Belgrade on Screens Cut 2: Dis/continuous Location(s)

Virtual does not mean unreal

During Ljubljana’s event, the 2-channel video collage “Cut 1” was intended to be presented live, but as I was not able to attend physically, I showed the audiovisual work online. For Delft too, I initially imagined a multi-channel video installation as exhibited in situ, but once again, I will have to participate virtually. This aspect changes the conception of my next experiment, but in a way, it also challenges the entire research. What if I take this opportunity as a chance to establish a flexible method of revealing dis/continuities in several continuous (thus, complementary) versions? Yes: the bodily experience will be now postponed once more, but perhaps this transitional step is necessary to truly orient the final project. Furthermore, as an exercise it will be important to see if the results can have more than one outcome and if these outcomes can generate one organic entity as some ‘continuous’ research to extend ‘continuously’. One could imagine a set of different approaches, including the virtual results within the physical reality. Precisely this idea of a “long-term” project occurred informally right after the previous CA²RE+ discussion. A very helpful recommendation indeed, as I am almost certain to pursue with the same topic even after achieving the doctoral degree.

Current phase and regular recommendations

After Hamburg (March 2021) and Ljubljana (September 2021), it is clear that the focus of this particular research topic is still vague, or not strictly determined yet. Defining ‘dis/continuities’ seems to be the biggest challenge, precisely because it is the main topic. So, what are exactly these dis/continuities? How can we detect them, and once detected, how can we reveal them? Do we even want to reveal them, or would it be more appropriate to re-appropriate them? This questioning is a continuous vicious circle: if we want to re-appropriate the audiovisual material, how can we do that without damaging the original film? How can we protect its primary significance? Do we even want to protect it, or rather create a new image, as an independent and recontextualized entity?

Understanding ‘recommendation’ as an advice or a suggestion, it is important to continue with some of the recurrent questions and guidance points. For the upcoming event in Delft, it is time to test the relation between the space and the moving images. As I will use the format of online meeting, the scenography of the potential video installation can be conceived either as a 3D model or a new (spatial) video.

In Ljubljana, the first audiovisual fragment entitled "Cut 1" was a 15min 2-channel collage mainly composed of two films—"Before the War" (d. Vuk Babić, 1966) and "Before the Truth" (d. Kokan Rakonjac, 1968)—with inserted parts of "The City" (d. Kokan Rakonjac, 1963) as a connector between the two other films. During the making of (fig.1), but also after the discussion with the panelists, some stimulating ideas involved aesthetics and film techniques. One of the personal obstacles or hesitations was due to copyright uncertainties, as well as the moral and ethical questions of ‘misusing’ an author monumental chef d'œuvre. A detailed overview on the entire reflection and its outcomes can be read in the previous extended DDr contribution for the proceedings.

In Delft, it will be therefore critical to reverse the method by freeing oneself from certain constructed limits as barriers or excuses which are blocking the process of design-driven experimentations. The most accurate example is the problem introduced in both of the previous panels: copyright issues. If we completely ignore this problem by assuming that the work will be strictly used for academic research and not be monetized, we can fully focus on the actual experiment. One of the consequences will also be the quality of the audiovisual material, as it may not be extracted from the original digitized files. But even this possible lack of high resolution can add up different visions, textures, and layers. Moreover, a seemingly ‘destructed’ material can be understood as incomplete fragments of the collective memory, slowly fading away or being distorted.

By such a sudden self-liberation, creativity is more likely to have enough room for unexpected angles. If "Cut 1" was trying to identify the multiple dis/continuities by classifying them by pairs of dual confrontation (interior/exterior, crowd/individual, day/night, etc.) "Cut 2" can identify only one location by a more extensive series of film extracts. Out of 116 films selected in the initial analysis (Bachelor thesis from 2013), 17 films represent an important portion of collective memories, from the cultural, historical, and sociopolitical points of view (fig.2). Out of these 17 achievements, 16 are showing the square of Terazije (the chosen chronotope of the doctoral thesis). Terazije, situated in the historical city-center of Belgrade, has many faces and could be seen from many perspectives. We can count some essential symbols (landmarks) situated on Terazije, such as the Fountain, the Hotel Moskva, the Palace of Albania, the underground pedestrian crossing, etc. In a way, Terazije is not only one single location, but a continuum of locations (or ‘scenes’) that generate it as a whole.

Approach

Accordingly, if we ‘place’ Terazije in space—either now via a virtual model, or in the reality given by a physical exhibition room in the future research phase(s)—how can we create its dis/continuous auras and stories through a coordinated scenography of the moving images? With this method, new questions will arise, namely the chronology of the images. Chronology does not have to be related to the year of filming, but also the year that is supposed to be pictured, such as in historical movies. Of course, the position of the visitors (or viewers) will also be considered, as the camera and frame will be the eye, and the motion will give a sense of the pace or rhythm of the movement in the understanding of the space. Therefore, the selection process will probably give a higher priority to the images shown from a pedestrian point of view. The images showing rooftops or a general overview above the buildings might rather be considered for the function of contextualization. A further reflection will be followed towards the interior/exterior combination. By taking the facades as the limits of the chronotope, we might deprive the square of its reality (life) and only see it as a set design or décor.

Another point to remember (already mentioned in Hamburg) is that Terazije has a replica in the modernist part of the city: New Belgrade. Ironically, this dislocated version has also a history of dis/continuities due to political post-transition changes. This dualism brings an additional layer of plurality: being identical does not imply that the same space is the same space. Finally, unlike "Cut 1" where there was an interaction between the actors (characters) between them—via dialogues, conflicts, personal stories (fig.3)—"Cut 2" will be more oriented towards scenes where the characters use a specific place, studying their relationship to a point of space-time stage or their behavior within an urban background.

As announced in the DDr statement, it is crucial to start preparing a database of clips as a pool of moving images, for an easier overview and clear selection­—as rational as possible, following strict rules, to ‘secure’ the creativity and freedom in the experimental phase. According to the list in-progress shaped after research done up until now throughout my studies (fig.2), the most appropriate examples will be considered. For now, out of 29 movies showing Terazije, 17 from this list are subjectively considered as relevant for this research. Once we analyze the exact number of scenes showing Terazije for each of these 17 movies, it will be easier to re-evaluate their importance. Most probably a second round of selection will have to take place, for a sharper focus.

Remaining questions and new recommendations

We talked about the urge to find out to whom this topic is addressed, and to start experimenting with audiovisual materials for a better understanding of the selection process and assembling of images. Although “Cut 1” has been presented partly to test who might be the audience, this crucial question remained unanswered. Today, it is still ambiguous to predict or control the main target, even if this should be resolved as soon as possible. As doctoral research is shaped in an academic framework, PhD candidates are expected to propose the purpose of their topic. It is therefore evident how the relevance and its universality (applicability) affect the methods to be applied.

Nonetheless, what if we take recommendations as a support, or a background that allow us to have a vision, but do not prevent us of maintaining them in a second level of priorities? Recommendations are absolutely always welcomed, but the authors (designers) should remember to be convinced themselves by their goals and methods. Of course, escaping the essence of the problem does not mean to ignore it. The suggestions are perhaps a set of instructions that we can pursue progressively. For instance, in Hamburg, a question related to the video installation's scenography emerged. This same question was, again, part of the discussion in Ljubljana. In-between these two events, scenography was not forgotten or deleted. The task was simply directed towards an audiovisual product (content). This step-by-step approach is all the more interesting as it is relatively self-imposed by the time that we have at our disposal, especially for those who do not have the possibility to consecrate themselves completely. This is also partially why not all well-intended and pertinent recommendations can be taken into account immediately. The researcher also needs to be patient and let ideas float before fixating them.

Finally, one of the recent recommendations concerns the nuances between the terms ‘cognitive awareness’ and ‘phenomenology’—both concepts being key notions to determine the essential motive of this research, and both having to do with psychological as well as philosophical fields of knowledge. Consequently, they will both be dissected and seriously scrutinized, for a better understanding of the accumulated experiences and experiences to stimulate within the project.