f i l m

Helsinki International Artist Programme
Soumenlinna, Helsinki, Finland, 2011

(1.) A couple of big vans were busy all day yesterday moving the furniture, books, records and documents from the upper offices of the Police Department at 64 Eddy street to the new Hall of Justice – the $1.000.000 structure – opposite Portsmouth square, on Kearney street. At 6 o’clock last night the work had been completed, and the following offices were moved to their new home: The office of the Chief of Police, the detective bureau, the business and complaint department, the Central police station and a large part of the clerk’s department. 

The four police courts will probably not open in the new building before the end of the week, as there is considerable work to be done there by the carpenters. Docks must be constructed and new rails which will divide the bench portion from the witness inclosure must be put up. The prisoners cannot be moved from the temporary City Prison on Anna lane until the courts move. The Supervisors, now housed in the building on Eddy street, will soon move to the temporary City Hall att Market and Eigth streets. 

On March 1st the old building on Eddy street will be turned over to the wreckers and on the site will be erected the new Tivoli Theatre, the same site occupied by the Tivoli before the fire of 1906.

(2.) Organized labor knows but one law, and that is the law of physical force – the law of the Huns and Vandals, the law of the savage. All its purposes are accomplished either by actual force or by the threat of force. It does not place its reliance in reason and justice, but in strikes, boycotts and coercion. It is, in all essential features, a mob-power, knowing no master except its own will. Its history is stained with blood and ruin. 

(3.) Cut to monochrome frame, black; two minutes and fifty and two thirds of a second. Cut to extreme close-up, slowly panning, slow-motion shot of layered crystal structures, sharp light refracted through the crystal texture. Cut to slowly panning medium shot of a woman’s torso, black and white, image blurred, only the contours of her shape visible. The camera pans around her torso in repeated cycles. Cut to monochrome frame, black; five minutes and forty one and a third of a second. Occasionally a white horizontal line appears on the screen, for a twelfth of a second only. The line extends fully across the screen horizontally, but appears in different positions vertically. After an initial duration of two minutes and fifty and two thirds of a second, the white line appears more frequently, in recurring intervals; a rhythm but not a steady pulse or beat. Once a pattern has been established, the appearance of the horizontal white line is immediately prefaced by an even briefer appearance of a slightly thinner white line that extends fully across the screen vertically, but appears in different positions on the screen horizontally. To begin with this vertical line appears in regular intervals, prefacing every fourth or fifth appearance of the horizontal line. It appears on the screen only for a twenty fourth of a second, immediately preceding the thicker horizontal line. Slowly the frequency with which the vertical line appears increases to every fourth, third, second appearance of the horizontal line. Simultaneously, however, the number of appearances of the white horizontal line per minute increases. This mutual build-up of horizontal and vertical flashing lines is slow and rhythmical. Gradually a stroboscopic sensation is produced over a build-up of five minutes and forty one and a third of a second. Once the stroboscopic yet rhythmical effect is firmly established, the shot is sustained for a duration of two minutes and fifty and two thirds of a second. Cut to long duration, long shot of warehouse, red brick. The windows on the upper floor have been smashed and boarded up. Barbed wire covers the edges of its roof. Adjacent to the main building, a smaller building in corrugated steel. Thick metal tubes connect the two buildings. Camera fixed further down the street. Dust on the street is occasionally disturbed by the wind, no other movements or actions. Cut to a fixed camera medium shot of a fire escape attached to the facades of a brick building; brickwork painted beige, window sills and fire escape too. Identical white curtains – soiled, ripped – cover up each of the windows. Shot from below against sunlight, clear blue skies. Cut to monochrome frame, white; forty two and two thirds of a second. Fade into a slowly panning shot of an urban street; run-down brick buildings, brickwork painted in different colours: beige, red, pink, yellow, white. Tall signs at the corner of each building announces the names of shops, theatres, bars, restaurants. Colours vibrant. Cut to monochrome frame, black; five minutes and forty one and a third of a second. Cut to monochrome frame, black; ten and two thirds of a second. Cut to close-up shot of abstract shadows; shapes moving across a non-descript surface. Fade into a monochrome frame, black – ten and two thirds of a second – then fade back into the close-up shot. Loop sequence.