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Umowy i gastronomia

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polski > włoski: Promessa di vendita General field: Prawo/patenty Detailed field: Prawo: umowy
Tekst źródłowy - polski 2. Sprzedający oświadczają, że: 1)-Nieruchomość nie jest objęta miejscowym planem ogólnego zagospodarowania przestrzennego, 2)-tytuł prawny Sprzedających do Nieruchomości nie jest kwestionowany ani podważany; 3)-Nieruchomość nie jest obciążona żadnymi ograniczonymi prawami rzeczowymi, w tym hipoteką umowną lub przymusową oraz wolna jest od wszelkich długów i ciężarów, z wyjątkiem wyżej opisanych. 4)-Nieruchomość nie jest obciążona żadnymi prawami osób trzecich, w szczególności prawem pierwokupu, a nadto nie istnieją żadne roszczenia osób trzecich dotyczące Nieruchomości; z wyjątkiem opisanego prawa odkupu, 5)-nie zostały dokonane jakiekolwiek czynności prawne lub faktyczne, ani nie zachodzą inne okoliczności, które powodowałyby obciążenie lub ograniczenie prawa rozporządzania Nieruchomością, a zwłaszcza nie została zawarta umowa przedwstępna sprzedaży lub inna umowa, której skutkiem mogłaby być zmiana stanu prawnego Nieruchomości; 6)-Nieruchomość nie jest przedmiotem żadnego toczącego się postępowania sądowego ani administracyjnego, w szczególności przeciwko Sprzedającym nie jest prowadzone postępowanie egzekucyjne lub upadłościowe;	Tłumaczenie pisemne - włoski 2. I Venditori dichiarano che: 1)-L'Immobile non è compreso in un piano regolatore locale, 2)-la titolarità del diritto dei Venditori sull'Immobile è certa e incontestata; 3)-L'Immobile non è gravato da diritti reali limitati, da ipoteca convenzionale o coatta, ed è libero da qualsiasi debito o carico ad eccezione di quelli sopra descritti, 4)-L'Immobile non è gravato da diritti di terze persone, e in particolare dal diritto di prelazione, ed inoltre non esistono pretese di terze persone riguardanti l'Immobile; ad eccezione del descritto diritto di riscatto, 5)-non sono stati compiuti atti giuridici o reali, non sussistono altre circostanze da cui potrebbero scaturire gravami o limitazioni della facoltà di disporre dell'Immobile, e soprattutto non è stato stipulato un contratto di vendita preliminare o altro contratto che potrebbe avere come effetto la modifica della situazione giuridica dell'Immobile. 6)- L'Immobile non è oggetto di nessun procedimento giudiziario o amministrativo in corso, e in particolare contro i Venditori non è condotto alcun procedimento esecutivo o fallimentare.
angielski > włoski: “Arthur Jafa: Sequencing the Notes” (Art21) General field: Literatura/sztuka Detailed field: Media/multimedia
Tekst źródłowy - angielski 1 00:00:00,760 --> 00:00:03,343 (lively music) 2 00:00:07,512 --> 00:00:09,929 (bass plays) 3 00:00:11,220 --> 00:00:12,540 - I've always resisted the idea 4 00:00:12,540 --> 00:00:15,543 that somehow my practice is archival. 5 00:00:16,440 --> 00:00:19,113 It's about using the material that's available to me, 6 00:00:19,950 --> 00:00:23,220 and that material is incredibly rich material. 7 00:00:23,220 --> 00:00:24,390 (upbeat music) 8 00:00:24,390 --> 00:00:28,590 It's not archival to me any more than the fact that, 9 00:00:28,590 --> 00:00:31,390 you know, when a composer sits down to make a new piece, 10 00:00:32,340 --> 00:00:33,651 the notes are there. 11 00:00:33,651 --> 00:00:36,234 (upbeat music) 12 00:00:41,340 --> 00:00:44,310 Beethoven, Bach, Cecil Taylor, Duke Ellington, 13 00:00:44,310 --> 00:00:46,503 they're not creating new notes, 14 00:00:47,700 --> 00:00:48,533 you know what I mean? 15 00:00:48,533 --> 00:00:50,679 They're sequencing the notes. 16 00:00:50,679 --> 00:00:54,096 (upbeat music continues) 17 00:00:59,820 --> 00:01:02,400 Do they just amplify the same frequency? 18 00:01:02,400 --> 00:01:05,190 It just got louder. (upbeat music) 19 00:01:05,190 --> 00:01:07,640 You know, is it a counterpoint to that frequency? 20 00:01:10,230 --> 00:01:11,430 At its core, 21 00:01:11,430 --> 00:01:14,266 it's just about how do you make a thing of beauty? 22 00:01:14,266 --> 00:01:16,620 (upbeat music) 23 00:01:16,620 --> 00:01:18,180 And a thing of beauty to me is a thing 24 00:01:18,180 --> 00:01:19,330 that you wanna look at. 25 00:01:20,760 --> 00:01:23,400 And then in conjunction with that, 26 00:01:23,400 --> 00:01:24,997 maybe you do other things like say, 27 00:01:24,997 --> 00:01:26,946 "Hey, Black people are human beings too." 28 00:01:26,946 --> 00:01:30,363 (upbeat music continues) 29 00:01:35,866 --> 00:01:40,866 (birds chirp) (traffic passes) 30 00:01:42,840 --> 00:01:44,910 A lot of what I do is just 31 00:01:44,910 --> 00:01:48,453 a kinda structured free association. 32 00:01:49,567 --> 00:01:51,000 "Mickey Mouse was a Scorpio", 33 00:01:51,000 --> 00:01:53,050 it's Mickey Mouse and Damballah 34 00:01:54,090 --> 00:01:55,890 and even though they couldn't be more different 35 00:01:55,890 --> 00:01:59,100 on a certain material level, one is an animation, 36 00:01:59,100 --> 00:02:02,580 the other is a photograph of a witch doctor. 37 00:02:02,580 --> 00:02:04,170 But when you see those two, 38 00:02:04,170 --> 00:02:05,730 it's very clear you're looking at 39 00:02:05,730 --> 00:02:09,363 the same entity in two different iterations. 40 00:02:10,950 --> 00:02:13,770 That's a fundamental thing I'm interested in. 41 00:02:13,770 --> 00:02:15,960 Like, that's sort of very specific 42 00:02:15,960 --> 00:02:18,690 and local big bang that happens when you put one, 43 00:02:18,690 --> 00:02:21,510 I would argue, Black being next to another Black being. 44 00:02:21,510 --> 00:02:23,343 Like, what is engendered by that? 45 00:02:25,077 --> 00:02:30,077 (intense music) (background chatter) 46 00:02:30,150 --> 00:02:33,273 Even the films or the videos are just extensions of that. 47 00:02:34,110 --> 00:02:36,160 It's like, what happens when you do that? 48 00:02:37,050 --> 00:02:38,790 - I know that every person walking this planet. 49 00:02:38,790 --> 00:02:39,623 - [Arthur] And then you do it again. 50 00:02:39,623 --> 00:02:42,155 - Came from a womb and because I have one of those. 51 00:02:42,155 --> 00:02:43,620 - [Arthur] You know, you have one big bang, 52 00:02:43,620 --> 00:02:45,300 you put it next to another big bang 53 00:02:45,300 --> 00:02:46,500 and then another big bang, 54 00:02:46,500 --> 00:02:47,613 then another big bang. 55 00:02:48,750 --> 00:02:51,766 - Bitch, I'm a mother, no drama. 56 00:02:51,766 --> 00:02:54,540 The fact that y'all think that being a woman 57 00:02:54,540 --> 00:02:57,750 is about cosmetics lets me know 58 00:02:57,750 --> 00:03:00,854 that y'all don't know the hell y'all talking to. 59 00:03:00,854 --> 00:03:03,604 (tranquil music) 60 00:03:04,530 --> 00:03:07,170 - And the picture unit is just another way 61 00:03:07,170 --> 00:03:11,160 to sequence images. (tranquil music) 62 00:03:11,160 --> 00:03:12,510 You know, I call it a maze, 63 00:03:12,510 --> 00:03:17,433 but it's less of a maze than a kind of guided tour. 64 00:03:19,290 --> 00:03:22,200 You know, with a certain possibility of 65 00:03:22,200 --> 00:03:24,900 insights into relationships 66 00:03:24,900 --> 00:03:28,092 that wouldn't necessarily be available to you. 67 00:03:28,092 --> 00:03:30,759 (intense music) 68 00:03:31,800 --> 00:03:33,420 As you physically move through it, 69 00:03:33,420 --> 00:03:35,160 you know, if you go forward a step, 70 00:03:35,160 --> 00:03:36,690 you're gonna see another thing 71 00:03:36,690 --> 00:03:39,180 and people just say like, they saw this gruesome image, 72 00:03:39,180 --> 00:03:41,130 and they just like put their head down 73 00:03:41,130 --> 00:03:42,690 and just moved forward, 74 00:03:42,690 --> 00:03:45,420 but only to be confronted with another gruesome image, 75 00:03:45,420 --> 00:03:46,530 you know what I mean? 76 00:03:46,530 --> 00:03:47,940 And the thing about it is like, 77 00:03:47,940 --> 00:03:52,350 they are quote unquote gruesome images in it, for sure. 78 00:03:52,350 --> 00:03:53,640 You see this gruesome scene, 79 00:03:53,640 --> 00:03:55,170 then you see an image with a Black woman 80 00:03:55,170 --> 00:03:56,610 with a piece of wood in her hand. 81 00:03:56,610 --> 00:03:58,268 Like, what's the relationship? 82 00:03:58,268 --> 00:04:00,360 (intense music) 83 00:04:00,360 --> 00:04:02,280 What's the nature of, 84 00:04:02,280 --> 00:04:05,497 you know, absorbing or being subjected to violence? 85 00:04:05,497 --> 00:04:08,164 (intense music) 86 00:04:15,090 --> 00:04:16,530 Every time I open this shit up, 87 00:04:16,530 --> 00:04:19,023 it's just like that is a thing. 88 00:04:19,890 --> 00:04:22,563 So now I'm trying to figure out what to do with it. 89 00:04:27,450 --> 00:04:28,320 I think it's in here. 90 00:04:28,320 --> 00:04:29,700 It may not be in here, but let me see. 91 00:04:29,700 --> 00:04:31,293 I think I put it in here. 92 00:04:33,540 --> 00:04:35,187 That's "Apex". 93 00:04:36,330 --> 00:04:38,850 Now I just basically had a file that had stuff in it, 94 00:04:38,850 --> 00:04:42,420 and then at some point I started putting it in order 95 00:04:42,420 --> 00:04:46,953 and I would just do this while I was talking about it. 96 00:04:47,790 --> 00:04:49,320 And then at some point like, 97 00:04:49,320 --> 00:04:50,820 oh, let's just put it on a timeline 98 00:04:50,820 --> 00:04:52,230 so you don't have to click, 99 00:04:52,230 --> 00:04:53,332 you know what I mean? 100 00:04:53,332 --> 00:04:56,082 (electric music) 101 00:04:58,987 --> 00:05:02,130 "Apex" is about a rock band in the future. 102 00:05:02,130 --> 00:05:04,380 The story happens during the course of the world 103 00:05:04,380 --> 00:05:06,308 as we know it coming to an end. 104 00:05:06,308 --> 00:05:09,810 (electric music) 105 00:05:09,810 --> 00:05:12,000 The so-called fine art space, 106 00:05:12,000 --> 00:05:14,610 it's mostly interesting because it's so flexible, 107 00:05:14,610 --> 00:05:17,190 like in terms of what it is, you know what I mean? 108 00:05:20,173 --> 00:05:21,720 I can't imagine another space 109 00:05:21,720 --> 00:05:24,644 that's better in terms of playing with these sorts of ideas. 110 00:05:24,644 --> 00:05:27,061 (soft music) 111 00:05:30,660 --> 00:05:33,363 I studied architecture at Howard University. 112 00:05:34,710 --> 00:05:37,113 Realized pretty much two years in 113 00:05:37,113 --> 00:05:38,910 that I was ambivalent about that 114 00:05:38,910 --> 00:05:42,810 because it was hard for me to imagine 115 00:05:42,810 --> 00:05:45,010 what it was gonna look like on a day to day. 116 00:05:46,050 --> 00:05:49,740 But my interests very quickly 117 00:05:49,740 --> 00:05:52,050 were consolidated around the idea 118 00:05:52,050 --> 00:05:54,240 that I think initially I understood 119 00:05:54,240 --> 00:05:57,210 as being related to architecture. 120 00:05:57,210 --> 00:05:59,070 You know, and it would be something like, 121 00:05:59,070 --> 00:06:01,530 if Kind of Blue was a house, what would it look like? 122 00:06:01,530 --> 00:06:03,480 Or if Electro Ladyland was a house, 123 00:06:03,480 --> 00:06:04,680 what would it look like? 124 00:06:06,120 --> 00:06:10,110 Using Black music as a preeminent example, 125 00:06:10,110 --> 00:06:11,823 of Black aesthetics in action. 126 00:06:13,110 --> 00:06:15,570 What I've come to understand is that 127 00:06:15,570 --> 00:06:19,200 that impulse to demonstrate the breadth 128 00:06:19,200 --> 00:06:23,700 and complexity of transposing 129 00:06:23,700 --> 00:06:26,250 Black aesthetics to anything you do 130 00:06:26,250 --> 00:06:28,143 is what I was kind of interested in. 131 00:06:29,610 --> 00:06:34,610 If you look at where Afro-American culture is strong, 132 00:06:34,830 --> 00:06:39,180 it is in the spaces of immaterial expressivity. 133 00:06:39,180 --> 00:06:41,400 You know, music, dance, things like that, 134 00:06:41,400 --> 00:06:44,037 things that you could do on your body. 135 00:06:44,037 --> 00:06:45,230 ♪ This is a God dream ♪ 136 00:06:45,230 --> 00:06:50,230 ♪ This is a God dream ♪ 137 00:06:51,270 --> 00:06:52,958 ♪ We on an ultra light beam ♪ 138 00:06:52,958 --> 00:06:54,840 ♪ We on an ultra light beam ♪ 139 00:06:54,840 --> 00:06:56,550 - Black people wore raw materials 140 00:06:56,550 --> 00:06:59,310 so the whole notion of making things, 141 00:06:59,310 --> 00:07:02,700 meaning being able to utilize material 142 00:07:02,700 --> 00:07:04,053 wasn't so straightforward. 143 00:07:07,680 --> 00:07:11,370 Black people remake things by using them differently 144 00:07:11,370 --> 00:07:12,570 than they were intended. 145 00:07:16,260 --> 00:07:18,060 The appropriation thing 146 00:07:18,060 --> 00:07:21,630 allowed me to maneuver in a way that made sense 147 00:07:21,630 --> 00:07:23,850 for me as a Black person, given my, 148 00:07:23,850 --> 00:07:24,683 as I pointed out, 149 00:07:24,683 --> 00:07:26,223 relationship to material. 150 00:07:27,150 --> 00:07:28,580 Taking this and putting it next to that 151 00:07:28,580 --> 00:07:31,710 it is like saying I don't have to have material. 152 00:07:31,710 --> 00:07:33,120 I don't have to make material. 153 00:07:33,120 --> 00:07:35,973 I don't have to make anything to make something. 154 00:07:37,911 --> 00:07:39,057 - Yeah, no, I got you, bro. - I'm about to break away. 155 00:07:39,057 --> 00:07:42,300 - No, no, no, I just wanted to come get some love. 156 00:07:42,300 --> 00:07:43,350 That looks great. 157 00:07:43,350 --> 00:07:45,300 - Yeah, it's a, again, 158 00:07:45,300 --> 00:07:48,690 it's a artifact for my alternate universe 159 00:07:48,690 --> 00:07:51,420 because she never had a record, you know. 160 00:07:51,420 --> 00:07:53,550 It's just a still from a video, man. 161 00:07:58,215 --> 00:07:59,457 - [Officer] Turn away. 162 00:07:59,457 --> 00:08:03,686 Walk backwards, keep your hands up in the air. 163 00:08:03,686 --> 00:08:05,117 Keep going. 164 00:08:05,117 --> 00:08:06,177 - [Officer 2] Come on back, come on back. 165 00:08:06,177 --> 00:08:07,110 Keep walking backwards. 166 00:08:07,110 --> 00:08:08,550 Keep walking backwards. 167 00:08:08,550 --> 00:08:09,390 - As I like to say, 168 00:08:09,390 --> 00:08:11,490 we are the canaries in the mine shaft 169 00:08:11,490 --> 00:08:13,530 of Western civilization. 170 00:08:13,530 --> 00:08:15,060 Nobody wants to be where we are. 171 00:08:15,060 --> 00:08:16,743 Nobody wants to be Black. 172 00:08:19,050 --> 00:08:20,100 But at the same time, 173 00:08:20,100 --> 00:08:22,950 when they see Black people, almost paradoxically, 174 00:08:22,950 --> 00:08:26,220 we also exist as a kind of emblem of the possibility 175 00:08:26,220 --> 00:08:29,643 of transcending profound constraints. 176 00:08:30,750 --> 00:08:31,740 You know what I mean? 177 00:08:31,740 --> 00:08:33,900 Like everybody has their foot on our neck, 178 00:08:33,900 --> 00:08:35,798 but we constantly stand. 179 00:08:35,798 --> 00:08:38,730 (electric music) 180 00:08:38,730 --> 00:08:40,470 So given we've come through it 181 00:08:40,470 --> 00:08:44,280 and it's generated this thing we call Blackness, 182 00:08:44,280 --> 00:08:47,130 Black music, Black dance, Black life force, 183 00:08:47,130 --> 00:08:48,540 all these kinds of things, 184 00:08:48,540 --> 00:08:52,373 how do we mine that? (electronic music) 185 00:08:55,710 --> 00:09:00,710 It's less that the playing field is uneven for Black people. 186 00:09:01,470 --> 00:09:03,090 It's more like the playing field 187 00:09:03,090 --> 00:09:05,640 is just more complex for Black people. 188 00:09:05,640 --> 00:09:06,510 You know what I mean? 189 00:09:06,510 --> 00:09:09,780 That's an opportunity to contend with a landscape 190 00:09:09,780 --> 00:09:13,112 that's more interesting than a flat landscape. 191 00:09:13,112 --> 00:09:15,945 (mid tempo music) 192 00:09:26,690 --> 00:09:29,190 (piano music) 193 00:09:37,570 --> 00:09:40,740 It is not about, it's a handicap. 194 00:09:40,740 --> 00:09:41,790 It's not a handicap. 195 00:09:41,790 --> 00:09:43,653 It's an opportunity to, 196 00:09:45,880 --> 00:09:49,263 it's so funny, it's like opportunity to levitate. 197 00:09:50,261 --> 00:09:53,178 (slow piano music) 198 00:09:55,152 --> 00:10:00,152 ♪ Oh (indistinct) ♪ 199 00:10:00,850 --> 00:10:03,032 ♪ When you hit that fog ♪ 200 00:10:03,032 --> 00:10:08,032 ♪ And it'll start for y'all ♪ 201 00:10:08,952 --> 00:10:13,952 ♪ You say that I know we'll all do well ♪ 202 00:10:14,170 --> 00:10:16,587 (slow music)	Tłumaczenie pisemne - włoski 1 00:00:00,760 --> 00:00:03,343 (musica vivace) 2 00:00:07,512 --> 00:00:09,929 (basso) 3 00:00:10,939 --> 00:00:12,540 Mi sono sempre opposto all'idea 4 00:00:12,540 --> 00:00:15,543 che il mio processo sia archivistico 5 00:00:16,440 --> 00:00:19,113 Si tratta di usare i materiali che ho a disposizione, 6 00:00:19,950 --> 00:00:23,220 e quei materiali sono incredibilmente ricchi. 7 00:00:23,220 --> 00:00:24,390 (musica ritmata) 8 00:00:24,390 --> 00:00:28,590 Per me non è più archivistico di quando 9 00:00:28,590 --> 00:00:31,390 un compositore si siede a comporre un nuovo brano, 10 00:00:32,340 --> 00:00:33,651 le note sono già lì. 11 00:00:33,651 --> 00:00:36,234 (musica ritmata) 12 00:00:41,340 --> 00:00:44,310 Beethoven, Bach, Cecil Taylor, Duke Ellington, 13 00:00:44,310 --> 00:00:46,503 non creano nuove note, 14 00:00:47,700 --> 00:00:48,533 capisci, no? 15 00:00:48,533 --> 00:00:50,679 Mettono le note in sequenza. 16 00:00:50,679 --> 00:00:54,096 (musica ritmata) 17 00:00:59,820 --> 00:01:02,400 Stanno solo amplificando la stessa frequenza? 18 00:01:02,400 --> 00:01:05,190 O è solo più forte? 19 00:01:05,190 --> 00:01:07,640 È un contrappunto a quella frequenza? 20 00:01:10,230 --> 00:01:11,430 In fondo, 21 00:01:11,430 --> 00:01:14,266 si tratta di come creare qualcosa di bello. 22 00:01:14,266 --> 00:01:16,620 (musica ritmata) 23 00:01:16,620 --> 00:01:18,180 Una cosa bella è una cosa 24 00:01:18,180 --> 00:01:19,330 a cui vuoi guardare. 25 00:01:20,760 --> 00:01:23,400 E poi, insieme a quello, 26 00:01:23,400 --> 00:01:24,997 magari fai altro, come 27 00:01:24,997 --> 00:01:26,946 "Hey, anche i neri sono essere umani." 28 00:01:26,946 --> 00:01:30,363 (la musica ritmata continua) 29 00:01:35,866 --> 00:01:40,866 (cinguettio) (rumore del traffico) 30 00:01:42,840 --> 00:01:44,910 Molto di quello che faccio è solo 31 00:01:44,910 --> 00:01:48,453 una sorta di associazione libera ma strutturata 32 00:01:49,567 --> 00:01:51,000 "Topolino era uno scorpione", 33 00:01:51,000 --> 00:01:53,050 ci sono Topolino e Damballah 34 00:01:54,090 --> 00:01:55,890 e anche se sono così diversi 35 00:01:55,890 --> 00:01:59,100 su un piano materiale, uno è un'animazione 36 00:01:59,100 --> 00:02:02,580 l'altro la fotografia di uno stregone. 37 00:02:02,580 --> 00:02:04,170 Ma quando li vedi insieme, 38 00:02:04,170 --> 00:02:05,730 è subito chiaro che guardi 39 00:02:05,730 --> 00:02:09,363 alla stessa entità in due versioni differenti. 40 00:02:10,950 --> 00:02:13,770 Questa è la cosa fondamentale che mi interessa. 41 00:02:13,770 --> 00:02:15,960 Per me è come un Big Bang, 42 00:02:15,960 --> 00:02:18,690 molto specifico e locale che accade quando 43 00:02:18,690 --> 00:02:21,510 metti un nero accanto ad un altro nero. 44 00:02:21,510 --> 00:02:23,343 Cosa ne scaturisce? 45 00:02:24,380 --> 00:02:30,077 (musica intensa) (rumore di sottofondo) 46 00:02:30,150 --> 00:02:33,273 Persino i film o i video sono solo estensioni di questo. 47 00:02:34,110 --> 00:02:36,160 Cioè, che succede se fai così? 48 00:02:37,050 --> 00:02:38,790 (Chi cammina su questo pianeta) 49 00:02:38,790 --> 00:02:39,623 E poi lo rifai. 50 00:02:39,623 --> 00:02:42,155 (È venuto da un grembo, e siccome ne ho uno) 51 00:02:42,155 --> 00:02:43,620 Sai, hai un Big Bang, 52 00:02:43,620 --> 00:02:45,300 lo metti accanto a un altro 53 00:02:45,300 --> 00:02:46,500 ed a un altro ancora, 54 00:02:46,500 --> 00:02:47,613 e ancora un altro. 55 00:02:48,750 --> 00:02:51,766 (Str***a, sono una madre, niente drammi. 56 00:02:51,766 --> 00:02:54,540 Il fatto che pensiate che essere donna 57 00:02:54,540 --> 00:02:57,750 sia questione di cosmetici mi fa capire 58 00:02:57,750 --> 00:03:00,854 che non avete idea di chi diamine avete di fronte) 59 00:03:00,854 --> 00:03:03,604 (musica tranquilla) 60 00:03:04,530 --> 00:03:07,170 E l'unità immagine è solo un altro modo 61 00:03:07,170 --> 00:03:11,160 per mettere in sequenza le immagini (musica tranquilla) 62 00:03:11,160 --> 00:03:12,510 Sai, lo chiamo un labirinto, 63 00:03:12,510 --> 00:03:17,433 ma è meno un labirinto e più una sorta di visita guidata. 64 00:03:19,290 --> 00:03:22,200 Con una certa possibilità 65 00:03:22,200 --> 00:03:24,900 di intuire relazioni 66 00:03:24,900 --> 00:03:28,092 che non ti sarebbero necessariamente accessibili. 67 00:03:28,092 --> 00:03:30,759 (musica intensa) 68 00:03:31,800 --> 00:03:33,420 Mentre lo attraversi fisicamente, 69 00:03:33,420 --> 00:03:35,160 se fai un passo avanti 70 00:03:35,160 --> 00:03:36,690 vedrai un’altra cosa, 71 00:03:36,690 --> 00:03:39,180 e la gente vede quell’immagine raccapricciante, 72 00:03:39,180 --> 00:03:41,130 e abbassa la testa 73 00:03:41,130 --> 00:03:42,690 e continua a camminare, 74 00:03:42,690 --> 00:03:45,420 solo per trovarsi di fronte a un'altra immagine orribile, 75 00:03:45,420 --> 00:03:46,530 capisci? 76 00:03:46,530 --> 00:03:47,940 E il punto è che sì, 77 00:03:47,940 --> 00:03:52,350 ci sono immagini che sicuramente sono cruente, 78 00:03:52,350 --> 00:03:53,640 Vedi questa scena cruenta, 79 00:03:53,640 --> 00:03:55,170 e poi vedi una donna nera 80 00:03:55,170 --> 00:03:56,610 con un pezzo di legno in mano. 81 00:03:56,610 --> 00:03:58,268 Qual è la relazione? 82 00:03:58,268 --> 00:04:00,360 (musica intensa) 83 00:04:00,360 --> 00:04:02,280 Qual è la natura 84 00:04:02,280 --> 00:04:05,497 dell’assorbire o essere soggetti alla violenza? 85 00:04:05,497 --> 00:04:08,164 (musica intensa) 86 00:04:15,090 --> 00:04:16,530 Ogni volta che apro 'sta roba, 87 00:04:16,530 --> 00:04:19,023 è tipo: quella è una cosa. 88 00:04:19,890 --> 00:04:22,563 Quindi ora sto cercando di capire che farci. 89 00:04:27,450 --> 00:04:28,320 Credo sia qui. 90 00:04:28,320 --> 00:04:29,700 Forse non c'è, ma vediamo 91 00:04:29,700 --> 00:04:31,293 Penso di averlo messa qui dentro. 92 00:04:33,540 --> 00:04:35,187 Questo è “Apex”. 93 00:04:36,330 --> 00:04:38,850 All’inizio avevo solo un file con dentro delle cose, 94 00:04:38,850 --> 00:04:42,420 e poi a un certo punto ho iniziato a metterle in ordine 95 00:04:42,420 --> 00:04:46,953 e lo facevo così, mentre ne parlavo. 96 00:04:47,790 --> 00:04:49,320 E poi a un certo punto, 97 00:04:49,320 --> 00:04:50,820 “Oh, mettiamolo su una timeline 98 00:04:50,820 --> 00:04:52,230 così non devi cliccare" 99 00:04:52,230 --> 00:04:53,332 Capisci? 100 00:04:53,332 --> 00:04:56,082 (musica elettronica) 101 00:04:58,987 --> 00:05:02,130 “Apex” parla di una rock band nel futuro. 102 00:05:02,130 --> 00:05:04,380 La storia si svolge mentre il mondo 103 00:05:04,380 --> 00:05:06,308 così come lo conosciamo, sta finendo. 104 00:05:06,308 --> 00:05:09,810 (musica elettronica) 105 00:05:09,810 --> 00:05:12,000 Il cosiddetto spazio dell'arte 106 00:05:12,000 --> 00:05:14,610 è interessante soprattutto per la sua flessibilità, 107 00:05:14,610 --> 00:05:17,190 nel senso di cosa può essere, capisci? 108 00:05:20,173 --> 00:05:21,720 Non so se esiste un altro spazio 109 00:05:21,720 --> 00:05:24,644 migliore per giocare con questo tipo di idee. 110 00:05:24,644 --> 00:05:27,061 (musica soft) 111 00:05:30,660 --> 00:05:33,363 Ho studiato architettura alla Howard University. 112 00:05:34,710 --> 00:05:37,113 Mi son reso conto dopo circa 2 anni 113 00:05:37,113 --> 00:05:38,910 che ero ambivalente a riguardo, 114 00:05:38,910 --> 00:05:42,810 perché faticavo a immaginarmi 115 00:05:42,810 --> 00:05:45,010 come sarebbe stato il mio quotidiano. 116 00:05:46,050 --> 00:05:49,740 Ma i miei interessi 117 00:05:49,740 --> 00:05:52,050 si sono presto consolidati 118 00:05:52,050 --> 00:05:54,240 attorno all’idea che inizialmente pensavo 119 00:05:54,240 --> 00:05:57,210 fosse legata all’architettura. 120 00:05:57,210 --> 00:05:59,070 Sai, qualcosa tipo: 121 00:05:59,070 --> 00:06:01,530 se "Kind of Blue" fosse una casa, come sembrerebbe? 122 00:06:01,530 --> 00:06:03,480 O se "Electric Ladyland" fosse una casa, 123 00:06:03,480 --> 00:06:04,680 che aspetto avrebbe? 124 00:06:06,120 --> 00:06:10,110 Usando la black music come esempio 125 00:06:10,110 --> 00:06:11,823 di estetica nera in azione, 126 00:06:13,110 --> 00:06:15,570 quello che ho capito è che 127 00:06:15,570 --> 00:06:19,200 quell’impulso di mostrare l’ampiezza 128 00:06:19,200 --> 00:06:23,700 e la complessità del trasporre 129 00:06:23,700 --> 00:06:26,250 l’estetica nera in qualsiasi cosa tu faccia 130 00:06:26,250 --> 00:06:28,143 era, in fondo, ciò che mi interessava. 131 00:06:29,610 --> 00:06:34,610 Se guardi dove la cultura afroamericana è più forte, 132 00:06:34,830 --> 00:06:39,180 è negli spazi dell’espressività immateriale. 133 00:06:39,180 --> 00:06:41,400 Sai, musica, danza, cose così, 134 00:06:41,400 --> 00:06:44,037 cose che puoi fare con il corpo. 135 00:06:44,037 --> 00:06:45,230 ♪ This is a God dream ♪ 136 00:06:45,230 --> 00:06:50,230 ♪ This is a God dream ♪ 137 00:06:51,270 --> 00:06:52,958 ♪ We on an ultra light beam ♪ 138 00:06:52,958 --> 00:06:54,840 ♪ We on an ultra light beam ♪ 139 00:06:54,840 --> 00:06:56,550 I neri indossavano tessuti grezzi, 140 00:06:56,550 --> 00:06:59,310 quindi tutta l’idea di creare cose, 141 00:06:59,310 --> 00:07:02,700 cioè essere in grado di usare materiali, 142 00:07:02,700 --> 00:07:04,053 non era così ovvia. 143 00:07:07,680 --> 00:07:11,370 Le persone nere ricreano le cose usandole in modo diverso 144 00:07:11,370 --> 00:07:12,570 da quello proprio. 145 00:07:16,260 --> 00:07:18,060 La questione dell’appropriazione 146 00:07:18,060 --> 00:07:21,630 mi ha permesso di muovermi in un modo che avesse senso 147 00:07:21,630 --> 00:07:23,850 per me come persona nera, vista la mia, 148 00:07:23,850 --> 00:07:24,683 come già detto, 149 00:07:24,683 --> 00:07:26,223 relazione con la materia. 150 00:07:27,150 --> 00:07:28,580 Prendi qui e mettilo lì 151 00:07:28,580 --> 00:07:31,710 è come dire: non devo avere del materiale. 152 00:07:31,710 --> 00:07:33,120 Non devo nemmeno crearlo. 153 00:07:33,120 --> 00:07:35,973 Non devo creare niente per creare qualcosa. 154 00:07:37,911 --> 00:07:39,057 Sì, certo. Tra poco vado. 155 00:07:39,057 --> 00:07:42,300 – No, no, no, volevo solo passare a prendere un po’ d’affetto. 156 00:07:42,300 --> 00:07:43,350 Sembra fantastico. 157 00:07:43,350 --> 00:07:45,300 Sì, è un artefatto 158 00:07:45,300 --> 00:07:48,690 del mio universo alternativo. 159 00:07:48,690 --> 00:07:51,420 Lei non ha mai pubblicato un disco. 160 00:07:51,420 --> 00:07:53,550 È solo un fermo immagine da un video. 161 00:07:58,215 --> 00:07:59,457 (Agente: 'Voltati. 162 00:07:59,457 --> 00:08:03,686 Cammina all’indietro, tieni le mani in alto. 163 00:08:03,686 --> 00:08:05,117 Avanti. 164 00:08:05,117 --> 00:08:06,177 Vai indietro. 165 00:08:06,177 --> 00:08:07,110 Ancora indietro 166 00:08:07,110 --> 00:08:08,550 Ancora indietro.') 167 00:08:08,550 --> 00:08:09,390 Mi piace dire che 168 00:08:09,390 --> 00:08:11,490 siamo i canarini nella miniera 169 00:08:11,490 --> 00:08:13,530 della civiltà occidentale. 170 00:08:13,530 --> 00:08:15,060 Nessuno vuole il nostro posto. 171 00:08:15,060 --> 00:08:16,743 Nessuno vuole essere nero. 172 00:08:19,050 --> 00:08:20,100 Ma allo stesso tempo, 173 00:08:20,100 --> 00:08:22,950 quando vedono i neri, quasi paradossalmente, 174 00:08:22,950 --> 00:08:26,220 esistiamo anche come una sorta di emblema della possibilità 175 00:08:26,220 --> 00:08:29,643 di trascendere vincoli profondi. 176 00:08:30,750 --> 00:08:31,740 Capisci che intendo? 177 00:08:31,740 --> 00:08:33,900 Tutti hanno un piede sul nostro collo, 178 00:08:33,900 --> 00:08:35,798 ma noi restiamo in piedi. 179 00:08:35,798 --> 00:08:38,730 (musica elettronica) 180 00:08:38,730 --> 00:08:40,470 Quindi, dato che ci siamo passati 181 00:08:40,470 --> 00:08:44,280 e che questo ha generato ciò che chiamiamo "Blackness", 182 00:08:44,280 --> 00:08:47,130 musica Black, danza Black, forza vitale Black, 183 00:08:47,130 --> 00:08:48,540 tutte queste cose, 184 00:08:48,540 --> 00:08:52,373 come possiamo attingere a tutto ciò? (musica elettronica) 185 00:08:55,710 --> 00:09:00,710 Non è tanto che il campo da gioco non sia equo per le persone nere. 186 00:09:01,470 --> 00:09:03,090 È solo che il campo da gioco 187 00:09:03,090 --> 00:09:05,640 è più complesso per le persone nere 188 00:09:05,640 --> 00:09:06,510 Capisci, no? 189 00:09:06,510 --> 00:09:09,780 Questa è un’opportunità per confrontarsi con un paesaggio 190 00:09:09,780 --> 00:09:13,112 più interessante di una pianura. 191 00:09:13,112 --> 00:09:15,945 (musica a tempo medio) 192 00:09:26,690 --> 00:09:29,190 (musica al piano) 193 00:09:37,570 --> 00:09:40,740 Non si tratta di un handicap. 194 00:09:40,740 --> 00:09:41,790 Non è un handicap. 195 00:09:41,790 --> 00:09:43,653 È un’opportunità per, 196 00:09:45,880 --> 00:09:49,263 è divertente, è come un’opportunità per librarsi. 197 00:09:50,261 --> 00:09:53,178 (musica lenta al piano) 198 00:09:55,152 --> 00:10:00,152 ♪ Oh (indistinto) ♪ 199 00:10:00,850 --> 00:10:03,032 ♪Quando colpisci quella nebbia ♪ 200 00:10:03,032 --> 00:10:08,032 ♪ E inizierà per voi tutti♪ 201 00:10:08,952 --> 00:10:13,952 ♪ Dici che so che ce la faremo tutti♪ 202 00:10:14,170 --> 00:10:16,587 (musica lenta)

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Bachelor's degree - Università degli studi di Lecce

Lata doświadczenia jako tłumacz: 19. Zarejestrowany od: Aug 2010.

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polski > włoski (Università di Lecce, Facoltà di Lingue e Lett. Straniere, verified)

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traduttori giuridici polacco.italiano

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Graziana M's Continuing Professional Development

Graziana M popiera ProZ.com's Zasady postępowania (v1.1).

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Słowa kluczowe: sottotitoli, italiano, inglese, subtitle translation, audiovisual translation, subtitling, timecoding, closed captioning, SRT files, Amara.org. See more.sottotitoli, italiano, inglese, subtitle translation, audiovisual translation, subtitling, timecoding, closed captioning, SRT files, Amara.org, volunteer translation, English to Italian, transcription, localization, video translation, subtitle editing, media translation, accessibility, translation for video, educational videos, humanitarian content, TED Talks, nonprofit translation, timing and syncing subtitles, postediting. See less.

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