Can’t You See Them? – Repeat.

1992年萨拉热窝围攻期间：一群武装人员沿着密尔杰卡河岸行走。一个人被引走了，他们一起过河。邻近的Grbavica区即将被塞尔维亚人占领。这段录像是一名男子在不知道持枪男子是谁的情况下从邻近摩天大楼的公寓中拍摄的。他们是塞尔维亚人，波斯尼亚人？他的相机摇晃、搜寻、追踪和撤退。艺术家克拉丽莎·泰姆找到了拍这部电影的人，并让他再次讲述了这部电影是如何发生的。使用运动跟踪程序，她对原始剪辑执行元数据分析，并计算相机的位置和运动。她将这些数据输入运动控制系统，将光线投射到屏幕上。移动、改变方向、颤抖的光。从叙述、纪录片材料和投射在屏幕上的光之间的相互作用，产生了一种共鸣语料库：一个充满恐惧和焦虑的身体，一个在战争中受伤的身体。现在可以体验的身体。记忆变得有形和可见。创伤从摩天大楼上升到屏幕上，到达观众。 　　Sarajevo during the siege in 1992: A group of armed men walks along the banks of the river Miljacka. One man is led away, and the group crosses the river. The neighbouring Grbavica district is about to be taken by the Serbs. The footage was shot by a man from an apartment in an adjacent skyscraper without knowing who the armed men were. Are they Serbs, Bosniaks? His camera wobbles, searches, pursues and retreats. The artist Clarissa Thieme finds the man who shot the film and has him once again recount how it happened. Using a motion tracking program, she performs a metadata analysis of the original clip and calculates the camera’s position and movement. She feeds this data into a motion control system that projects light onto a screen. Light that moves, changes direction, trembles. From the interplay between narration, documentary material and light projected onto a screen, a resonance corpus is created: a body full of fear and anxiety, a body injured in war. A body that now can be experienced. Memory becomes tangible and visible. The trauma ascends from the skyscraper onto the screen and reaches the audience.