Tesse's Methods
Session one - What, How, Why
1.
Original:
What An approximately one-minute video surrounding the events at Schieweg (my street) on the 8th of September (last Friday). Around mid-day, fire-fighters gathered around our building and put up barricades around the area. Our building was not evacuated, but the one next to us was. More and more people were gathering around and looking at what was happening, and we (my roommate and I) were watching it all from our balcony. We had no idea what was happening, only when our other roommate (who works for a newspaper) saw the article show up in her content planner, we could figure it out. Apparently, there were active constructions around the building, and neighbours had called in to report large cracks they saw running through the outer walls that they were concerned were a result of the drilling and digging. The fire-fighters were there to investigate any risk of the building collapsing.
How The event is shown through a combination of footage of the event that I recorded on my smartphone from our balcony, the online news articles about the event and screen recordings of Google Streetview, all with a particular focus on their timestamps. The images take on an investigative style, building information from inside. On Google Streetview, I look back through the years and see the cracks already having been there for the past years. My investigation mirrors the process of the people investigating the building.
Why Apart from the feeling of confusion and curiosity that we were experiencing from our close-yet-excluded perspective, I was struck by the importance of notated time in these developments. This was made clear especially through the delay in news coverage — my first footage of the event showing a timestamp of an hour earlier than the start of the “live” news updates — and the importance of the possibility to go back in time on Google Maps as a way to investigate the danger of these cracks.
Edited:
'Sept. 8th' (working title) will be a video work of approximately one minute, surrounding the events at Schieweg (the street I live on) on the 8th of September (last Friday). The work is currently in the editing process. Halfway through that day, fire-fighters gathered around our building and put up barricades around the area. Our building was not evacuated, but the one next to us was. More and more people were gathering around and looking at what was happening, and we (my roommate and I) were watching it all from our balcony. We had no idea what was happening, only when our other roommate (who works for a newspaper) saw the article show up in her content planner, we could figure it out. There had been constructions around the building, and neighbours called in to report large cracks they saw running through the outer walls that they were concerned were a result of the drilling and digging. The fire-fighters were there to investigate any risk of the building collapsing.
The event is shown through a combination of footage of the event that I recorded on my smartphone, the online news articles about the event and screen recordings of Google Streetview, all with a particular focus on their timestamps. The montage switches between my footage in which I am on my balcony observing the people observing from the street, and the 'online' coverage through which I investigate the matter from my computer. On Google Streetview, I look back through the years and see the cracks already having been there for the past years. My own investigation mirrors the process of the people investigating the building.
Apart from the feeling of confusion and curiosity that we were experiencing from our close-yet-excluded perspective, I was struck by the importance of notated time in these developments. This was made clear especially through the delay in news coverage, breaking with the idea of media coverage being instant — my first footage of the event showing a timestamp of an hour earlier than the start of the “live” news updates — and the importance of the possibility to go back in time on Google Maps as a way to investigate the danger of these cracks. Throughout multiple of my works, I aim to get a better understanding of how the concept of time functions in our society. This can be from a more systematic perspective, such as the clock and the calendar we follow, or in a more personal way, how the passing of time affects our daily experiences. This event specifically interested me in its relation to how references to times and dates are used as a way to document the order of things happening, but also how people respond different to a seemingly urgent situation after this situation has remained unchanged for an hour.
2.
Original:
What ‘one day at a time x 89’ is a fourteen minute, single-screen video that shows the daily impressions of a young filmmaker in Brussels and the elements making up her life. It shows a stream of people, events, feelings. Some are on a small scale, the way the light hits or the daily dishes. Some on a slightly bigger scale, the hands of friends, the way they hold their beer glasses. Some are even farther removed, the stories on the news, the feeds that keep coming night and day, the images of the TV shows we watch on a daily basis. They all seem so disconnected yet so inseparable, and we are losing ourselves somewhere in between. Where does the rest of the world end and do we begin?
How Over the span of three months (89 days) I recorded a sound or an image each day. They had to be things already happening, that I was observing or experiencing, but other than that there weren’t many restrictions. I used a handycam for the images, ensuring portability, and a cassette recorder for the sound, as a contrast to the digital-ness of a lot of the visual impressions, and to embody this realm of news in the sonic form of the radio. In the editing process, these many seemingly unrelated fragments took on a narrative and started to focus more around me as the protagonist, and new meanings were found through the combinations made with the image and sound. The montage follows a build-up rather than a storyline, the order is intuitive, and the lines between the impressions are made blurry by overlapping many of the images.
Why Starting this project, I was unsure what I wanted to make a film about. All of the impressions and stimuli from both my internal and external world seemed to be overwhelming and weren’t giving one clear narrative to follow. Knowing that I would not find a way out if I didn’t simply start making, I gave myself this assignment to record something every day to at least keep myself busy. Meant more a an exercise to find inspiration, this actually turned into a useful expression of what, to me, it often feels like being alive in this generation, in this era, in these landscapes. The struggle of constantly having to define your position not only in your direct surrounding, but also in the huge environment of global information that is constantly available. Rather than giving a way out of this through a structured story, I wanted to communicate this feeling and express this messy, fragmented and occasionally exasperating way of life.
Edited:
‘one day at a time x 89’ is a fourteen minute, single-screen video that gives a look into my daily impressions as a young filmmaker in Brussels, in the form of a montage of the elements making up my life. It shows a stream of people, events, feelings. Some are on a small scale, the way the light hits or the daily dishes. Some on a slightly bigger scale, the hands of friends, the way they hold their beer glasses. Some are even farther removed, the stories on the news, the feeds that keep coming night and day, the images of the TV shows we watch on a daily basis. They all seem so disconnected yet so inseparable, and we are losing ourselves somewhere in between. Where does the rest of the world end and do we begin?
Over the span of three months (89 days) I recorded a sound or an image each day. They had to be things already happening, that I was observing or experiencing, but other than that there weren’t many restrictions. I used a handycam for the images, ensuring portability, and a cassette recorder for the sound, as a contrast to the digital-ness of a lot of the visual impressions, and to embody this realm of news in the sonic form of the radio. In the editing process, these many seemingly unrelated fragments took on a narrative and started to focus more around me as the protagonist, and new meanings were found through the combinations made with the image and sound. The montage follows a build-up rather than a storyline, the order is intuitive, and the lines between the impressions are made blurry by overlapping many of the images.
Starting this project, I was unsure what I wanted to make a film about. All of the impressions and stimuli from both my internal and external world seemed to be overwhelming and weren’t giving one clear narrative to follow. Knowing that I would not find a way out if I didn’t simply start making, I gave myself this assignment to record something every day to at least keep myself busy. Meant more a an exercise to find inspiration, this actually turned into a useful expression of what, to me, it often feels like being alive in this generation, in this era, in these landscapes. The struggle of constantly having to define your position not only in your direct surrounding, but also in the huge environment of global information that is constantly available. Rather than giving a way out of this through a structured story, I wanted to communicate this feeling and express this messy, fragmented and occasionally exasperating way of life.