In its formal composition WATERSCOPE is in the tradition of a essay film. Forgoing economic, ecological or scientific explanations, it creates itself with the essence of water. Suffused with sounds from the history of cinema, we see waterways, locks, dams, wastewater treatment works, floodgates, fountains and waterfalls, none of which appear exclusive or spectacular. Seemingly abandoned and forgotten, they become the places where water encounters architecture and technology which, in turn, work for it, with it and against it. Aschmann locates this as the most intense dialog between humans and water.