,389
production and it made me think deeply
340
00:15:36,430 --> 00:15:43,240
about artists who write write us who are
341
00:15:39,389 --> 00:15:45,009
artists I was really surprised I knew
342
00:15:43,240 --> 00:15:46,689
some of her work but surprised by the
343
00:15:45,009 --> 00:15:48,910
incredible range of her artistic
344
00:15:46,689 --> 00:15:51,850
production and I knew these sort of
345
00:15:48,910 --> 00:15:54,009
whimsical paintings and collages I'd
346
00:15:51,850 --> 00:15:55,959
seen stories about and heard about the
347
00:15:54,009 --> 00:15:58,360
wall installation near her home in
348
00:15:55,959 --> 00:16:00,279
Venice the photographs however were new
349
00:15:58,360 --> 00:16:02,980
to me in a complete revelation and I'm
350
00:16:00,279 --> 00:16:04,810
so interested in their their clean
351
00:16:02,980 --> 00:16:06,670
aesthetic and the way they focus in on
352
00:16:04,810 --> 00:16:09,639
details and the importance of see
353
00:16:06,670 --> 00:16:12,870
reality here too so I want to just close
354
00:16:09,639 --> 00:16:17,199
with a few questions about the artworks
355
00:16:12,870 --> 00:16:20,889
what are your sources of inspiration how
356
00:16:17,199 --> 00:16:22,480
did you choose your alter egos name and
357
00:16:20,889 --> 00:16:25,029
then how did the research for this book
358
00:16:22,480 --> 00:16:29,199
and your artistic creations work
359
00:16:25,029 --> 00:16:31,060
together I'm intrigued by the way are
360
00:16:29,199 --> 00:16:33,279
the differences I would say between how
361
00:16:31,060 --> 00:16:36,160
visual art works and written scholarly
362
00:16:33,279 --> 00:16:37,720
texts produce meaning so I'm curious
363
00:16:36,160 --> 00:16:39,970
about your thoughts about that and how
364
00:16:37,720 --> 00:16:43,629
these two different processes intersect
365
00:16:39,970 --> 00:16:46,500
in your work and then I wanted to know
366
00:16:43,629 --> 00:16:49,629
what's next for Philomena Cruz a
367
00:16:46,500 --> 00:16:51,699
professor might say so we are right so
368
00:16:49,629 --> 00:16:56,470
that those are my comments and my
369
00:16:51,699 --> 00:16:58,389
thoughts today thank you so much thank
370
00:16:56,470 --> 00:17:03,730
you so much for those incredibly
371
00:16:58,389 --> 00:17:08,620
stimulating extensions and questions for
372
00:17:03,730 --> 00:17:10,030
for mine so I'll I will assume they're
373
00:17:08,620 --> 00:17:13,870
so good and she's going to pick those up
374
00:17:10,030 --> 00:17:17,890
in her talk in a few minutes for the
375
00:17:13,870 --> 00:17:22,600
moment let me let me just immediately
376
00:17:17,890 --> 00:17:26,289
move to professor Allison Carruth to
377
00:17:22,600 --> 00:17:28,510
invite her to contribute her comments
378
00:17:26,289 --> 00:17:35,830
now thank you
379
00:17:28,510 --> 00:17:38,260
I think that my remarks will complement
380
00:17:35,830 --> 00:17:40,570
professor Villasenor Black's I share
381
00:17:38,260 --> 00:17:43,030
with her sense of this book significance
382
00:17:40,570 --> 00:17:44,110
both in relationship to new material
383
00:17:43,030 --> 00:17:46,000
isms and
384
00:17:44,110 --> 00:17:50,520
a border crossing project in so many
385
00:17:46,000 --> 00:17:54,880
senses facial socio cultural linguistic
386
00:17:50,520 --> 00:17:57,010
aesthetic and disciplinary so my own
387
00:17:54,880 --> 00:17:58,420
approach to this invitation to comment
388
00:17:57,010 --> 00:18:02,309
on talking trash which I'm so grateful
389
00:17:58,420 --> 00:18:05,080
to have been offered the opportunity is
390
00:18:02,309 --> 00:18:06,730
in relationship to my own primary fields
391
00:18:05,080 --> 00:18:12,100
of the environmental humanities and
392
00:18:06,730 --> 00:18:14,860
Science and Technology studies from my
393
00:18:12,100 --> 00:18:17,080
perspective the project is a model for
394
00:18:14,860 --> 00:18:20,110
researchers situated in these kinds of
395
00:18:17,080 --> 00:18:21,730
transdisciplinary fields a model of
396
00:18:20,110 --> 00:18:23,650
looking to the arts not just for
397
00:18:21,730 --> 00:18:25,990
cultural archives and objects of
398
00:18:23,650 --> 00:18:32,620
analysis but also for collaborators and
399
00:18:25,990 --> 00:18:35,049
Co instigators professor Zubr writes in
400
00:18:32,620 --> 00:18:38,320
the second or first chapter in fact I
401
00:18:35,049 --> 00:18:40,929
believe this solid refuse accumulates in
402
00:18:38,320 --> 00:18:43,450
large-scale open pits and sanitary
403
00:18:40,929 --> 00:18:47,049
landfills across the planet its
404
00:18:43,450 --> 00:18:50,530
ever-growing monumentality a source of
405
00:18:47,049 --> 00:18:52,929
permanent concern and fascination but
406
00:18:50,530 --> 00:18:55,419
trash is not born big it starts petite
407
00:18:52,929 --> 00:18:57,790
and it is the unassuming smallness of
408
00:18:55,419 --> 00:19:00,669
garbage that will continue to occupy the
409
00:18:57,790 --> 00:19:03,400
pages that follow litter escapes leave
410
00:19:00,669 --> 00:19:07,840
their imprint in urban and natural
411
00:19:03,400 --> 00:19:09,549
surroundings with this framework in mind
412
00:19:07,840 --> 00:19:11,190
I have found myself thinking often as I
413
00:19:09,549 --> 00:19:13,000
was reading talking trash about
414
00:19:11,190 --> 00:19:15,910
something that the environmental
415
00:19:13,000 --> 00:19:19,240
humanities scholar Stephanie iluminage
416
00:19:15,910 --> 00:19:22,330
sure has termed new socialities or has
417
00:19:19,240 --> 00:19:24,820
really kind of invited scholars artists
418
00:19:22,330 --> 00:19:27,190
activists and other communities who work
419
00:19:24,820 --> 00:19:29,860
in collaboration with them to imagine
420
00:19:27,190 --> 00:19:31,540
and to build new socialities she
421
00:19:29,860 --> 00:19:33,460
captures the spirit of this effort in a
422
00:19:31,540 --> 00:19:35,590
recent essay that outlines a disposition
423
00:19:33,460 --> 00:19:37,450
for the environmental humanities that
424
00:19:35,590 --> 00:19:38,350
quote speaks from disciplines rather
425
00:19:37,450 --> 00:19:41,860
than to them
426
00:19:38,350 --> 00:19:44,650
she elaborates fields like this have
427
00:19:41,860 --> 00:19:46,570
been tried out on the ground in college
428
00:19:44,650 --> 00:19:48,880
and university classrooms and in public
429
00:19:46,570 --> 00:19:51,610
spaces like museums and even beaches
430
00:19:48,880 --> 00:19:54,250
prior to their articulation as academic
431
00:19:51,610 --> 00:19:56,380
fields there is and has been an everyday
432
00:19:54,250 --> 00:19:58,269
environmental humanities worked out in
433
00:19:56,380 --> 00:20:00,389
earnest and at times awkward
434
00:19:58,269 --> 00:20:02,589
operation among artists and scholars
435
00:20:00,389 --> 00:20:04,239
reaching across the so-called two
436
00:20:02,589 --> 00:20:07,269
cultures from the humanities into the
437
00:20:04,239 --> 00:20:09,249
social and natural sciences as well so I
438
00:20:07,269 --> 00:20:13,450
think talking trash really puts this
439
00:20:09,249 --> 00:20:16,149
into practice embodies this kind of
440
00:20:13,450 --> 00:20:20,169
effort to reach far beyond disciplines
441
00:20:16,149 --> 00:20:22,269
and outside the Academy what I was
442
00:20:20,169 --> 00:20:25,869
particularly struck by was this focus on
443
00:20:22,269 --> 00:20:29,769
the small the intimate and the the
444
00:20:25,869 --> 00:20:33,519
everyday in this study of trash and in
445
00:20:29,769 --> 00:20:37,359
the range of artworks that that
446
00:20:33,519 --> 00:20:40,299
Philomena Cruz contributes to the book
447
00:20:37,359 --> 00:20:41,859
at the outset of talking trash might in
448
00:20:40,299 --> 00:20:44,799
notes that her project is not primarily
449
00:20:41,859 --> 00:20:46,959
an environmental one but rather amusing
450
00:20:44,799 --> 00:20:49,209
examination of the complex and muddled
451
00:20:46,959 --> 00:20:51,519
conflation of the artificial and the
452
00:20:49,209 --> 00:20:54,729
natural Donna Haraway style when it
453
00:20:51,519 --> 00:20:57,429
comes to all things discarded in quote
454
00:20:54,729 --> 00:20:59,769
so in this sense it resonates with and I
455
00:20:57,429 --> 00:21:00,999
think speaks poignant ly to work in the
456
00:20:59,769 --> 00:21:02,769
environmental humanities and
457
00:21:00,999 --> 00:21:04,869
environmental studies that has been
458
00:21:02,769 --> 00:21:07,559
focused increasingly on ever larger
459
00:21:04,869 --> 00:21:11,349
temporal and spacial scales of analysis
460
00:21:07,559 --> 00:21:12,999
above all on global warming and I think
461
00:21:11,349 --> 00:21:15,519
the fruitfully contested framework of
462
00:21:12,999 --> 00:21:17,139
the Anthropocene through that lens trash
463
00:21:15,519 --> 00:21:19,659
emerges predominantly in terms of what
464
00:21:17,139 --> 00:21:22,570
I'll call that gigantic after lives of
465
00:21:19,659 --> 00:21:26,499
extractive consumer capitalism and so I
466
00:21:22,570 --> 00:21:29,619
just wanted to offer some counter points
467
00:21:26,499 --> 00:21:33,669
to the works and practices and
468
00:21:29,619 --> 00:21:36,429
frameworks that talking trash journeys
469
00:21:33,669 --> 00:21:39,969
through and some of these come up indeed
470
00:21:36,429 --> 00:21:42,719
in the book itself so the first is this
471
00:21:39,969 --> 00:21:45,549
sort of bird's eye or planet eye view of
472
00:21:42,719 --> 00:21:48,009
the global circuits of trash and I think
473
00:21:45,549 --> 00:21:50,200
we can see this above all in how the
474
00:21:48,009 --> 00:21:54,659
so-called Pacific garbage patches have
475
00:21:50,200 --> 00:21:54,659
been visually rendered and represented
476
00:21:56,700 --> 00:22:01,749
it's also I think on display in not only
477
00:22:00,039 --> 00:22:03,999
the photographic work of Edward
478
00:22:01,749 --> 00:22:05,829
Burtynsky but also this documentary that
479
00:22:03,999 --> 00:22:08,519
offers a kind of filmic journey through
480
00:22:05,829 --> 00:22:10,780
his large format format photographs of
481
00:22:08,519 --> 00:22:13,630
enormous scale engineering
482
00:22:10,780 --> 00:22:16,450
and it's various forms of global waste
483
00:22:13,630 --> 00:22:18,010
and waste handling I'm going to just
484
00:22:16,450 --> 00:22:20,590
play the briefest clip from this because
485
00:22:18,010 --> 00:22:23,380
I think it speaks to this alternative
486
00:22:20,590 --> 00:22:26,470
and more dominant narrative and
487
00:22:23,380 --> 00:22:29,290
imagination of trash that the book
488
00:22:26,470 --> 00:22:33,450
addresses and that Burtynsky himself
489
00:22:29,290 --> 00:22:33,450
describes as the industrial sublime
490
00:22:33,690 --> 00:22:37,630
several years ago a reviewer looked at
491
00:22:36,340 --> 00:22:40,570
my work and reviewed a show of mine and
492
00:22:37,630 --> 00:22:44,680
refer to my work as embodying the
493
00:22:40,570 --> 00:22:47,320
industrial sublime and I think that for
494
00:22:44,680 --> 00:22:49,330
me that's that wasn't a bad description
495
00:22:47,320 --> 00:22:51,100
of what I do I am interested in the
496
00:22:49,330 --> 00:22:52,930
elements of the sublime early in my
497
00:22:51,100 --> 00:22:56,380
career I saw works of Caspar David
498
00:22:52,930 --> 00:22:59,170
Friedrich a German Romantic who cast his
499
00:22:56,380 --> 00:23:01,300
gaze from the pastoral landscape to
500
00:22:59,170 --> 00:23:06,130
nature itself to the forces of nature
501
00:23:01,300 --> 00:23:10,270
and what I feel I'm doing it kind of 150
502
00:23:06,130 --> 00:23:13,890
years later is casting my gaze at our
503
00:23:10,270 --> 00:23:17,940
technology and the the things that we've
504
00:23:13,890 --> 00:23:17,940
constructed in pursuit of progress
505
00:23:18,850 --> 00:23:21,940
[Music]
506
00:23:22,010 --> 00:23:29,490
so I think talking trash is really
507
00:23:26,310 --> 00:23:32,670
importantly skeptical of resistant to
508
00:23:29,490 --> 00:23:36,960
you this allure of the large scale and
509
00:23:32,670 --> 00:23:40,440
of the sublime aesthetic or even effect
510
00:23:36,960 --> 00:23:43,800
that that tends to get brought to the
511
00:23:40,440 --> 00:23:47,010
the crisis or the challenge of of trash
512
00:23:43,800 --> 00:23:48,990
in the period of late modernity at the
513
00:23:47,010 --> 00:23:53,760
same time that she acknowledges that the
514
00:23:48,990 --> 00:23:57,300
sort of same aesthetic and emotional
515
00:23:53,760 --> 00:24:01,590
habits of mind of sublimity of wonder of
516
00:23:57,300 --> 00:24:03,660
Enchantment can still be conjured and
517
00:24:01,590 --> 00:24:06,870
channeled when we look at smaller scales
518
00:24:03,660 --> 00:24:10,410
of trash and I think she's really self
519
00:24:06,870 --> 00:24:11,880
reflective about those dynamics and kind
520
00:24:10,410 --> 00:24:13,100
of ethical quandaries throughout the
521
00:24:11,880 --> 00:24:15,960
book and particularly in its conclusion
522
00:24:13,100 --> 00:24:18,840
but this is another example of this
523
00:24:15,960 --> 00:24:22,320
planetary and gigantic scale view of
524
00:24:18,840 --> 00:24:24,300
trash as an infrastructural problem the
525
00:24:22,320 --> 00:24:27,000
point of Hills landfill which was
526
00:24:24,300 --> 00:24:31,680
shuttered in 2013 and is now a proposed
527
00:24:27,000 --> 00:24:34,760
park site the writers and scholars Jeff
528
00:24:31,680 --> 00:24:38,670
manna and Nicola twilly in a photo essay
529
00:24:34,760 --> 00:24:42,630
published in 2013 I think speak to how
530
00:24:38,670 --> 00:24:45,440
the how trash tends to be represented in
531
00:24:42,630 --> 00:24:48,540
mainstream media including environmental
532
00:24:45,440 --> 00:24:50,310
media they describe landfill like Punta
533
00:24:48,540 --> 00:24:53,400
Hills does a mountain building exercise
534
00:24:50,310 --> 00:24:55,350
and they use a really stunning set of
535
00:24:53,400 --> 00:24:57,600
metaphors they describe it as an
536
00:24:55,350 --> 00:25:01,410
astonishing and monumental act of land
537
00:24:57,600 --> 00:25:02,850
form construction they relate it to and
538
00:25:01,410 --> 00:25:05,640
here they're citing Edward Humes
539
00:25:02,850 --> 00:25:09,390
garbology they related in size and scale
540
00:25:05,640 --> 00:25:14,220
to the mass of 15 million deceased
541
00:25:09,390 --> 00:25:16,830
elephants they described at length the
542
00:25:14,220 --> 00:25:19,610
kinds of machinery required to manage
543
00:25:16,830 --> 00:25:25,380
and sculpt this mountain building
544
00:25:19,610 --> 00:25:28,020
infrastructure on a daily basis and they
545
00:25:25,380 --> 00:25:30,540
also the zero in on something that
546
00:25:28,020 --> 00:25:33,030
talking trash wrestles with which is
547
00:25:30,540 --> 00:25:33,750
that on the one hand there is a kind of
548
00:25:33,030 --> 00:25:37,020
speck
549
00:25:33,750 --> 00:25:39,240
Euler tradition and I think professor
550
00:25:37,020 --> 00:25:42,990
villa Senor Black's remark so justice is
551
00:25:39,240 --> 00:25:44,940
quite quite long-standing of treating
552
00:25:42,990 --> 00:25:47,880
trash as spectacle and through sight and
553
00:25:44,940 --> 00:25:49,740
revision and that that can include this
554
00:25:47,880 --> 00:25:52,260
Visser allottee this multi-sensory
555
00:25:49,740 --> 00:25:54,270
dimension and so they they in this piece
556
00:25:52,260 --> 00:25:57,420
interestingly spend a lot of time on on
557
00:25:54,270 --> 00:25:59,160
smell and on those sort of textures of
558
00:25:57,420 --> 00:26:01,380
trash and I think it is here where they
559
00:25:59,160 --> 00:26:04,260
start to be in conversation with some of
560
00:26:01,380 --> 00:26:11,400
talking trash as concerns with a more
561
00:26:04,260 --> 00:26:13,260
intimate and embodied experience I just
562
00:26:11,400 --> 00:26:16,850
wanted to now kind of pivot in my
563
00:26:13,260 --> 00:26:20,370
clothes and sort of closing here to how
564
00:26:16,850 --> 00:26:22,770
talking trash throughout its for case
565
00:26:20,370 --> 00:26:25,920
studies if you will works against the
566
00:26:22,770 --> 00:26:29,160
grain of this gigantic spectacular of
567
00:26:25,920 --> 00:26:31,080
vision she spends some time in Chapter
568
00:26:29,160 --> 00:26:33,780
one talking about the photographer Chris
569
00:26:31,080 --> 00:26:36,870
Jordans photographs of e-waste notes
570
00:26:33,780 --> 00:26:40,740
that in these images trash appears as a
571
00:26:36,870 --> 00:26:43,470
kind of alien landscape she notes here
572
00:26:40,740 --> 00:26:45,750
that this is work that really speaks to
573
00:26:43,470 --> 00:26:48,330
the vast geological proportions of
574
00:26:45,750 --> 00:26:50,820
modern trash I found this really
575
00:26:48,330 --> 00:26:52,770
striking that because at this analysis
576
00:26:50,820 --> 00:26:55,110
of Jordans work appears side by side
577
00:26:52,770 --> 00:26:57,360
with her extended discussion of the
578
00:26:55,110 --> 00:27:00,690
Barcelona based artists street artists
579
00:26:57,360 --> 00:27:02,610
Francisco de picaros garbage sculptors
580
00:27:00,690 --> 00:27:04,980
and and I was sort of thinking
581
00:27:02,610 --> 00:27:06,810
especially of this piece garbage monster
582
00:27:04,980 --> 00:27:09,540
which is a different kind of alien
583
00:27:06,810 --> 00:27:11,640
representation of trash but one that
584
00:27:09,540 --> 00:27:16,580
directs our eyes to the street level
585
00:27:11,640 --> 00:27:16,580
which is really crucial to this project
586
00:27:17,510 --> 00:27:24,930
that in turn made me think about this
587
00:27:20,750 --> 00:27:27,600
the blockbuster film wall-e by Pixar
588
00:27:24,930 --> 00:27:29,220
studios released in 2008 and on the one
589
00:27:27,600 --> 00:27:32,610
hand that this is a film that begins
590
00:27:29,220 --> 00:27:35,130
with that same kind of post-industrial
591
00:27:32,610 --> 00:27:38,580
sublime we sort of descend on the Earth
592
00:27:35,130 --> 00:27:40,970
from outer space to discover that in
593
00:27:38,580 --> 00:27:43,080
fact it's topography is no longer
594
00:27:40,970 --> 00:27:46,260
natural if you will but entirely
595
00:27:43,080 --> 00:27:46,830
synthetic it is a planet comprised of
596
00:27:46,260 --> 00:27:49,049
mountain
597
00:27:46,830 --> 00:27:52,110
and indeed of skyscrapers of trash and
598
00:27:49,049 --> 00:27:54,000
it presents that kind of post-industrial
599
00:27:52,110 --> 00:27:55,950
sublime as a new wilderness
600
00:27:54,000 --> 00:27:59,399
I think but on the other hand through
601
00:27:55,950 --> 00:28:02,159
this very humanized non-human
602
00:27:59,399 --> 00:28:05,250
protagonist the robot trash compactor
603
00:28:02,159 --> 00:28:07,620
wall-e the film also works I think in a
604
00:28:05,250 --> 00:28:10,740
way that's in concert with talking trash
605
00:28:07,620 --> 00:28:12,750
we go down to Wally's very small scale
606
00:28:10,740 --> 00:28:16,140
where he collects and repurposes all
607
00:28:12,750 --> 00:28:18,750
manner of objects from our century and
608
00:28:16,140 --> 00:28:28,049
they become cherished sort of talisman
609
00:28:18,750 --> 00:28:30,320
to this this futuristic character so
610
00:28:28,049 --> 00:28:32,760
just to end then I wanted to really
611
00:28:30,320 --> 00:28:35,970
emphasize that I think here is we're
612
00:28:32,760 --> 00:28:38,370
talking trash is so powerful both as a
613
00:28:35,970 --> 00:28:40,529
contribution to the multiple disciplines
614
00:28:38,370 --> 00:28:44,580
and fields and who's at whose crossroads
615
00:28:40,529 --> 00:28:47,010
situated and as itself a multimedia work
616
00:28:44,580 --> 00:28:49,500
of social practice art that this is a
617
00:28:47,010 --> 00:28:50,970
book that asks us to really move from
618
00:28:49,500 --> 00:28:53,700
that scale of the post-industrial
619
00:28:50,970 --> 00:28:57,269
sublime not aesthetic sort of tradition
620
00:28:53,700 --> 00:29:00,149
to live litter escapes to to really live
621
00:28:57,269 --> 00:29:01,860
not only their visceral and intimate
622
00:29:00,149 --> 00:29:03,960
qualities but also their ethical and
623
00:29:01,860 --> 00:29:05,610
political histories and quand ruiz in
624
00:29:03,960 --> 00:29:08,070
her chapter litter escapes
625
00:29:05,610 --> 00:29:10,470
she just opposes the monumentality of
626
00:29:08,070 --> 00:29:12,720
garbage and indeed it's often cinematic
627
00:29:10,470 --> 00:29:14,700
and spectacular representations with
628
00:29:12,720 --> 00:29:17,460
what she calls the garbage crumbs left
629
00:29:14,700 --> 00:29:20,220
behind by migrants migrants and what has
630
00:29:17,460 --> 00:29:23,010
been termed border trash and this leads
631
00:29:20,220 --> 00:29:24,269
her to an extended analysis of this
632
00:29:23,010 --> 00:29:26,549
collaboration between the photographer
633
00:29:24,269 --> 00:29:34,889
Richard mise Rock and the composer
634
00:29:26,549 --> 00:29:36,990
Guillermo Lindo border Kantos she writes
635
00:29:34,889 --> 00:29:39,269
about this work Galindo's only goal is
636
00:29:36,990 --> 00:29:42,360
to stay obsessively close to the object
637
00:29:39,269 --> 00:29:44,809
so as to fully breathe in the life of he
638
00:29:42,360 --> 00:29:47,490
her she who made it his or her own
639
00:29:44,809 --> 00:29:49,500
contra habits of salvaging recycling
640
00:29:47,490 --> 00:29:52,230
ordering and otherwise repurposing trash
641
00:29:49,500 --> 00:29:54,570
that she observes here I would say for
642
00:29:52,230 --> 00:29:57,139
example dumpster diver projects the
643
00:29:54,570 --> 00:29:59,370
border Kantos and especially Galindo's
644
00:29:57,139 --> 00:30:00,610
instruments and compositions that are
645
00:29:59,370 --> 00:30:03,160
made out of these found
646
00:30:00,610 --> 00:30:04,960
facts at the us-mexico border are quote
647
00:30:03,160 --> 00:30:07,330
physically and spiritually and matched
648
00:30:04,960 --> 00:30:10,720
with border crossers and discarded
649
00:30:07,330 --> 00:30:12,670
belongings it was here that I found a
650
00:30:10,720 --> 00:30:14,799
kind of provocation combined with her
651
00:30:12,670 --> 00:30:16,720
reflections in the conclusion about the
652
00:30:14,799 --> 00:30:19,570
other senses that we might want to bring
653
00:30:16,720 --> 00:30:22,809
to a study of an engagement with trash
654
00:30:19,570 --> 00:30:24,160
at this scale and I would frame the
655
00:30:22,809 --> 00:30:27,549
propagation as a kind of question for
656
00:30:24,160 --> 00:30:30,220
our discussion what kinds of art and
657
00:30:27,549 --> 00:30:32,710
social practices are needed to help
658
00:30:30,220 --> 00:30:35,320
fully apprehend what she deserves the
659
00:30:32,710 --> 00:30:37,360
reality of obsolescence but also what I
660
00:30:35,320 --> 00:30:39,370
would call the visceral and Justices of
661
00:30:37,360 --> 00:30:47,280
trash with this project very much in
662
00:30:39,370 --> 00:30:52,120
mine thank you thank you so much
663
00:30:47,280 --> 00:30:56,380
professor Carruth and I will now turn to
664
00:30:52,120 --> 00:31:00,429
professor to be Audrey herself for
665
00:30:56,380 --> 00:31:03,160
further comment thank you so very much
666
00:31:00,429 --> 00:31:15,250
I'm gonna be sharing I need to share my
667
00:31:03,160 --> 00:31:15,880
screen right yes thank you so much can
668
00:31:15,250 --> 00:31:20,440
you see it
669
00:31:15,880 --> 00:31:23,380
we can everybody can so I am so very
670
00:31:20,440 --> 00:31:25,510
happy and moved and thankful for the
671
00:31:23,380 --> 00:31:27,070
incredibly incisive and brilliant
672
00:31:25,510 --> 00:31:30,960
comments from my dear colleagues and
673
00:31:27,070 --> 00:31:34,330
friends in your blog and professor
674
00:31:30,960 --> 00:31:35,950
Carruth I do think that throughout my
675
00:31:34,330 --> 00:31:38,169
presentation I would be responding from
676
00:31:35,950 --> 00:31:40,750
some of these questions but I would like
677
00:31:38,169 --> 00:31:42,880
to respond to them to them explicit very
678
00:31:40,750 --> 00:31:47,860
explicitly just now at the beginning
679
00:31:42,880 --> 00:31:51,190
I'll start with Charlene talked first so
680
00:31:47,860 --> 00:31:54,070
yes indeed a spatial turn is very
681
00:31:51,190 --> 00:31:55,900
important to my to my academic work my
682
00:31:54,070 --> 00:31:57,700
first book is actually on space and the
683
00:31:55,900 --> 00:32:00,400
realist novel and that was exactly the
684
00:31:57,700 --> 00:32:02,500
intention I was very grateful that he
685
00:32:00,400 --> 00:32:04,330
mentioned this new material turn which
686
00:32:02,500 --> 00:32:07,480
is actually I think happening not only
687
00:32:04,330 --> 00:32:11,140
in my work with but also internal in the
688
00:32:07,480 --> 00:32:13,840
humanities in a way it is humanities is
689
00:32:11,140 --> 00:32:14,590
the literature language department type
690
00:32:13,840 --> 00:32:16,659
humanity
691
00:32:14,590 --> 00:32:19,120
is connecting much more with with art
692
00:32:16,659 --> 00:32:22,779
and art history and I do think my book
693
00:32:19,120 --> 00:32:24,399
is further proof of that I also very
694
00:32:22,779 --> 00:32:26,110
much appreciated that you mentioned
695
00:32:24,399 --> 00:32:28,960
there is a sailor who's an artist that I
696
00:32:26,110 --> 00:32:33,100
really love and as well as in the
697
00:32:28,960 --> 00:32:35,529
Vallejo and particularly Rodrigo Gomez
698
00:32:33,100 --> 00:32:38,440
and you will see throughout my
699
00:32:35,529 --> 00:32:41,740
presentation that underdog style or a
700
00:32:38,440 --> 00:32:46,179
Scotties mob permeates my work off as an
701
00:32:41,740 --> 00:32:51,879
artist and and and and a writer so I
702
00:32:46,179 --> 00:32:54,249
really appreciate that deeply yes this
703
00:32:51,879 --> 00:32:55,869
underdog style is precisely and that
704
00:32:54,249 --> 00:32:58,330
responds a little bit to the question
705
00:32:55,869 --> 00:33:01,090
that that Alison was posing at the very
706
00:32:58,330 --> 00:33:04,720
end so what kind of art can actually
707
00:33:01,090 --> 00:33:06,759
respond to the question of trash and how
708
00:33:04,720 --> 00:33:09,970
trash is not only an environmental
709
00:33:06,759 --> 00:33:12,759
problem but also a problem that signals
710
00:33:09,970 --> 00:33:14,889
social inequality I do think that
711
00:33:12,759 --> 00:33:17,649
precisely Rask fortissimo is a way to
712
00:33:14,889 --> 00:33:21,190
address this and that would in my in my
713
00:33:17,649 --> 00:33:23,080
view be there the best way to to address
714
00:33:21,190 --> 00:33:26,019
the social issues and inequalities using
715
00:33:23,080 --> 00:33:28,960
the respected chisme technique that I
716
00:33:26,019 --> 00:33:32,230
that actually we learned from first from
717
00:33:28,960 --> 00:33:34,929
from Mexican artists on mexican ways of
718
00:33:32,230 --> 00:33:39,600
being real ways of life and then adopted
719
00:33:34,929 --> 00:33:43,360
by by Chicana life and aesthetics and
720
00:33:39,600 --> 00:33:45,039
when Charlene was asking me what are my
721
00:33:43,360 --> 00:33:48,809
sources of inspiration I have to say
722
00:33:45,039 --> 00:33:52,419
that those are mostly Mexican art and
723
00:33:48,809 --> 00:33:54,369
Mexican art of the very popular kind if
724
00:33:52,419 --> 00:33:57,149
I think for example about the world that
725
00:33:54,369 --> 00:34:00,309
gives where I practice a niche in a
726
00:33:57,149 --> 00:34:02,440
boring gray wall this was inspired by
727
00:34:00,309 --> 00:34:04,990
the niches that are that populate
728
00:34:02,440 --> 00:34:10,270
Mexican streets and where Milliken is de
729
00:34:04,990 --> 00:34:13,329
Guadalupe and sayings find a home Selene
730
00:34:10,270 --> 00:34:16,089
is also also asking me what is the link
731
00:34:13,329 --> 00:34:20,530
between between writing and creating
732
00:34:16,089 --> 00:34:24,250
well it is a very close link that helps
733
00:34:20,530 --> 00:34:26,740
me to divide into people which enhances
734
00:34:24,250 --> 00:34:27,870
dialogue and I think writing is most of
735
00:34:26,740 --> 00:34:30,780
the result of dial
736
00:34:27,870 --> 00:34:34,380
so phenomena cruise dialogues and fights
737
00:34:30,780 --> 00:34:36,840
and quarrels with my cathode ray and out
738
00:34:34,380 --> 00:34:41,010
of that productive dialogue and choral
739
00:34:36,840 --> 00:34:43,140
ideas come to the to fruition my teeth
740
00:34:41,010 --> 00:34:45,630
we always quite conservative phenomena
741
00:34:43,140 --> 00:34:48,810
truth is phenomena truth is not so I
742
00:34:45,630 --> 00:34:54,200
think men accrue spices have up in my I
743
00:34:48,810 --> 00:34:57,780
taste acquired whatever strict academic
744
00:34:54,200 --> 00:34:59,640
writing and so my alter ego Philomena
745
00:34:57,780 --> 00:35:04,080
Cruz well you know I have many
746
00:34:59,640 --> 00:35:06,900
phenomenas at home and that I I would
747
00:35:04,080 --> 00:35:08,490
acknowledge my my my hounds and
748
00:35:06,900 --> 00:35:10,260
grandmothers who were all called
749
00:35:08,490 --> 00:35:12,420
Filomena's and they were very strong
750
00:35:10,260 --> 00:35:15,840
independent woman misunderstood by the
751
00:35:12,420 --> 00:35:18,390
times and truth came to me I don't know
752
00:35:15,840 --> 00:35:21,750
why I I it's really I think it's it's a
753
00:35:18,390 --> 00:35:23,430
labor of the unconscious and I just like
754
00:35:21,750 --> 00:35:26,280
the way it sounds
755
00:35:23,430 --> 00:35:29,070
so that's that's the best I can I can
756
00:35:26,280 --> 00:35:31,020
actually explain it but in any case I'm
757
00:35:29,070 --> 00:35:34,470
very very grateful for all these
758
00:35:31,020 --> 00:35:36,480
references and for really Charlene I
759
00:35:34,470 --> 00:35:38,940
feel that you really understood my book
760
00:35:36,480 --> 00:35:40,980
and you really nailed it when you
761
00:35:38,940 --> 00:35:43,440
mentioned rough forty smoke because that
762
00:35:40,980 --> 00:35:48,210
is exactly what my book is about it's
763
00:35:43,440 --> 00:35:50,580
all about the underdog so thank you so
764
00:35:48,210 --> 00:35:52,530
very very much and you mentioned a
765
00:35:50,580 --> 00:35:54,450
number of artists actually that I have
766
00:35:52,530 --> 00:35:56,550
to confess I don't know so I would love
767
00:35:54,450 --> 00:35:59,610
to follow up with you and learn more
768
00:35:56,550 --> 00:36:03,390
about these other artists I also love
769
00:35:59,610 --> 00:36:05,700
the there is con Chavo technique for
770
00:36:03,390 --> 00:36:08,850
that goes back into colonial times I
771
00:36:05,700 --> 00:36:12,180
didn't know about that I went as back
772
00:36:08,850 --> 00:36:14,060
ass I don't know the French term is now
773
00:36:12,180 --> 00:36:16,290
and I'm missing the French term and
774
00:36:14,060 --> 00:36:17,760
concasse I think it's cold which is what
775
00:36:16,290 --> 00:36:19,500
happened with Gaudi and what happens
776
00:36:17,760 --> 00:36:21,390
with Watts Towers here I didn't know
777
00:36:19,500 --> 00:36:24,170
that this sort of putting together
778
00:36:21,390 --> 00:36:26,670
pieces off happened also with with
779
00:36:24,170 --> 00:36:28,200
consciously this one jealous in in in
780
00:36:26,670 --> 00:36:30,900
colonial times I'm fascinating about
781
00:36:28,200 --> 00:36:33,030
that you mentioned that my book has this
782
00:36:30,900 --> 00:36:35,970
historical dimension as well and yes I'm
783
00:36:33,030 --> 00:36:39,300
really very interesting in tracing the
784
00:36:35,970 --> 00:36:41,160
origins of art mate with trash back into
785
00:36:39,300 --> 00:36:43,740
history so that gives me already a point
786
00:36:41,160 --> 00:36:49,380
of reference thank you so much for that
787
00:36:43,740 --> 00:36:54,380
and Alison again I think you really
788
00:36:49,380 --> 00:36:56,640
really mentioned something that has been
789
00:36:54,380 --> 00:36:59,309
something that I've been struggling all
790
00:36:56,640 --> 00:37:02,490
throughout writing the book which is
791
00:36:59,309 --> 00:37:05,130
what I like to call the uneasy dance
792
00:37:02,490 --> 00:37:10,230
between the gigantic and the very small
793
00:37:05,130 --> 00:37:13,170
I may say my confession at the very end
794
00:37:10,230 --> 00:37:16,200
of the book throughout the book I was
795
00:37:13,170 --> 00:37:17,460
trying to fight the big trash I was
796
00:37:16,200 --> 00:37:18,900
trying to ignore it I was trying to
797
00:37:17,460 --> 00:37:20,549
dismiss it and I was trying to go for
798
00:37:18,900 --> 00:37:22,559
the more intimate for them up for the
799
00:37:20,549 --> 00:37:25,680
small or literal escapes or the small
800
00:37:22,559 --> 00:37:28,619
trash on the scene particularly because
801
00:37:25,680 --> 00:37:30,720
as Charlene says mentioned I'm very
802
00:37:28,619 --> 00:37:34,799
interested in the underdog and this on
803
00:37:30,720 --> 00:37:37,049
litter is the underdog of gigantic trash
804
00:37:34,799 --> 00:37:41,609
who has gotten all the attention but
805
00:37:37,049 --> 00:37:43,470
this said it is precisely what is their
806
00:37:41,609 --> 00:37:45,299
reason I'm interested in small trash is
807
00:37:43,470 --> 00:37:48,299
because of the fear that it's going to
808
00:37:45,299 --> 00:37:51,059
become gigantic so that fear of the
809
00:37:48,299 --> 00:37:54,180
small turning into acquiring in gigantic
810
00:37:51,059 --> 00:37:56,490
proportions a linger swirl all at work
811
00:37:54,180 --> 00:37:58,230
all the pages off of my book and at the
812
00:37:56,490 --> 00:37:59,490
very end I make a confession and I make
813
00:37:58,230 --> 00:38:01,680
two confessions in the conclusion the
814
00:37:59,490 --> 00:38:03,720
first confession is come on this is not
815
00:38:01,680 --> 00:38:05,609
a book on trash because I wrote it from
816
00:38:03,720 --> 00:38:08,220
the distance and I didn't get my hands
817
00:38:05,609 --> 00:38:10,859
dirty that's why I did they Philomena
818
00:38:08,220 --> 00:38:14,279
Cruz did the joke of taking a picture of
819
00:38:10,859 --> 00:38:16,109
the hand of Mike yandere and we were
820
00:38:14,279 --> 00:38:18,029
both actually sitting at a faculty
821
00:38:16,109 --> 00:38:20,180
Center and Philomena kun said put the
822
00:38:18,029 --> 00:38:22,049
hand up and took a picture of it so
823
00:38:20,180 --> 00:38:25,140
that's one confession the other
824
00:38:22,049 --> 00:38:27,329
confession is that I say you know you I
825
00:38:25,140 --> 00:38:30,510
can I can talk small as much as I want
826
00:38:27,329 --> 00:38:31,920
the true this trash is taking over and
827
00:38:30,510 --> 00:38:33,690
it's a huge problem and it's a huge
828
00:38:31,920 --> 00:38:35,819
environmental problem and that's why I
829
00:38:33,690 --> 00:38:38,099
mentioned the anecdote which is not an
830
00:38:35,819 --> 00:38:41,940
anecdote part but sheer fact of the
831
00:38:38,099 --> 00:38:44,339
London fatberg which is this huge tumor
832
00:38:41,940 --> 00:38:52,049
that grew underneath the City of London
833
00:38:44,339 --> 00:38:54,990
fed with domestic trash so yeah also you
834
00:38:52,049 --> 00:38:57,690
talk about know so new so serious
835
00:38:54,990 --> 00:38:59,730
socialities something else that that one
836
00:38:57,690 --> 00:39:01,380
needs to take really into account how
837
00:38:59,730 --> 00:39:04,620
environmental studies improving and to
838
00:39:01,380 --> 00:39:07,650
and to different more broader directions
839
00:39:04,620 --> 00:39:09,960
I need to learn about that much more so
840
00:39:07,650 --> 00:39:11,700
again if we cut eventually have a
841
00:39:09,960 --> 00:39:15,030
conversation about that I would really
842
00:39:11,700 --> 00:39:17,100
love it you mentioned Puente Hills
843
00:39:15,030 --> 00:39:20,970
Puente Hills has been very important in
844
00:39:17,100 --> 00:39:24,030
my academic life I've visited which took
845
00:39:20,970 --> 00:39:27,180
students there actually and before it
846
00:39:24,030 --> 00:39:29,220
closed down and again I call it an
847
00:39:27,180 --> 00:39:31,140
uneasy difficult dance because it's from
848
00:39:29,220 --> 00:39:33,210
the intimate of the small to the big but
849
00:39:31,140 --> 00:39:34,920
then I did the other it did it the other
850
00:39:33,210 --> 00:39:36,840
way around I visited the water
851
00:39:34,920 --> 00:39:38,910
reclamation plant and went the hills
852
00:39:36,840 --> 00:39:40,980
that it's still open by the way and I
853
00:39:38,910 --> 00:39:44,190
took pictures or pictures of fecal
854
00:39:40,980 --> 00:39:49,290
waters and with this fecal waters I
855
00:39:44,190 --> 00:39:52,890
printed a textiles and I made a custom
856
00:39:49,290 --> 00:39:55,500
made out of fecal waters so I brought
857
00:39:52,890 --> 00:39:57,780
the fecal waters back home
858
00:39:55,500 --> 00:39:59,850
I brought the immensity of these dirty
859
00:39:57,780 --> 00:40:02,100
waters that we produce back home so
860
00:39:59,850 --> 00:40:05,190
again it's it's I think the reality or
861
00:40:02,100 --> 00:40:07,230
they are the truth lies and this moving
862
00:40:05,190 --> 00:40:10,110
back and forth from the small to the big
863
00:40:07,230 --> 00:40:13,470
from the gigantic to the minuscule so
864
00:40:10,110 --> 00:40:15,840
yeah I think I have more or less I think
865
00:40:13,470 --> 00:40:18,690
addressed your questions and I hope my
866
00:40:15,840 --> 00:40:22,460
presentation now will further contribute
867
00:40:18,690 --> 00:40:25,350
to doing that and if not we do have a
868
00:40:22,460 --> 00:40:29,820
hopefully time left for questions and
869
00:40:25,350 --> 00:40:32,640
answers so let me begin by saying that I
870
00:40:29,820 --> 00:40:35,340
would love to thank everybody that made
871
00:40:32,640 --> 00:40:37,200
this possible first of all of course
872
00:40:35,340 --> 00:40:39,630
professor laurihart
873
00:40:37,200 --> 00:40:42,710
who is the director of the Center for
874
00:40:39,630 --> 00:40:47,220
European and Russian studies and who
875
00:40:42,710 --> 00:40:51,140
persistently invited me to host this
876
00:40:47,220 --> 00:40:54,930
event first in presence and now remotely
877
00:40:51,140 --> 00:40:58,380
my thanks go out also to Liana granthia
878
00:40:54,930 --> 00:41:01,050
and to Sanjaya Lacan who have made this
879
00:40:58,380 --> 00:41:05,210
possible and of course needless to say
880
00:41:01,050 --> 00:41:08,220
to my wonderful friends colleagues and
881
00:41:05,210 --> 00:41:08,790
brilliant discussions as you have been
882
00:41:08,220 --> 00:41:12,600
able to
883
00:41:08,790 --> 00:41:14,790
nests of talking trash my book eh
884
00:41:12,600 --> 00:41:17,280
last but not least I would like to
885
00:41:14,790 --> 00:41:19,830
dedicate this presentation to my
886
00:41:17,280 --> 00:41:22,500
students because without their incisive
887
00:41:19,830 --> 00:41:25,500
comments and then passionate discussions
888
00:41:22,500 --> 00:41:28,800
this book would have never existed and
889
00:41:25,500 --> 00:41:31,260
let me also thank you my dear friend who
890
00:41:28,800 --> 00:41:33,750
passed away not too long ago professor
891
00:41:31,260 --> 00:41:36,570
Ricardo quinones from the clear my
892
00:41:33,750 --> 00:41:40,410
professor at the Claremont Colleges whom
893
00:41:36,570 --> 00:41:42,480
I owe the name of the book we talked we
894
00:41:40,410 --> 00:41:45,030
had many spirited conversations about
895
00:41:42,480 --> 00:41:48,290
trash and he suggested that it be called
896
00:41:45,030 --> 00:41:50,790
talking trash and I honor his memory
897
00:41:48,290 --> 00:42:00,930
would like to dedicate this this
898
00:41:50,790 --> 00:42:03,860
presentation also to him okay so in a
899
00:42:00,930 --> 00:42:07,770
nutshell a cultural use of waste is as
900
00:42:03,860 --> 00:42:09,240
Allison would so eloquently in small
901
00:42:07,770 --> 00:42:11,640
trash and looks at little through the
902
00:42:09,240 --> 00:42:12,930
eyes of international artists it
903
00:42:11,640 --> 00:42:16,230
reflects upon the anthropomorphic
904
00:42:12,930 --> 00:42:18,060
natural nature of urban confused the
905
00:42:16,230 --> 00:42:19,590
poetics and semantics of micro little
906
00:42:18,060 --> 00:42:22,200
scapes and the archives of all things
907
00:42:19,590 --> 00:42:24,450
discarded Dom serology and yahoo from
908
00:42:22,200 --> 00:42:25,920
content to continent or the history of
909
00:42:24,450 --> 00:42:28,110
the garbage containers a gendered
910
00:42:25,920 --> 00:42:34,080
artifact dense with cultural meaning in
911
00:42:28,110 --> 00:42:37,530
fact gender is permeates all my my book
912
00:42:34,080 --> 00:42:39,090
and my research in general on dirty
913
00:42:37,530 --> 00:42:41,460
innocence or the complex and
914
00:42:39,090 --> 00:42:44,160
contradictory link apply childhood to
915
00:42:41,460 --> 00:42:46,740
mark and last but not least to the so
916
00:42:44,160 --> 00:42:48,570
called desert trash sometimes also Sano
917
00:42:46,740 --> 00:42:51,780
phobic Lee called migrant
918
00:42:48,570 --> 00:42:55,380
trash all the personal belongings left
919
00:42:51,780 --> 00:43:01,640
behind by migrants at the UCA us-mexico
920
00:42:55,380 --> 00:43:09,720
border so again a my a sorry about this
921
00:43:01,640 --> 00:43:11,220
well let me check something sorry about
922
00:43:09,720 --> 00:43:17,970
this I think there's something missing
923
00:43:11,220 --> 00:43:20,370
here ok so in a nutshell ok so that's ok
924
00:43:17,970 --> 00:43:22,410
so my book is based on a very basic
925
00:43:20,370 --> 00:43:26,190
principle
926
00:43:22,410 --> 00:43:31,530
which is the need to slow down and look
927
00:43:26,190 --> 00:43:34,140
at trash for there is - my unshakeable
928
00:43:31,530 --> 00:43:36,570
belief there's a narrative in trash in
929
00:43:34,140 --> 00:43:39,560
litter and certainly in each cigarette
930
00:43:36,570 --> 00:43:42,870
butt and narratives trigger empathy I
931
00:43:39,560 --> 00:43:45,750
call this the beauty of the myopic gaze
932
00:43:42,870 --> 00:43:48,900
which by the way is the gaze in general
933
00:43:45,750 --> 00:43:52,050
of the humanities so I would like you
934
00:43:48,900 --> 00:43:55,740
also I'm sorry about this let me just do
935
00:43:52,050 --> 00:43:59,750
one thing I'm missing sorry about this
936
00:43:55,740 --> 00:44:03,240
interruption but I do I'm missing one I
937
00:43:59,750 --> 00:44:07,620
don't know what happened but I am
938
00:44:03,240 --> 00:44:12,720
missing one slight okay it doesn't
939
00:44:07,620 --> 00:44:14,820
matter anyhow what I was about to say in
940
00:44:12,720 --> 00:44:17,130
that slide is what I already said so
941
00:44:14,820 --> 00:44:20,100
it's not important is that this book is
942
00:44:17,130 --> 00:44:22,380
written with four hands the hands of my
943
00:44:20,100 --> 00:44:25,170
teeth obra who is in charge of academic
944
00:44:22,380 --> 00:44:26,640
writing and the hands of Philomena Cruz
945
00:44:25,170 --> 00:44:31,320
who takes pictures
946
00:44:26,640 --> 00:44:35,550
das collages and infuses poetic twists
947
00:44:31,320 --> 00:44:38,220
into the academic text so again so it is
948
00:44:35,550 --> 00:44:41,580
a book fundamentally on livers more
949
00:44:38,220 --> 00:44:45,470
trash it is written with four hands and
950
00:44:41,580 --> 00:44:49,620
it really insists on slowing down and
951
00:44:45,470 --> 00:44:53,040
looking at trash to find the narratives
952
00:44:49,620 --> 00:44:55,380
that are embedded in it and narratives
953
00:44:53,040 --> 00:44:57,900
trigger empathy empathy and emotion is
954
00:44:55,380 --> 00:45:02,250
also very important concept in in my
955
00:44:57,900 --> 00:45:05,190
book and in all my thing I thought about
956
00:45:02,250 --> 00:45:07,890
all things trash so I would like to
957
00:45:05,190 --> 00:45:11,850
invite you to my what I'd like to call
958
00:45:07,890 --> 00:45:13,950
my trash journey and a journey that if I
959
00:45:11,850 --> 00:45:16,050
think about it began well before talking
960
00:45:13,950 --> 00:45:19,470
trust precisely because what Charlene
961
00:45:16,050 --> 00:45:22,020
was mentioning because my my devotion
962
00:45:19,470 --> 00:45:24,450
for the underdog and the underdogs style
963
00:45:22,020 --> 00:45:26,280
so for example when I wrote Alice Patton
964
00:45:24,450 --> 00:45:27,400
a novella really stir the space in the
965
00:45:26,280 --> 00:45:31,869
in the
966
00:45:27,400 --> 00:45:34,210
realist novel space was ancillary to
967
00:45:31,869 --> 00:45:37,319
time and therefore somewhat disposable
968
00:45:34,210 --> 00:45:39,999
ask narratology wanted it at that time
969
00:45:37,319 --> 00:45:42,640
when professor Roberto Johnson and
970
00:45:39,999 --> 00:45:45,880
myself put together this anthology of
971
00:45:42,640 --> 00:45:49,059
feminist Spanish thought women thinkers
972
00:45:45,880 --> 00:45:51,730
we're and still are alas answering to
973
00:45:49,059 --> 00:45:53,140
main philosophers when I wrote cultures
974
00:45:51,730 --> 00:45:54,759
of the erotic in Spain of the night
975
00:45:53,140 --> 00:45:57,579
translated into Spanish into the
976
00:45:54,759 --> 00:46:00,339
celerity is more of course the body and
977
00:45:57,579 --> 00:46:03,190
most of it the erotic body was ancillary
978
00:46:00,339 --> 00:46:05,619
to the mind in popular culture repressed
979
00:46:03,190 --> 00:46:08,589
by Franco's dictatorship answered to
980
00:46:05,619 --> 00:46:10,569
high culture talking crush I couldn't go
981
00:46:08,589 --> 00:46:13,930
further down no need to explain
982
00:46:10,569 --> 00:46:16,599
and then our last book actually
983
00:46:13,930 --> 00:46:19,930
co-authored with Professor CAF el canto
984
00:46:16,599 --> 00:46:21,849
see daddy's prisoner and Chrisman we
985
00:46:19,930 --> 00:46:24,700
look at the city through the lens of the
986
00:46:21,849 --> 00:46:27,069
humanities which is ancillary to the
987
00:46:24,700 --> 00:46:31,569
social sciences when it comes to study
988
00:46:27,069 --> 00:46:35,140
cities so in any case talking trash is
989
00:46:31,569 --> 00:46:37,989
only one piece within a much larger
990
00:46:35,140 --> 00:46:40,630
larger endeavor or itinerary that
991
00:46:37,989 --> 00:46:42,579
includes teaching trash art and to
992
00:46:40,630 --> 00:46:44,369
artistic interventions by Philomena Cruz
993
00:46:42,579 --> 00:46:46,450
a collaborative interdisciplinary
994
00:46:44,369 --> 00:46:48,039
project that includes a scholarly
995
00:46:46,450 --> 00:46:50,829
monograph a digital map and a
996
00:46:48,039 --> 00:46:53,920
documentary my translation of talking
997
00:46:50,829 --> 00:46:56,589
trash into Spanish ice ended two weeks
998
00:46:53,920 --> 00:46:59,759
ago roughly two weeks ago to the to the
999
00:46:56,589 --> 00:47:02,799
publisher in Spain and yet another short
1000
00:46:59,759 --> 00:47:07,210
documentary so let me start with
1001
00:47:02,799 --> 00:47:09,430
teaching a in 2015 I talked honors
1002
00:47:07,210 --> 00:47:11,799
course called society of excess on waste
1003
00:47:09,430 --> 00:47:15,130
consumer culture and the environment and
1004
00:47:11,799 --> 00:47:17,049
I taught it with a with a with the
1005
00:47:15,130 --> 00:47:19,150
objective of teaching empathy through
1006
00:47:17,049 --> 00:47:21,430
trash awareness to my students and to
1007
00:47:19,150 --> 00:47:24,069
have them listen to the narratives of
1008
00:47:21,430 --> 00:47:27,999
trash and all creatures they discarded
1009
00:47:24,069 --> 00:47:28,900
the the seminar ended bombastically with
1010
00:47:27,999 --> 00:47:31,269
a huge
1011
00:47:28,900 --> 00:47:34,029
artistic intervention on UCLA campus
1012
00:47:31,269 --> 00:47:36,069
that included a trash will show a trash
1013
00:47:34,029 --> 00:47:39,119
monster as you see on there on the
1014
00:47:36,069 --> 00:47:41,600
screen made by one of my students and a
1015
00:47:39,119 --> 00:47:43,490
boisterous trash /
1016
00:47:41,600 --> 00:47:46,430
I want to emphasize that this is a
1017
00:47:43,490 --> 00:47:48,890
collaborative project and a patchwork of
1018
00:47:46,430 --> 00:47:51,500
ideas coming all from the students my
1019
00:47:48,890 --> 00:47:53,240
only goal or my only role that I played
1020
00:47:51,500 --> 00:47:59,290
here is putting everything together and
1021
00:47:53,240 --> 00:48:01,940
make it as noisy excessive and and
1022
00:47:59,290 --> 00:48:06,830
over-the-top as possible I think we
1023
00:48:01,940 --> 00:48:10,790
succeeded greatly in that so students
1024
00:48:06,830 --> 00:48:14,510
decided to wear trash they also decided
1025
00:48:10,790 --> 00:48:17,810
to lie down on the floor in solidarity
1026
00:48:14,510 --> 00:48:19,460
with trash and ended up tracing
1027
00:48:17,810 --> 00:48:22,490
silhouettes with trash facts to raise
1028
00:48:19,460 --> 00:48:24,950
awareness there's a video about this
1029
00:48:22,490 --> 00:48:28,880
UCLA magazine got interested and it's
1030
00:48:24,950 --> 00:48:31,190
actually quite fun to watch so again so
1031
00:48:28,880 --> 00:48:32,960
wearing garbage and lying on the floor
1032
00:48:31,190 --> 00:48:34,730
among litter raises awareness and
1033
00:48:32,960 --> 00:48:36,200
triggers empathy I'm convinced about
1034
00:48:34,730 --> 00:48:38,120
that and I was able actually to UM
1035
00:48:36,200 --> 00:48:40,400
convince my students I taught this
1036
00:48:38,120 --> 00:48:43,130
course again and another honours course
1037
00:48:40,400 --> 00:48:45,050
and also at the graduate seminar level
1038
00:48:43,130 --> 00:48:47,690
but what about and this is something
1039
00:48:45,050 --> 00:48:48,020
that alumina is trying to do all the
1040
00:48:47,690 --> 00:48:51,200
time
1041
00:48:48,020 --> 00:48:53,030
elevating trash via art and by art by
1042
00:48:51,200 --> 00:48:56,690
trash I mean again as you see in the
1043
00:48:53,030 --> 00:48:58,910
images small pieces of trash litter so
1044
00:48:56,690 --> 00:49:03,410
the main source of inspiration for for
1045
00:48:58,910 --> 00:49:05,840
me or of phenomena crews is small litter
1046
00:49:03,410 --> 00:49:08,750
and also trash containers so I simply
1047
00:49:05,840 --> 00:49:11,390
take photographs of trash or trash
1048
00:49:08,750 --> 00:49:14,480
containers cut them make trash collages
1049
00:49:11,390 --> 00:49:18,970
and often serialize them Andy Warhol
1050
00:49:14,480 --> 00:49:18,970
style because for phenomenal growth
1051
00:49:19,660 --> 00:49:25,370
Warhol saw excess and consumption wanted
1052
00:49:22,730 --> 00:49:27,230
to portray that phenomena a group says
1053
00:49:25,370 --> 00:49:29,630
exactly the same thing the same degree
1054
00:49:27,230 --> 00:49:33,430
of axes if not more and of repetition in
1055
00:49:29,630 --> 00:49:33,430
ejection and that's exactly her
1056
00:49:33,670 --> 00:49:40,400
objective reflect or depict axes and
1057
00:49:37,940 --> 00:49:43,400
repetition in trash that's therefore she
1058
00:49:40,400 --> 00:49:47,780
was feeding copies or steals actually
1059
00:49:43,400 --> 00:49:48,560
from from Warhol's work so serving trash
1060
00:49:47,780 --> 00:49:52,310
on a platter
1061
00:49:48,560 --> 00:49:54,589
again a elevating the underdog that's
1062
00:49:52,310 --> 00:49:57,019
one of my main issues and for
1063
00:49:54,589 --> 00:49:58,369
that I just use very simple ingredients
1064
00:49:57,019 --> 00:50:01,160
what the only thing I need is a phone
1065
00:49:58,369 --> 00:50:03,799
camera a color printer a scanner a pair
1066
00:50:01,160 --> 00:50:06,440
of scissors a glue stick acrylic paints
1067
00:50:03,799 --> 00:50:09,229
varnish thrift-store frames boxes and
1068
00:50:06,440 --> 00:50:11,180
platters and let me tell you I miss my
1069
00:50:09,229 --> 00:50:13,819
thrift stores dearly now that I cannot
1070
00:50:11,180 --> 00:50:15,410
access have access to them fortunately
1071
00:50:13,819 --> 00:50:17,420
I'm a hoarder so I have many still
1072
00:50:15,410 --> 00:50:20,269
available in my garage
1073
00:50:17,420 --> 00:50:22,099
so the transcript that you see the
1074
00:50:20,269 --> 00:50:24,589
Venice Beach on a platter that's the
1075
00:50:22,099 --> 00:50:30,319
first platter that I did and then later
1076
00:50:24,589 --> 00:50:34,190
came flora immortalis in 2017 but more
1077
00:50:30,319 --> 00:50:37,099
importantly what I use mostly is an
1078
00:50:34,190 --> 00:50:39,019
expensive 4x4 tiles so that I can paste
1079
00:50:37,099 --> 00:50:40,880
collages on them and give them away from
1080
00:50:39,019 --> 00:50:43,190
trophy I am a big advocate of
1081
00:50:40,880 --> 00:50:46,609
art that is that you can give away from
1082
00:50:43,190 --> 00:50:50,329
from free a that's the art I think that
1083
00:50:46,609 --> 00:50:52,519
can revolutionize the human humankind
1084
00:50:50,329 --> 00:50:55,249
not that the one that you have to buy
1085
00:50:52,519 --> 00:50:57,859
and then now with the coronavirus crisis
1086
00:50:55,249 --> 00:51:00,200
actually interesting things are
1087
00:50:57,859 --> 00:51:01,700
happening to art when museums open up
1088
00:51:00,200 --> 00:51:03,319
their galleries and open up their
1089
00:51:01,700 --> 00:51:06,109
collections etc anyhow that's a
1090
00:51:03,319 --> 00:51:09,529
different discussion to be to be hot so
1091
00:51:06,109 --> 00:51:11,239
I also constantly recycle my trash
1092
00:51:09,529 --> 00:51:13,729
collages that's why I call my art
1093
00:51:11,239 --> 00:51:16,039
practice endless recycling I print them
1094
00:51:13,729 --> 00:51:18,469
I recut them and make more collages of
1095
00:51:16,039 --> 00:51:21,109
previous ones this is an example I had
1096
00:51:18,469 --> 00:51:24,499
this Venice trash paper I have many from
1097
00:51:21,109 --> 00:51:26,680
2018 and then I did a new trash Cape
1098
00:51:24,499 --> 00:51:30,349
actually that is called the specter of
1099
00:51:26,680 --> 00:51:32,599
coronavirus the presence in the fear in
1100
00:51:30,349 --> 00:51:36,710
black and white that the coronavirus
1101
00:51:32,599 --> 00:51:39,710
will return so again this is how I work
1102
00:51:36,710 --> 00:51:42,109
and I'm happy that Charlene mentioned
1103
00:51:39,710 --> 00:51:44,809
the bottle caps commit Pena says God but
1104
00:51:42,109 --> 00:51:47,269
bottle caps because those are always or
1105
00:51:44,809 --> 00:51:51,049
have always fascinated me and this is
1106
00:51:47,269 --> 00:51:53,599
just a very very pragmatic example of
1107
00:51:51,049 --> 00:51:56,059
how I work when I do these collages so
1108
00:51:53,599 --> 00:52:00,259
phenomena crews found a bottle cap and
1109
00:51:56,059 --> 00:52:03,130
she rotated it then she found a suit on
1110
00:52:00,259 --> 00:52:05,650
a dumpster opened the jacket
1111
00:52:03,130 --> 00:52:08,240
pictured the inner lining and just
1112
00:52:05,650 --> 00:52:14,420
rotated it and
1113
00:52:08,240 --> 00:52:17,240
rotate bottle cap became the body of
1114
00:52:14,420 --> 00:52:19,070
this alien of this Marceline I like as I
1115
00:52:17,240 --> 00:52:21,290
like into troopers I like to call him
1116
00:52:19,070 --> 00:52:24,050
whereas the inner lining became or the
1117
00:52:21,290 --> 00:52:28,670
the inner pocket became the trunk of a
1118
00:52:24,050 --> 00:52:31,040
palm tree so since then since since they
1119
00:52:28,670 --> 00:52:35,390
this alien was born it has been with me
1120
00:52:31,040 --> 00:52:37,700
in my art from its inception a I call
1121
00:52:35,390 --> 00:52:41,000
this particular collage a moaning
1122
00:52:37,700 --> 00:52:42,860
possibly impossible laughs because the
1123
00:52:41,000 --> 00:52:45,740
alien is in love with a mannequin and
1124
00:52:42,860 --> 00:52:47,960
this money can actually live in a thrift
1125
00:52:45,740 --> 00:52:49,370
store I go a lot to lift stretchers no
1126
00:52:47,960 --> 00:52:51,920
only because they provide me with so
1127
00:52:49,370 --> 00:52:54,170
much material because they let you
1128
00:52:51,920 --> 00:52:57,710
photograph free which they don't let you
1129
00:52:54,170 --> 00:52:59,960
do in other stores so again one
1130
00:52:57,710 --> 00:53:02,990
Marceline many stories and to endless
1131
00:52:59,960 --> 00:53:05,210
trash watching rotating recycling and we
1132
00:53:02,990 --> 00:53:08,750
collaging narratives and empathy are
1133
00:53:05,210 --> 00:53:11,030
copiously Bor that's in a nutshell my
1134
00:53:08,750 --> 00:53:13,130
philosophy or if I were to write a
1135
00:53:11,030 --> 00:53:16,340
artists statement which I haven't done
1136
00:53:13,130 --> 00:53:19,100
it would say something in those lines so
1137
00:53:16,340 --> 00:53:22,250
this is actually one of my artistic
1138
00:53:19,100 --> 00:53:24,230
interventions it's based on a series on
1139
00:53:22,250 --> 00:53:26,270
one of my series it's called The
1140
00:53:24,230 --> 00:53:29,030
Immortals what I do is I go to the beach
1141
00:53:26,270 --> 00:53:31,490
pick up trash and add googly eyes to
1142
00:53:29,030 --> 00:53:34,610
them basically I add anthropomorphic
1143
00:53:31,490 --> 00:53:37,280
features to discarded objects who
1144
00:53:34,610 --> 00:53:41,540
humanize them and true make it possible
1145
00:53:37,280 --> 00:53:44,890
for them to trigger empathy so in 2017
1146
00:53:41,540 --> 00:53:46,670
my dear friend and colleague and I Roy
1147
00:53:44,890 --> 00:53:49,340
invited me through the Institute of
1148
00:53:46,670 --> 00:53:51,770
inequality to participate and also to
1149
00:53:49,340 --> 00:53:56,200
rave a group protesting trumpism of
1150
00:53:51,770 --> 00:53:59,780
which I was part of invited me then to
1151
00:53:56,200 --> 00:54:02,240
be part of this collection collective
1152
00:53:59,780 --> 00:54:06,890
action called teach organised resists
1153
00:54:02,240 --> 00:54:10,580
and what I did is I made 200 collages
1154
00:54:06,890 --> 00:54:13,490
with this creatures and basically
1155
00:54:10,580 --> 00:54:15,200
peppered the UCLA campus with them to
1156
00:54:13,490 --> 00:54:17,540
raise awareness about ocean pollution
1157
00:54:15,200 --> 00:54:20,900
and the next day sure enough all these
1158
00:54:17,540 --> 00:54:23,120
creatures had left so
1159
00:54:20,900 --> 00:54:25,900
I added a new version of it because
1160
00:54:23,120 --> 00:54:28,850
these creatures are aware of
1161
00:54:25,900 --> 00:54:31,490
contemporary issues and I made immortals
1162
00:54:28,850 --> 00:54:33,070
in Grenada virus I'm helping to raise
1163
00:54:31,490 --> 00:54:35,750
awareness of course they don't need any
1164
00:54:33,070 --> 00:54:39,650
masks because plastic as we know is
1165
00:54:35,750 --> 00:54:42,050
quasi immortal so this is actually what
1166
00:54:39,650 --> 00:54:45,320
I consider my most important and
1167
00:54:42,050 --> 00:54:46,940
long-standing intervention it's called
1168
00:54:45,320 --> 00:54:49,370
the world that gives in Moodle
1169
00:54:46,940 --> 00:54:52,130
kaida and I do need to give some
1170
00:54:49,370 --> 00:54:56,900
background to understand this so when we
1171
00:54:52,130 --> 00:54:59,420
move to our home in Venice in 2010 then
1172
00:54:56,900 --> 00:55:01,640
the homeless wasn't is separated from
1173
00:54:59,420 --> 00:55:04,220
Pacific Avenue by a long wall the wall
1174
00:55:01,640 --> 00:55:06,920
was adorned with a beautiful mural by
1175
00:55:04,220 --> 00:55:09,290
Jules Mac but basically honored the
1176
00:55:06,920 --> 00:55:13,280
locals the Venice locals and painted
1177
00:55:09,290 --> 00:55:15,920
their portrays on the wall so two days
1178
00:55:13,280 --> 00:55:18,740
after we moved in or two years or a bit
1179
00:55:15,920 --> 00:55:22,070
after we moved in somebody at night had
1180
00:55:18,740 --> 00:55:25,520
covered the faces and defaced them with
1181
00:55:22,070 --> 00:55:28,040
swastikas so after that hate crime the
1182
00:55:25,520 --> 00:55:32,030
wall was a boring gray wall for a long
1183
00:55:28,040 --> 00:55:34,430
time till I looked at it one day and I
1184
00:55:32,030 --> 00:55:36,800
said when the the the discourse is about
1185
00:55:34,430 --> 00:55:39,500
hate and and building walls and and
1186
00:55:36,800 --> 00:55:42,380
anti-migrant discourse become a sort of
1187
00:55:39,500 --> 00:55:45,440
prolific proliferating even pre Trump
1188
00:55:42,380 --> 00:55:47,510
times I decided to do exactly to switch
1189
00:55:45,440 --> 00:55:49,640
the the discourse and do exactly the
1190
00:55:47,510 --> 00:55:53,300
opposite to do a friendly wall that
1191
00:55:49,640 --> 00:55:55,280
would actually be hospitable and give
1192
00:55:53,300 --> 00:55:58,310
and be generous and not hostile and
1193
00:55:55,280 --> 00:56:00,200
separate people so I built this niche
1194
00:55:58,310 --> 00:56:02,150
that again is why I was mentioning
1195
00:56:00,200 --> 00:56:04,460
before it it's an inspiration that comes
1196
00:56:02,150 --> 00:56:08,510
from Mexican art I built this niche for
1197
00:56:04,460 --> 00:56:12,740
7x4 niche in that big wall and every day
1198
00:56:08,510 --> 00:56:16,130
since then I leave a tile free to be
1199
00:56:12,740 --> 00:56:17,960
taken the one that you see on there on
1200
00:56:16,130 --> 00:56:20,120
the screen is the one that I just put up
1201
00:56:17,960 --> 00:56:20,840
this morning probably it's not there
1202
00:56:20,120 --> 00:56:25,160
anymore
1203
00:56:20,840 --> 00:56:27,260
I did it is a sombre how much to what is
1204
00:56:25,160 --> 00:56:29,630
happening to us in the corona virus time
1205
00:56:27,260 --> 00:56:35,050
and it's called six feet apart and as
1206
00:56:29,630 --> 00:56:38,570
you see my alien shows up again so
1207
00:56:35,050 --> 00:56:41,480
my wall as all walls actually that are
1208
00:56:38,570 --> 00:56:44,690
allowed to live is furiously active and
1209
00:56:41,480 --> 00:56:47,030
has gone through many iterations I first
1210
00:56:44,690 --> 00:56:49,580
started very simple very rudimentary I
1211
00:56:47,030 --> 00:56:53,900
just wrote chalk with chalk on the walls
1212
00:56:49,580 --> 00:56:55,850
but then as you see it has moved it has
1213
00:56:53,900 --> 00:56:57,590
changed all the time and now you have
1214
00:56:55,850 --> 00:57:00,020
different versions of the world that
1215
00:56:57,590 --> 00:57:01,640
gives a Moodle kidnap its contents
1216
00:57:00,020 --> 00:57:05,300
constantly graffiti which I actually
1217
00:57:01,640 --> 00:57:06,740
applaud so and then in some ways the
1218
00:57:05,300 --> 00:57:09,440
world that gives a munagi that comes to
1219
00:57:06,740 --> 00:57:12,500
full circle because the mirror that was
1220
00:57:09,440 --> 00:57:15,320
the face in 2010 by Jules Mark was then
1221
00:57:12,500 --> 00:57:16,450
restored by Jules mark in 2018 in a
1222
00:57:15,320 --> 00:57:20,210
different fashion
1223
00:57:16,450 --> 00:57:21,530
she actually arrived at that wall my my
1224
00:57:20,210 --> 00:57:24,830
husband called me and said there's a
1225
00:57:21,530 --> 00:57:27,080
woman here with a group of young man who
1226
00:57:24,830 --> 00:57:28,400
is wants to paint your wall and I talked
1227
00:57:27,080 --> 00:57:29,930
to her on the phone and she said I'm
1228
00:57:28,400 --> 00:57:31,820
Jules mag and I was so happy so all my
1229
00:57:29,930 --> 00:57:34,940
goodness I really wanted to meet you so
1230
00:57:31,820 --> 00:57:37,040
I rushed home from from UCLA and the
1231
00:57:34,940 --> 00:57:39,080
only requisite that I sort of a quote
1232
00:57:37,040 --> 00:57:40,910
unquote imposed on her is it has to say
1233
00:57:39,080 --> 00:57:43,460
the world that gives a new raghida and
1234
00:57:40,910 --> 00:57:46,480
there that she did playfully so and
1235
00:57:43,460 --> 00:57:49,820
added this cup this couple of frolicking
1236
00:57:46,480 --> 00:57:52,340
rabbits and pot-smoking rabbit rabbits
1237
00:57:49,820 --> 00:57:57,950
that to the delight of my two teenage
1238
00:57:52,340 --> 00:58:00,290
sons and to my delight a as well a one
1239
00:57:57,950 --> 00:58:02,150
this days and there's a fraud video and
1240
00:58:00,290 --> 00:58:04,250
an article about this as well I added
1241
00:58:02,150 --> 00:58:07,450
the link if you're interested it's also
1242
00:58:04,250 --> 00:58:10,730
interesting to watch so but happily a
1243
00:58:07,450 --> 00:58:13,490
and and but it this didn't last long so
1244
00:58:10,730 --> 00:58:16,010
the world once again was defaced and
1245
00:58:13,490 --> 00:58:19,450
this case sort of playfully defaced and
1246
00:58:16,010 --> 00:58:25,010
graffiti happens actually all the time
1247
00:58:19,450 --> 00:58:28,100
and I really embraced Banksy's ingenious
1248
00:58:25,010 --> 00:58:29,990
and quote people say graffiti is ugly
1249
00:58:28,100 --> 00:58:32,000
irresponsible and childish but that's
1250
00:58:29,990 --> 00:58:34,220
only if it's done properly and it is
1251
00:58:32,000 --> 00:58:37,820
certainly done properly all the time on
1252
00:58:34,220 --> 00:58:40,040
my wall so these are the tiles examples
1253
00:58:37,820 --> 00:58:42,110
of tiles that I leave every day I also
1254
00:58:40,040 --> 00:58:43,970
do little sculptures occasionally and
1255
00:58:42,110 --> 00:58:45,470
then I take pictures of them and then
1256
00:58:43,970 --> 00:58:48,200
they are transformed into tiles again
1257
00:58:45,470 --> 00:58:48,620
and you wear it it is us as I mentioned
1258
00:58:48,200 --> 00:58:52,040
it
1259
00:58:48,620 --> 00:58:54,050
art for free you will probably ask why
1260
00:58:52,040 --> 00:58:57,050
is there a star line double decker
1261
00:58:54,050 --> 00:58:58,340
tourist bus bus in the image and I will
1262
00:58:57,050 --> 00:59:00,590
tell you why because it's a funny
1263
00:58:58,340 --> 00:59:03,380
anecdote so there's this double-decker
1264
00:59:00,590 --> 00:59:07,220
bus always drives along Pacific Avenue
1265
00:59:03,380 --> 00:59:09,470
filled with tourists and then my family
1266
00:59:07,220 --> 00:59:11,570
and myself realized that it often
1267
00:59:09,470 --> 00:59:13,550
stopped in front of the wall and a guy
1268
00:59:11,570 --> 00:59:16,580
just ran out and picked up tile and run
1269
00:59:13,550 --> 00:59:19,910
back in while that happened dozens of
1270
00:59:16,580 --> 00:59:22,280
times I one day I was able to catch the
1271
00:59:19,910 --> 00:59:24,700
guy and I asked and I told him oh I'm
1272
00:59:22,280 --> 00:59:27,590
the artist I'm the one who does it tires
1273
00:59:24,700 --> 00:59:29,540
have they become yet another Venice
1274
00:59:27,590 --> 00:59:32,780
tourist attraction he said yes that true
1275
00:59:29,540 --> 00:59:35,180
but mostly I'm using them to retiling my
1276
00:59:32,780 --> 00:59:37,730
restroom my bathroom so who would have
1277
00:59:35,180 --> 00:59:42,260
thought that somebody is retiling and
1278
00:59:37,730 --> 00:59:44,510
elevating trash Venice is retiling this
1279
00:59:42,260 --> 00:59:48,380
is his bathroom actually with Venice
1280
00:59:44,510 --> 00:59:51,560
trash so and the world gives but
1281
00:59:48,380 --> 00:59:55,130
community gives back as well so these
1282
00:59:51,560 --> 00:59:56,900
are just some examples of what community
1283
00:59:55,130 --> 00:59:59,270
is all anonymous items were bayonets
1284
00:59:56,900 --> 01:00:01,040
again it's strictly and and purposely
1285
00:59:59,270 --> 01:00:03,230
anti-surveillance so I don't know who
1286
01:00:01,040 --> 01:00:04,580
does this I do not know that one of my
1287
01:00:03,230 --> 01:00:08,270
dear friends and colleagues who also
1288
01:00:04,580 --> 01:00:11,840
lives in Venice Christina Palmer left
1289
01:00:08,270 --> 01:00:14,570
that orange that says a H o in Venice
1290
01:00:11,840 --> 01:00:16,670
made in Venice that's one of my favorite
1291
01:00:14,570 --> 01:00:19,370
ones and these are the ones that I also
1292
01:00:16,670 --> 01:00:22,160
loved very much Venice in the spirit of
1293
01:00:19,370 --> 01:00:27,410
Venice marijuana dreams and vitamin C in
1294
01:00:22,160 --> 01:00:30,140
the form of a Kiwi so one day actually I
1295
01:00:27,410 --> 01:00:31,880
got this moving email and I'm going to
1296
01:00:30,140 --> 01:00:33,800
read it because it really captures the
1297
01:00:31,880 --> 01:00:35,960
spirit of the world so out of the blue
1298
01:00:33,800 --> 01:00:38,690
about this Philomena Cruz has a gmail
1299
01:00:35,960 --> 01:00:40,940
and she received this particular message
1300
01:00:38,690 --> 01:00:43,070
she says hi there this is out of the
1301
01:00:40,940 --> 01:00:44,900
blue but I wanted to prepare youth I
1302
01:00:43,070 --> 01:00:47,330
want to tell you and thank you for
1303
01:00:44,900 --> 01:00:49,430
something you don't know me and I don't
1304
01:00:47,330 --> 01:00:50,780
know you but one day I was working on
1305
01:00:49,430 --> 01:00:52,670
down the street and wasn't having the
1306
01:00:50,780 --> 01:00:55,640
best of days and came upon a hole in the
1307
01:00:52,670 --> 01:00:57,500
wall I saw your piece a fine art that
1308
01:00:55,640 --> 01:00:59,420
captures my attention and it was the one
1309
01:00:57,500 --> 01:01:01,940
that had trash cans on the beach with
1310
01:00:59,420 --> 01:01:03,530
many colors in it on the tide piece I
1311
01:01:01,940 --> 01:01:05,869
picked it out from the hole and thought
1312
01:01:03,530 --> 01:01:08,030
what is this little did I know that was
1313
01:01:05,869 --> 01:01:09,950
my month my mind wandered into the art
1314
01:01:08,030 --> 01:01:11,630
piece that I found that I into the art
1315
01:01:09,950 --> 01:01:14,810
piece that I found myself no longer
1316
01:01:11,630 --> 01:01:17,210
bothered by my bad day your art have
1317
01:01:14,810 --> 01:01:19,010
taken my mind off something negative and
1318
01:01:17,210 --> 01:01:21,140
turned it into a positive
1319
01:01:19,010 --> 01:01:23,780
how could trash cans be so awesome the
1320
01:01:21,140 --> 01:01:26,869
artsy and cool I felt a bit hesitant to
1321
01:01:23,780 --> 01:01:29,270
take it home with me but I did in return
1322
01:01:26,869 --> 01:01:31,250
I left five dollars on the screen you
1323
01:01:29,270 --> 01:01:33,859
see it under a rock in the hole and
1324
01:01:31,250 --> 01:01:36,230
hopefully someone walking by in need
1325
01:01:33,859 --> 01:01:37,910
would find it again thank you
1326
01:01:36,230 --> 01:01:40,339
keep up the beautiful world you do it
1327
01:01:37,910 --> 01:01:41,720
makes a difference so I say it captures
1328
01:01:40,339 --> 01:01:43,400
the spirit of the wall because he
1329
01:01:41,720 --> 01:01:45,680
understood Kyle understood that he was
1330
01:01:43,400 --> 01:01:48,079
not paying me back but he was leaving
1331
01:01:45,680 --> 01:01:49,700
some money there for somebody in need
1332
01:01:48,079 --> 01:01:53,089
which is exactly what the world and
1333
01:01:49,700 --> 01:01:57,319
tense up tense and I'm doing so the wall
1334
01:01:53,089 --> 01:01:59,450
is forgive when I started the project I
1335
01:01:57,319 --> 01:02:01,550
saw that graffiti diminished a little
1336
01:01:59,450 --> 01:02:04,190
bit and artists started doing something
1337
01:02:01,550 --> 01:02:07,369
else which which was basically using the
1338
01:02:04,190 --> 01:02:09,980
imperfections and cracks on the wall to
1339
01:02:07,369 --> 01:02:12,410
do their own art one day somebody
1340
01:02:09,980 --> 01:02:18,230
painted actually a clown close to the
1341
01:02:12,410 --> 01:02:20,630
knee and I engaged in the dialogue I
1342
01:02:18,230 --> 01:02:22,760
accepted the invitation to dialogue are
1343
01:02:20,630 --> 01:02:24,410
you taking a picture of the clown making
1344
01:02:22,760 --> 01:02:26,119
a collage with it and leaving the
1345
01:02:24,410 --> 01:02:26,960
collage in the niche and it was gone
1346
01:02:26,119 --> 01:02:30,500
very soon
1347
01:02:26,960 --> 01:02:33,050
so a the world that gives as I was
1348
01:02:30,500 --> 01:02:35,839
saying a response to contemporary time
1349
01:02:33,050 --> 01:02:39,800
it has a sense of history and what is
1350
01:02:35,839 --> 01:02:42,050
happening today and it only it works
1351
01:02:39,800 --> 01:02:44,930
within itself it dialogues with what is
1352
01:02:42,050 --> 01:02:46,490
on painted on it but it also dialogues
1353
01:02:44,930 --> 01:02:50,000
with its surrounding so I wanted to
1354
01:02:46,490 --> 01:02:52,700
highlight this guy this who's smoking a
1355
01:02:50,000 --> 01:02:55,550
joint and his an artist whom I don't
1356
01:02:52,700 --> 01:02:58,400
know puts his puts put put this image
1357
01:02:55,550 --> 01:03:01,310
all over paces image all over Venice but
1358
01:02:58,400 --> 01:03:04,250
sure enough in the last week's it shows
1359
01:03:01,310 --> 01:03:06,920
up again at a dumpster actually which is
1360
01:03:04,250 --> 01:03:10,099
adjacent to my wall and he is keep
1361
01:03:06,920 --> 01:03:11,900
smoking the joint but has a mask on it
1362
01:03:10,099 --> 01:03:15,589
and the same dumpster actually shows a
1363
01:03:11,900 --> 01:03:18,229
picture of Trump a drinking
1364
01:03:15,589 --> 01:03:19,339
as you say both the wall and the
1365
01:03:18,229 --> 01:03:21,349
dumpsters in my home are very
1366
01:03:19,339 --> 01:03:24,140
politically conscious conscious and
1367
01:03:21,349 --> 01:03:26,869
engaged with reality political and
1368
01:03:24,140 --> 01:03:30,229
health-wise so this is how the world
1369
01:03:26,869 --> 01:03:32,269
that gives looks right now I always give
1370
01:03:30,229 --> 01:03:35,239
the word in quotation marks to muralists
1371
01:03:32,269 --> 01:03:38,660
and it changes face all the time
1372
01:03:35,239 --> 01:03:40,729
in this case a high schoolers from some
1373
01:03:38,660 --> 01:03:43,549
high school asked me if they could do a
1374
01:03:40,729 --> 01:03:45,680
mural I said yes it was cut short short
1375
01:03:43,549 --> 01:03:49,339
because a coronavirus and it has the
1376
01:03:45,680 --> 01:03:51,799
naive style of school projects granted
1377
01:03:49,339 --> 01:03:54,950
but what is interesting is that these
1378
01:03:51,799 --> 01:04:00,499
naive idealistic words love and trust
1379
01:03:54,950 --> 01:04:04,339
and joy we're soon accompanied by a very
1380
01:04:00,499 --> 01:04:07,190
sobering no sleep during the corn event
1381
01:04:04,339 --> 01:04:12,279
so so again coronavirus is leaving its
1382
01:04:07,190 --> 01:04:14,450
imprint in my world and also the type of
1383
01:04:12,279 --> 01:04:16,789
presence the wall is giving are
1384
01:04:14,450 --> 01:04:19,579
different this is I call the lockdown
1385
01:04:16,789 --> 01:04:22,549
freshers we all know how valuable a
1386
01:04:19,579 --> 01:04:26,630
number of weeks ago toilet paper and
1387
01:04:22,549 --> 01:04:30,109
hand sanitizers where and so the world
1388
01:04:26,630 --> 01:04:31,880
gave that to me or to us and later on
1389
01:04:30,109 --> 01:04:35,349
two weeks later I got this beautiful
1390
01:04:31,880 --> 01:04:38,059
candle and a mask and I think you not
1391
01:04:35,349 --> 01:04:41,210
anyhow I'm gonna be finishing in a
1392
01:04:38,059 --> 01:04:42,890
minute so Philomena a crew that's not
1393
01:04:41,210 --> 01:04:46,009
talking anymore this is mighty to be out
1394
01:04:42,890 --> 01:04:49,479
again I was telling you that my book
1395
01:04:46,009 --> 01:04:52,489
will be published in Spanish as well and
1396
01:04:49,479 --> 01:04:54,619
what I'm doing in that book though I'm
1397
01:04:52,489 --> 01:04:56,960
translating here I'm also be riding it
1398
01:04:54,619 --> 01:05:00,559
unavoidably and I am devoting more pages
1399
01:04:56,960 --> 01:05:04,339
to a so-called border trust which isin
1400
01:05:00,559 --> 01:05:06,890
also referred to and on top of that I am
1401
01:05:04,339 --> 01:05:11,059
and I'm engaging where I'm engaged
1402
01:05:06,890 --> 01:05:13,219
already in a multi or three pronged a
1403
01:05:11,059 --> 01:05:14,630
collaborative interdisciplinary project
1404
01:05:13,219 --> 01:05:16,819
that is called forensic empathy
1405
01:05:14,630 --> 01:05:21,049
archiving and mapping deaths in the
1406
01:05:16,819 --> 01:05:22,579
borderlands in a nutshell this project
1407
01:05:21,049 --> 01:05:25,009
studies how emotion in its multiple
1408
01:05:22,579 --> 01:05:26,569
gradations plate plays out at the
1409
01:05:25,009 --> 01:05:28,369
borderlands it looks at archives
1410
01:05:26,569 --> 01:05:29,750
artistic representations and virtual
1411
01:05:28,369 --> 01:05:32,240
maps as powerful
1412
01:05:29,750 --> 01:05:33,890
empathy machines so the garments and
1413
01:05:32,240 --> 01:05:35,840
personal belongings left behind by
1414
01:05:33,890 --> 01:05:37,310
migrants along the us-mexico border are
1415
01:05:35,840 --> 01:05:39,440
the crux of this three-pronged
1416
01:05:37,310 --> 01:05:41,599
collaborative endeavor that includes a
1417
01:05:39,440 --> 01:05:43,700
scholarly monograph a documentary and a
1418
01:05:41,599 --> 01:05:47,690
digital map I want to acknowledge the
1419
01:05:43,700 --> 01:05:50,390
huge influence of a Jason de Leon's very
1420
01:05:47,690 --> 01:05:53,630
important and crucial book the land of
1421
01:05:50,390 --> 01:05:55,400
open graves and this project and also I
1422
01:05:53,630 --> 01:05:57,080
wanted to mention that this documentary
1423
01:05:55,400 --> 01:05:59,240
that we were putting together we're
1424
01:05:57,080 --> 01:06:01,760
doing in collaboration with a wonderful
1425
01:05:59,240 --> 01:06:05,200
group of Tijuana artists and and
1426
01:06:01,760 --> 01:06:10,599
filmmakers called a collective called
1427
01:06:05,200 --> 01:06:12,770
digna craft well a last but not least a
1428
01:06:10,599 --> 01:06:14,359
collaborating with Christine Christie
1429
01:06:12,770 --> 01:06:17,030
vara Flanagan my colleague and friend
1430
01:06:14,359 --> 01:06:22,810
from the cinema school and we're called
1431
01:06:17,030 --> 01:06:22,810
directing and producing and writing a
1432
01:06:23,500 --> 01:06:30,950
short documentary barely 14 minutes long
1433
01:06:27,619 --> 01:06:33,050
that started with one of these artifacts
1434
01:06:30,950 --> 01:06:35,930
left behind by their by their migrants
1435
01:06:33,050 --> 01:06:38,510
in this case water bottles and it's
1436
01:06:35,930 --> 01:06:40,220
devoted to in how much to argue less and
1437
01:06:38,510 --> 01:06:42,619
this year though a group of volunteers
1438
01:06:40,220 --> 01:06:46,160
living in magnate's of humble means that
1439
01:06:42,619 --> 01:06:49,760
live in San Diego and travel once once a
1440
01:06:46,160 --> 01:06:51,950
month to Arizona to retrieve the remains
1441
01:06:49,760 --> 01:06:54,800
of the migrants who died in the desert
1442
01:06:51,950 --> 01:06:58,339
of Arizona and in the hope of bringing
1443
01:06:54,800 --> 01:07:01,010
some peace to the families so in a
1444
01:06:58,339 --> 01:07:02,720
nutshell that's what my tiara in
1445
01:07:01,010 --> 01:07:04,760
dialogue with Philomena Cruz is doing
1446
01:07:02,720 --> 01:07:07,839
thank you so very much
1447
01:07:04,760 --> 01:07:10,640
I think hopefully we have some time for
1448
01:07:07,839 --> 01:07:13,490
for entertaining questions and answers
1449
01:07:10,640 --> 01:07:17,240
thank you so much thank you thank you so
1450
01:07:13,490 --> 01:07:19,970
much professor selfie ot and now we will
1451
01:07:17,240 --> 01:07:22,040
turn to a few questions I'll withhold
1452
01:07:19,970 --> 01:07:24,650
any commentary until the very end
1453
01:07:22,040 --> 01:07:28,130
unfortunately we don't have much time so
1454
01:07:24,650 --> 01:07:31,400
I'm going to summarize a few of them the
1455
01:07:28,130 --> 01:07:33,800
first question has to do with excuse me
1456
01:07:31,400 --> 01:07:36,260
Susan Percy's work on collecting on the
1457
01:07:33,800 --> 01:07:39,619
continuum of trash objects in use and
1458
01:07:36,260 --> 01:07:43,530
art particularly in collections and in
1459
01:07:39,619 --> 01:07:45,450
museums and the question is
1460
01:07:43,530 --> 01:07:47,340
how you see this much older pattern
1461
01:07:45,450 --> 01:07:50,670
changing in the specific historical
1462
01:07:47,340 --> 01:07:52,920
context of extractive petrol capitalism
1463
01:07:50,670 --> 01:07:56,190
plastics in particular and our
1464
01:07:52,920 --> 01:07:58,020
disposable culture it could be I didn't
1465
01:07:56,190 --> 01:07:59,820
understand that first part of the of the
1466
01:07:58,020 --> 01:08:01,680
reflection of this the first part of a
1467
01:07:59,820 --> 01:08:04,980
reflection has to do with a reflection
1468
01:08:01,680 --> 01:08:07,410
on Susan purses work peers first law
1469
01:08:04,980 --> 01:08:10,740
exactly sure how it's pronounced I'm
1470
01:08:07,410 --> 01:08:15,030
collecting in the continuum of trash and
1471
01:08:10,740 --> 01:08:16,799
objects in use and art but what the the
1472
01:08:15,030 --> 01:08:19,980
gist of the question really has to do
1473
01:08:16,799 --> 01:08:23,190
with how you see older patterns changing
1474
01:08:19,980 --> 01:08:25,830
in reference to the historical context
1475
01:08:23,190 --> 01:08:27,870
of extractive petrol capitalism okay if
1476
01:08:25,830 --> 01:08:33,000
I understand the question well this is a
1477
01:08:27,870 --> 01:08:36,270
question that has worried me quite a bit
1478
01:08:33,000 --> 01:08:38,069
what is it particularly I hope I'm
1479
01:08:36,270 --> 01:08:39,630
responding to it acquired it's the
1480
01:08:38,069 --> 01:08:42,660
question particularly in the context of
1481
01:08:39,630 --> 01:08:44,609
migrant artifacts the question that is
1482
01:08:42,660 --> 01:08:48,030
very important to take into account is
1483
01:08:44,609 --> 01:08:50,819
who has the right to these objects and
1484
01:08:48,030 --> 01:08:53,220
now when I was I've been going to the
1485
01:08:50,819 --> 01:08:56,280
desert when a number of field trips that
1486
01:08:53,220 --> 01:09:02,010
question is very much present
1487
01:08:56,280 --> 01:09:04,620
so do museum museums have the right to
1488
01:09:02,010 --> 01:09:07,170
collect those objects and keep them in
1489
01:09:04,620 --> 01:09:08,130
in in collections do private collectors
1490
01:09:07,170 --> 01:09:10,380
have the right to them do
1491
01:09:08,130 --> 01:09:12,810
anthropologists have the right to work
1492
01:09:10,380 --> 01:09:15,630
and tinker with them do local artists
1493
01:09:12,810 --> 01:09:17,730
have the right to do that so what do we
1494
01:09:15,630 --> 01:09:22,170
do with all these objects considered
1495
01:09:17,730 --> 01:09:24,450
trash and what are the ways and that
1496
01:09:22,170 --> 01:09:26,940
goes back to Alison's questions what
1497
01:09:24,450 --> 01:09:29,069
what can we do actually with these
1498
01:09:26,940 --> 01:09:31,530
objects that raises awareness and
1499
01:09:29,069 --> 01:09:35,549
doesn't further feed into artistic
1500
01:09:31,530 --> 01:09:39,920
capitalism thank you so much all right
1501
01:09:35,549 --> 01:09:47,790
let me move on to a second question and
1502
01:09:39,920 --> 01:09:50,040
that question is one day trash is this
1503
01:09:47,790 --> 01:09:52,980
has to do with the dynamism of trash one
1504
01:09:50,040 --> 01:09:54,870
day its ancillary trash passed away but
1505
01:09:52,980 --> 01:09:56,670
the next day it might be reclaimed and
1506
01:09:54,870 --> 01:09:58,500
recycled we might think
1507
01:09:56,670 --> 01:10:00,390
of the fecal waters that you brought
1508
01:09:58,500 --> 01:10:05,250
home or the Immortals you make out of
1509
01:10:00,390 --> 01:10:07,560
Beach trash and so on in other words the
1510
01:10:05,250 --> 01:10:09,900
moment that we pick it up or notice or
1511
01:10:07,560 --> 01:10:12,600
empathize with trash does it cease to be
1512
01:10:09,900 --> 01:10:14,340
trash so this is the ultimate question
1513
01:10:12,600 --> 01:10:18,750
what is trash
1514
01:10:14,340 --> 01:10:22,290
really yes it ceases to be trash because
1515
01:10:18,750 --> 01:10:25,199
it is wanted again trash is that what
1516
01:10:22,290 --> 01:10:26,940
you don't want and this is a deep
1517
01:10:25,199 --> 01:10:29,160
philosophical question where what does
1518
01:10:26,940 --> 01:10:33,210
want a nun wanting and and start right
1519
01:10:29,160 --> 01:10:35,640
but the moment you pick something up you
1520
01:10:33,210 --> 01:10:38,699
elevate it from the floor that thing is
1521
01:10:35,640 --> 01:10:45,120
alive again with desire it is wanted
1522
01:10:38,699 --> 01:10:47,190
it's not trash anymore thank you here's
1523
01:10:45,120 --> 01:10:50,100
a question dear to my heart because it's
1524
01:10:47,190 --> 01:10:53,910
from a student in anthropology one of
1525
01:10:50,100 --> 01:10:55,320
our graduate students and the question
1526
01:10:53,910 --> 01:10:57,210
is I wonder if you could please
1527
01:10:55,320 --> 01:10:59,790
elaborate a little bit on how you see
1528
01:10:57,210 --> 01:11:01,650
your work in dialogue with anthropology
1529
01:10:59,790 --> 01:11:04,020
since it's clear that the book
1530
01:11:01,650 --> 01:11:07,500
intersects strongly with the work of
1531
01:11:04,020 --> 01:11:09,090
anthropologists well again time for a
1532
01:11:07,500 --> 01:11:13,340
confession I really wanted to study
1533
01:11:09,090 --> 01:11:16,310
anthropology and I did not because
1534
01:11:13,340 --> 01:11:18,960
Spanish University was enmeshed in
1535
01:11:16,310 --> 01:11:22,320
political upheaval and at that time I
1536
01:11:18,960 --> 01:11:23,850
was a obediently / stupid girl and I
1537
01:11:22,320 --> 01:11:26,969
listened to my mom and I didn't go to
1538
01:11:23,850 --> 01:11:29,760
anthropology so this is my way of going
1539
01:11:26,969 --> 01:11:32,310
back to anthropology I see I see it as
1540
01:11:29,760 --> 01:11:37,199
very closely related to anthropology and
1541
01:11:32,310 --> 01:11:39,810
certainly to archaeology trash this
1542
01:11:37,199 --> 01:11:41,670
trash is archeology or retrieving trash
1543
01:11:39,810 --> 01:11:44,460
is the archeology of the of the
1544
01:11:41,670 --> 01:11:47,250
contemporary and looking for the
1545
01:11:44,460 --> 01:11:50,219
answerable morphic traits and objects is
1546
01:11:47,250 --> 01:11:52,469
also closely related to anthropology the
1547
01:11:50,219 --> 01:11:54,179
type of work I do which again I am NOT
1548
01:11:52,469 --> 01:11:55,980
an apologist I would never call myself
1549
01:11:54,179 --> 01:11:59,750
one because I'm not but I am
1550
01:11:55,980 --> 01:12:02,790
amateurishly anthropologic amateurish
1551
01:11:59,750 --> 01:12:05,340
anthropologist the way I canvassed trash
1552
01:12:02,790 --> 01:12:10,679
and look for it and the notes I take do
1553
01:12:05,340 --> 01:12:16,650
mimic or mirror anthropological work
1554
01:12:10,679 --> 01:12:21,059
yeah okay here is a question concerning
1555
01:12:16,650 --> 01:12:24,119
the the the points about seriality that
1556
01:12:21,059 --> 01:12:27,090
you make the see reality in in-depth in
1557
01:12:24,119 --> 01:12:29,400
attempting to represent access also in
1558
01:12:27,090 --> 01:12:32,789
some ways rehearse the excess at the
1559
01:12:29,400 --> 01:12:35,909
core of many discussions about trash but
1560
01:12:32,789 --> 01:12:38,519
also perhaps mark this artistic excess
1561
01:12:35,909 --> 01:12:40,590
with minimal interventions different
1562
01:12:38,519 --> 01:12:43,050
graduations in color for example in the
1563
01:12:40,590 --> 01:12:45,059
trash cans you showed and visible
1564
01:12:43,050 --> 01:12:47,699
differences showing these
1565
01:12:45,059 --> 01:12:49,949
representations of trash as something
1566
01:12:47,699 --> 01:12:52,820
different than the landscape visions of
1567
01:12:49,949 --> 01:12:55,650
trash that are perhaps more more common
1568
01:12:52,820 --> 01:12:57,869
so the question is to talk a little bit
1569
01:12:55,650 --> 01:13:00,869
more about the effects of see reality in
1570
01:12:57,869 --> 01:13:02,789
trash in your work yeah that's actually
1571
01:13:00,869 --> 01:13:05,610
very well observed thank you for that
1572
01:13:02,789 --> 01:13:09,559
very good question a yes I do
1573
01:13:05,610 --> 01:13:13,320
I you see your work but as there as
1574
01:13:09,559 --> 01:13:14,969
colleague who asked a question very very
1575
01:13:13,320 --> 01:13:17,880
well notice there are always little
1576
01:13:14,969 --> 01:13:22,309
variations and those little variations
1577
01:13:17,880 --> 01:13:25,380
are there to to rob try from its
1578
01:13:22,309 --> 01:13:28,860
anonymity and therefore non-existence
1579
01:13:25,380 --> 01:13:32,099
it's another way of humanizing it so yes
1580
01:13:28,860 --> 01:13:34,559
it's a way actually of making traffic
1581
01:13:32,099 --> 01:13:39,139
wanted again the moment we see
1582
01:13:34,559 --> 01:13:42,420
difference we want desire is reborn
1583
01:13:39,139 --> 01:13:46,229
thank you so much we are out of time for
1584
01:13:42,420 --> 01:13:50,280
questions so I just want to make one
1585
01:13:46,229 --> 01:13:52,769
final comment and that is that I think
1586
01:13:50,280 --> 01:13:55,280
one of the themes that the speakers have
1587
01:13:52,769 --> 01:13:58,920
brought forward here is both the
1588
01:13:55,280 --> 01:14:00,780
celebratory aspects of the work that you
1589
01:13:58,920 --> 01:14:04,890
might and feel a minute
1590
01:14:00,780 --> 01:14:06,320
do together but also the the sort of
1591
01:14:04,890 --> 01:14:09,420
[Music]
1592
01:14:06,320 --> 01:14:12,599
serious matter of the endangerment the
1593
01:14:09,420 --> 01:14:15,420
serious matter of what Professor Carruth
1594
01:14:12,599 --> 01:14:18,030
called the visceral in justices after
1595
01:14:15,420 --> 01:14:20,039
trash and I think that's actually the
1596
01:14:18,030 --> 01:14:23,489
terrain that is so interesting that all
1597
01:14:20,039 --> 01:14:24,480
of you have spoken to it's a very it's a
1598
01:14:23,489 --> 01:14:27,000
very label to
1599
01:14:24,480 --> 01:14:30,060
it's not it's not a settled terrain but
1600
01:14:27,000 --> 01:14:34,680
I think you've all elicited the sort of
1601
01:14:30,060 --> 01:14:37,080
painful edge of that confrontation so I
1602
01:14:34,680 --> 01:14:39,630
really want to thank the excellent
1603
01:14:37,080 --> 01:14:42,270
speakers Villa senior professor Villa
1604
01:14:39,630 --> 01:14:45,780
senior black professor Carruth and of
1605
01:14:42,270 --> 01:14:47,940
course professor zoo BRE for such a
1606
01:14:45,780 --> 01:14:50,430
stimulating presentation and I also
1607
01:14:47,940 --> 01:14:54,120
thank our wonderful audience for the
1608
01:14:50,430 --> 01:14:58,680
extraordinary questions and our staff
1609
01:14:54,120 --> 01:15:02,190
for for helping us to so smoothly
1610
01:14:58,680 --> 01:15:05,460
present this seminar so thank you so
1611
01:15:02,190 --> 01:15:08,640
much everyone and please join us again
1612
01:15:05,460 --> 01:15:12,060
for further talks and you can follow up
1613
01:15:08,640 --> 01:15:15,090
with the book on professors uzuki arrays
1614
01:15:12,060 --> 01:15:18,570
websites and also those of our speakers
1615
01:15:15,090 --> 01:15:21,390
so thank you to everyone and thank you
1616
01:15:18,570 --> 01:15:25,340
so very much to everybody they honored
1617
01:15:21,390 --> 01:15:25,340
thank you thank you so much