A Visual Dialogue

A Visual Dialogue

‘Hi Jun, your package with 1 item will be delivered today.’

No. This shouldn’t be the way we could start on a quiet Friday morning. The phone, the device alongside its smart and audiovisual allies, has been predominantly and preoccupiedly overtaken my central communications and engagement with the world during the pandemic. A virtual intermediate universe with screen-flattened dimensions.

My devices are my agents, but they are too smart to represent my online profiles and proactive intentions by often taking fetch-and-push notifications from externals. They facilitate, expose and set the individual off activating exchanges with the others – human with avatars and Internet of Things – accompanied by non-negotiable persuasion. The concept of AI has not arrived in Kubrick’s Hal smart but fulfilled through machine-learning and algorithms provided by vocational industries and institutions.

Maybe this is the moment we could pick up the journey returning to the fourth part of ‘The Elephants Fountain’. Yet, we would save the text from now and bring back later the little paragraph from Kundera’s Immortality. It is family time.

It left two of us in the kitchen. We started listening to a playlist of Yann Tiersen at the end of breakfast. In fact, before that, I was murmuring a piece of incomplete tune, and it was intercepted and interpreted by a carton theme song.

The tactile screen was immediately sent back to sleep, followed by a customary request with finger clicks. Tiersen’s studio recordings joined in the morning conversations.

  • Le Matin, Les Retrouvailles, 2005. 1:58
  • Le Banquet, La Valse des monstres, 1995. 1:32
  • Le Moulin, Le Fabuleux Destin d’Amélie Poulain (bande originale), 2001. 4:27

After a little while.

***

I
Can you change the music? They are not normal.

J
What do you mean ‘normal’?

I
I can’t hear anyone saying or singing.

J
Yes. You are right. But not all music has people or their voices. There are instruments like accordion and piano, and they can talk to us.

I
And they are played by people!

J
Yes. The next one is called ‘Le Moulin’. Do you know what a mill is?

I
No?

J
(Descriptions with words and gestures)

I
Ah! Like in the fox and rabbit animation I saw recently.

J
Yes. Listen to it now. What do you think?

I
Hmm, I don’t know.

J
What can you ‘see’ when hearing the accordion? Or what do you ‘think’ about the sound and melodies?

I
(Eye closed. Smiling. Inaudible.)

J
For me, in the beginning, only a big person is there with heavy footsteps. With repeated notes...

I
Like a pattern!

J
Strolling left and right and zigzagging and then in all directions. A bit hesitated.

(00:30)
Oh, somebody just joined the promenade. They are two now like a papa and a daughter next to each other.

Can you feel the different walking paces? One is walking with big strides: Ta-ta, ta-ta. And one is with small steps: hmm-la-la, hmm-la-la-ti.

I
Yea. It’s like you and me.

J
Yes.

[1:04]
Here they start to walk fast.
Where do you think they are heading?

I
Hmm. London?

J
(Smiling)
Really?

[2:07]
The little one is tried, and we carry her on the shoulder and continue with the journey.

Then. They are running now, in a city, on the hill, into nature. In the beginning, the little voice says: Wait for me!

And in the end, the little voice comes again:

Hey! Come to catch me! Hurry up!



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[Aerobic Aesthetics ◁◁] ⏏︎