Catherine Grant, who has been making video essays for nearly ten years and has made an important contribution to the academic recognition of this field, gives us the chance to witness the multi-modal thinking layers of videographic criticism as an aesthetic method in this text. As with videographic criticism, this time we do not get involved by “seeing or looking” in how the seeds of theoretical thought have sprouted and reproduced in practice, and the immanence of these two fields, we can sense and clearly understand by “reading” the shared experiences as in this text. As a result, as stated in the text, “seeing” what already exists in the essence of practical works turns to the kind of rediscovery of the theoretical knowledge on the surface of consciousness. On the other hand, it becomes imperative to consider the transformation of digital technologies in filmmaking in “film criticism” in the background. This text is important for us to see how Grant adapts to this process and to combine video essays with academic studies. But we can also regard this text as a sincere, honest and pure proof of academic solidarity and sharing.