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Un représentant de commerce cherche à rentrer en contact avec des gens.

Born in Sydney, Australia in 1982, Dustin Feneley is a graduate of the Victorian College of the Arts School of Film and Television. In 2004 and 2005, he completed the Graduate Diploma and Masters of Film and Television in Narrative Directing degrees at the VCA Film School. His short films as writer and director have screened at over fifty international film festivals. At only twenty-three years of age, his student short film Snow (2005) was officially selected for competition at the 2006 Cannes Film Festival in the Cinéfondation category. The film?s selection made him the second youngest Australian director to have a film screen at Cannes in the festival?s history. Snow has also received the honour of being exhibited at the world famous George Pompidou Centre in Paris alongside other films by legendary filmmakers such as Jean-Luc Godard. Snow was awarded Best Film at the 2007 Film Fest at Falls by a highly esteemed jury of Australian film industry members including Claire Dobbin (Chair of the Melbourne International Film Festival), Antony Zeccola (Palace Films), Robyn Kershaw (Producer), and Joel Pearlman (Managing Director of Roadshow Films). His short film Apprentice has also been commercially released by Palace Films Australia as the short-before-the-feature on the popular DVD of Russian Dolls (France, 2005). Recognising his position as one of Australia?s most promising young filmmakers he was approached by the highly respected talent agency RGM Associates and is represented by RGM as a writer and director. He has directed a range of professional actors including Robert Menzies (Oscar and Lucinda, Three Dollars), Tom Budge (The Proposition, Candy) and Syd Brisbane (Boxing Day, Silent Partner). He is the winner of the 2007 Qantas Spirit of Youth Award for Moving Image, selected by veteran film director Bruce Beresford, and will undertake a mentorship with Beresford on an upcoming feature film project. In 2008 he was invited to participate in the prestigious Accelerator program of the Melbourne International Film Festival with his short film Hawker (2008). Now in its fifth year, Accelerator has firmly established itself as a showcase of pre-eminent new Australian and New Zealand shorts. For the first time featuring filmmakers from Ireland and Singapore, Accelerator has secured international recognition as an esteemed industry program. In 2008 he also worked as director?s assistant / attachment with Glendyn Ivin (2003 Palm d?Or winner for his short film Cracker Bag) on Ivin?s highly-anticipated debut feature film Last Ride, released in 2009. Feneley is currently developing his first feature film Stray.

"Snow" suit l'exploration par un petit garçon de la limite fragile entre la vie et la mort et le dénuement de son père lorsqu'il s'agit de préserver son enfant de cette recherche inexorable. "Snow" est un film narratif court sur un garçon de douze ans qui vit seul avec son père dans un environnement alpin lointain d'Australie. Il fait l'expérience de la limite ténue entre la vie et la mort, enterrant des lapins dans la neige et créant des trous d'air pour qu'ils puissent survivre. Il va vers son père pour l'enrôler dans l'acte de déterrer les lapins, leur donnant vie à nouveau depuis la terre. Il en vient à faire un trou d'air trop étroit. Lorsqu'ils déterrent le lapin, celui-ci est mort. Le père laisse l'enfant seul dans la neige, juge des conséquences de son comportement. Le lendemain matin le père s'éveille pour le trouver parti. Il part à sa recherche, inquiet. Il retrouve son enfant sans vie étendu sur la neige, auprès d'une petite tombe pour le lapin mort.

Dustin Feneley est diplômé du prestigieux Victorian College of the Arts School of Film and Television de Melbourne. En 2004 et 2005, il obtient le Graduate Diploma of Film and Television et le Master of Film and Television (Narrative Directing) à la VCA Film School. Ses courts-métrages, qu'il a écrits, dirigés et montés ont été projetés lors de plus de cinquante festivals internationaux. Alors qu'il n'a que 23 ans, son film d'étude "Snow" est sélectionné en compétition officielle au Festival de Cannes 2006. La sélection en fit le second réalisateur australien le plus jeune à avoir connu la projection de son oeuvre à Cannes dans les seize ans d'existence du festival. Il est actuellement dans l'écriture de son premier long métrage "Stray".

En 2005, je suis retourné sur les lieux de tournage d'un film sur lequel j'avais travaillé quelques années auparavant. "Chantal Akerman's From the Other Side" a été tourné à la frontière entre les Etats-Unis et le Mexique. "Crossings" est une brève réponse à mon expérience pendant le tournage et au sujet du film. A certains endroits de la frontière, un mur se dresse et fait face à ceux qui habitent des deux côtés. Le film montre de multiples vues du mur et confronte visuellement l'idée qu'il incarne. "Crossing" est le premier épisode d'un projet plus large, tourné à Cuba, en France, aux Etats-Unis et en Israël qui traite de l'insularité au sens géographique et culturel.

L'oeuvre de Robert Fenz se caractérise par une approche expérimentale et poétique dans la manière de tourner les films de non-fiction. De 1997 à 2003, Fenz a travaillé sur une série de court-métrages intitulée "Meditations on Revolution" qui explore la la définition du mot "révolution". Il a reçu une bourse Guggenheim Fellowship en 2004 et a été résident à Berlin dans le cadre du DAAD artist program. Il vit à Cambridge, Massachusetts, où il réalise actuellement un portrait de l'auteur- réalisateur Robert Gardner.

La population s´enflamme pour la collection de chapeaux du Pape, mais des bagarres éclatent à propos de qui a le plus beau chapeau. Donc,il n'y aura plus de chapeaux du Pape. Y aura-t-il une collection de chaussures du Pape dans le futur?

Les oeuvres d´animation de Chris Ferrantello ont été projetées lors des Festivals Sundance en 2002 et 2004, Cracovie 43 et 44, SeNef 2004 et 2005, Bitfilm 2003, the Viper 21 et 22, mais aussi Streaming Cinema 2.0, Adobe.com, The Bit Screen, le Future Cinema show au ZKM en Allemagne et au Musée Kiasma à Helsinki. Quelques un de ses films sont maintenant distribués par RIFF (Rome Independent Film Festival). Il est également peintre et illustrateur éditorial, avec pour clients Esquire magazine, MS. magazine, Sony Entertainment, The Progressive et le New York Times entre autres. Ses oeuvres sont parues dans des livres d´illustration annuels publiés par la Société des Illustrateurs (Society of Illustrators) et la publication de design "Print". Son travail est visible sur

Parade est un dialogue silencieux entre deux mécanismes

Certain de n'avoir plus rien à faire dans ce monde, un homme erre dans le metro de Tokyo. Son objectif: trouver quelqu'un qui l'aide à mettre fin à ses jours. Les couloirs s'ouvrent, les stations se remplissent peu à peu. Une première rame arrive. L'homme avance, l'air determiné. Il demande à quelqu'un: -"Excusez-moi,pouvez-vous me pousser?" -Pardon, que voulez-vous? Que je vous pousse dans le train? -Non...non, dessous..."

A man, inside his kitchen, is preparing his packed lunch. He has decided to visit The Brion Tomb, a monumental funeral complex, designed and built by the Venetian architect Carlo Scarpa, commissioned by Onorina Brion Tomasin, to honour the memory of the deceased and beloved relative Giuseppe Brion, founder and owner of the Brionvega company, located in the small cemetery of San Vito, in the hamlet of Altivole in the province of Treviso. Placed the food inside a polka dot plastic bag, we will find it walking inside the cemetery, observing with meticulous care the details designed by the Venetian architect, while in its silent head will resound the precious words pronounced by the architect in a conference held in the summer of 1978.

Luca Ferri (Bergamo, italy, 1976), self-taught, since 2011 has been dedicating to the writing, photography and direction of films presented to italian and international festivals, such as atlanta film festival, biografilm festival, curta cinema, documenta madrid, fidocs, filmmaker, gent international film festival, indielisboa, queer lisboa, punto de vista, pesaro film festival, cinemambiente, poff, taipei film festival, thessaloniki documentary festival, vilnius short film festival, filmer le travail, videoex and in museums and art galleries, such as spazio forma meravigli (milan), mambo (bologna), macro (rome) and schusev state museum of architecture (moscow). In 2013 the national film library of Rome organizes a restrospetictive of his works. his first feature film abacuc, released in 2015, was presented at torino film festival and mar del plata festival de cine. In 2016 colombi was presented at 73rd venice festival in the orizzonti section. In 2018 his work dulcinea was selected at 71st locarno film festival in competition in the section signs of life while pierino was presented at 61st dok leipzig. In 2020 the house of love is presented at 70th berlinale in section forum, selected to take part in the competition berlinale documentary award and receives the mention to 34th teddy awards; his work sì is presented at 77th venice international film festival, orizzonti section. In 2021 his last work a thousand cypresses was presented at 67th international short film festival Oberhausen and at the 57th mostra internazionale del nuovo cinema di pesaro. won the award for best film at the 46th laceno d'oro in the section "eyes on the city."

TRANSITIONS is a journey from the civilizing void of the desert to a maximal urban, capitalistic and hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed.

Aurèle Ferrier (*1975 in St.Gallen, CH) lives in Zurich. With his video and cinematic works, actions and interventions he explores the margins of civilization. His works have been presented in more than 30 countries and won, among others, a Grand Jury Award at Slamdance Film Festival.

CLAWS est un essai en images mouvantes composé de plans glissés à travers des villes en expansion rapide, dérivant des terrains périphériques vers des noyaux denses avant de s’ouvrir de nouveau sur l’horizon. Dans des cadres largement dépourvus de présence humaine, l’architecture, les matériaux et le son transforment l’expansion urbaine en un champ de perception — un espace où la géométrie persiste, où l’intention vacille, et où la terre se souvient.

Aurèle Ferrier est un artiste visuel suisse travaillant avec le film, explorant les environnements construits et les périphéries urbaines. CLAWS conclut sa trilogie consacrée aux paysages façonnés par l’humain. Ses œuvres en images mouvantes ont été présentées notamment au Hiroshima City Museum of Contemporary Art (Hiroshima), à l’IDFA (Amsterdam), aux Rencontres Internationales (Paris/Berlin), à l’Open City Documentary Festival (Londres), à l’Anthology Film Archives (New York) et à l’Image Forum (Tokyo).

Cast Away Souls looks at the political structures behind the conditions at the deportation centre Sjælsmark, as well as at the controversial methods used to push the centre's residents to leave Denmark voluntarily. Some call the methods inhumane, while others call them necessary. Through a conversation between the Sjælsmark unit manager Niels Johannessen and one of the residents, Stanley Edward, the film talks about everyday life under constant pressure and about a life where human rights and international conventions are put to the test. Cast Away Souls hits squarely home in one of today's great political discussions, not just about the conditions that children live in at Sjælsmark, but also more generally about human compassion and human rights at centres such as Sjælsmark.

Markus Fiedler, born 1972 in Hamburg/Germany, successfully completed his Studies of Psychology at the University of Hamburg in 2001. In addition he started the Studies of Visual Communication at the University of Fine Arts Hamburg (HfbK) between 1998 and 2003. From 2007 to 2011 he he completed the Postgraduate Studies of Audio-Visual Media / Film & TV at the Academy of Media Arts (KHM) in Cologne/Germany with his graduation film 'Elif's Boys', a 99min documentary about the story of three generations of men of a turkish-kurdish family who migrated to Germany. Since 2002 Fiedler is working as an independent filmmaker, mainly in the field of narrative documentaries. He has been working as screen printer, graphic artist and billsticker.

Dans une ville d’Europe de l’Est sans nom, quelques jeunes se retrouvent pris entre une résistance silencieuse et une complicité passive, tandis que leur pays sombre dans la guerre. Les rues de la ville, autrefois familières, deviennent un paysage de peur. Tourné dans un style sobre et d’observation, Inner Emigration est un portrait hanté d’une génération suspendue dans l’immobilité, contrainte de traverser une réalité en ruine qui n’offre plus aucun choix clair.

Lily Filina est une artiste et réalisatrice, née en 1999 à Kaluga, en Russie. Diplômée de la Rodchenko Art School, dans la classe de Sergueï Bratkov, elle travaille comme réalisatrice publicitaire et développe des projets indépendants à l’intersection du cinéma et de la vidéo d’art. En 2024, un film de Liliya a été présenté dans la programmation du Festival international du film de Rotterdam. En 2024 également, son projet "Internal Emigration" a reçu le soutien du programme Yandex360.

Created in collaboration with IRCAM, « So Blue » represents a false documentary on the trip of Elvis Presley to Minsk, Belarus in the 1960s. The basis and the main element of this video is a song created by me using the sound collage technique. I used a dozen fragments from different Elvis songs, changing the key, working with tempo and harmony to recreate his « unreleased song ». The lyrics were composed by the same method, using archetypal words and phrases, typical for songwriting of the 50 - 60s. The video also presents a collage made from fragments of the fictional film "I'm 20" by Marlen Khutsiev and from frames of documentary films about Minsk. This technique allowed me to create a video mystification about Elvis’s fictional travel to my hometown (Minsk). The cross between fictional and documentary cinema, between a sound collage and a false composition generates a hybrid work that provokes feelings of strangeness, deceiving the viewer about credibility of this work. This confusion gives place to the questioning from the part of the viewer concerning the documentary representation.

Lina Filipovich is an artist and musician based in Paris, France. Her works explore the relationship between audio and visuals and span a variety of media, including found footage films, experimental electronic music, painting, silkscreening and performance. Working with samples and loops, Lina Filipovich uses techniques of sound collage, musical montage, cut-up and appropriation.

En juin 2005, Jem Finer a construit un observatoire sculptural dans le parc de l'Université d'Oxford qu'il a appelé "The Center of the Universe". Cette sculpture en bois et fils de fer a été installée dans une tour spirale de 15 mètres de haut comme une "assiette de radio" (la réunion des anciens et nouveaux observatoires), dans laquelle a vécu Jem Finer. Dans ce bâtiment, les signaux reçus, témoignant de l'expansion du cosmos, ont été recueillis grâce à un équipement électronique dont un vieil enregistreur graphique avant d'être décodés en sons. Le film présenté nous montre une sélection des nombreux films sur la fin du temps que Jem Finer a réalisé pendant sa résidence dans le parc, regardant et filmant les ombres quotidiennes tournant autour de lui.

Jem Finer est un artiste pluridisciplinaire, créant des ?uvres mélangeant la vidéo, la musique, la photographie, la sculpture,... La plupart de son travail traite du temps et de l'espace sur des échelles extrêmes comme "Longplayer", une pièce musicale millénaire, ou "Wave/Particle", un film explorant le monde en gravité zéro. Cette année, Jem Finer a construit deux observatoires sculpturaux explorant également les thèmes du temps et de l'espace mais cette fois-ci sur des échelles cosmologiques : "Landscope" à Lough Neagh en Irlande du Nord et "The Center of the Universe" à Oxford en Angleterre. Récemment, il a reçu le premier prix de la Fondation PRS Pour La Nouvelle Musique pour son projet musical "Score for a Hole in The Ground" dont les instruments principaux dont le vent et la pluie. Jim Finer travaille actuellement sur cette nouvelle composition dans une forêt du sud-est de l'Angleterre.

L'oeuvre d'Ulrich Fisher, les 4 courtes pièces, fait suite à une commande de la chaîne suisse alémanique SFDRS pour l`émission philosophique STERNSTUNDEN. Elle se compose de 4 clips: Ballast, Signes d´éconduite, La ville révée des grues et Mi rage. Ballast : Un quadrillage symétrique soutient et fait décoller l?image ? pas de mouvement sans ballast? Signes d´éconduite : Se laisser entraîner par des lignes fuyantes, jusqu?au point où l?espace du voyage se dissout en de multiples pistes : autant de signes qui bouclent le mouvement sur lui-même. La ville révée des grues Entre la ville cartographiée et la ville réelle, les grues ont leur mot à dire. Mirage : Que se passe-t-il quand des objets mouvants gèlent dans leur course et deviennent un solide qui marque l?espace ? On peut alors voir une sorte de mémoire d?un lieu, ce qui nous interpelle à nouer de nouvelles relations au contexte.

Né en 1971 à Genève, Ulrich Fisher réalise entre 1993 et 1996 divers films en super-8 et vidéo. Il obtient en 2000 le diplôme à l'Ecole Supérieure d'Art Visuel de Genève (ESAV). Il devient ensuite permanent au Cinema Spoutnik. Il est aussi producteur, monteur et caméraman pour Perceuse Productions.

des images de super 8 en noir et blanc défilent alors que le narrateur déplore la fin du film photographique.

Judy Fiskin est une artiste de Los Angeles. Elle a principalement travaillé avec la photographie entre 1973 et 1994. En 1995, elle a abandonné la photographie pour des raisons de santé, et depuis, elle travaille avec la vidéo et le super 8. Ses oeuvres ont été présentées à travers le monde et aux Etats Unis, notamment au Musée d'art contemporain de Los Angeles et au Musée d'art moderne de New York.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway

Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm

The age-old dispute between the open and the closed kitchen solution have reached a dramatic climax where “The Separatists” face the “The Open Kitchen Radicals” in one final heated battle. From there the film also debates the existential properties of the bar, as in opposition to the conservative breakfast table, and attempt to explain differences in psychological temperament through people’s preferences of kitchen worktop. The End of Kitchen Politics is the second film of the umbrella project Ad Nauseam, a series of essayistic videoss portraying a society where doubt no longer exists. In this day and age, neurologists have discovered the center of consciousness, the open kitchen solution has been ruled mandatory by law, and every new parent follows the hand book How To Raise a Child obediently. While Christianity and Neo-atheism have merged to form The Faitheist Church, a universal understanding of all the rules of football have been reached. And yet, this society is permeated by a chaos so disruptive that it’s hard for people even to breathe. Through hyper stylized 3D animations and what they call “clear-cut narration”, video artist duo Tor-Finn Malum Fitje and Thomas Anthony Hill comment on the current paradigm of truth, and attempt to challenge the post-modern notion that all ways of looking at the world can be equally true.

Tor-Finn Malum Fitje (1989) was born in Porsgrunn and grew up in Bergen, Norway, where he first studied Film Production, specialising with a Bachelor’s degree in Directing. He went on to do a BFA at Konstfack, before earning his Master of Fine Arts at the Royal Institute of Art in Stockholm, graduating in 2016. Currently based in Oslo, Malum Fitjes work comprises essayistic video and audio installations, as well as text-based art. He has screened his films at the Modern Museum in Stockholm, the Gallery of Photography in Oslo and is currently working on three new films called Ad Nauseam: National Treasures Explained, that will be exhibited at the opening of the new National Museum in Oslo. Thomas Anthony Hill (1989) born in Coffs Harbor, Australia, grew up in Bergen, Norway and has lived in Oslo since 2017. In 2014 he graduated with a Master’s degree in Comparative Literature at the University of Bergen and has since then worked as a film critic and translator. Together with Malum Fitje he has created the works Hyphenic (2018) and Ad Nauseam (2020), the latter currently being exhibited at Galleri Golsa in Oslo.

Laser-printed onto recycled 16mm film in 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage. In addition to producing his own work, S.F. presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.

Quelle est votre plus grande ambition dans la vie? Laser-imprimée sur un film de 35mm recyclé en 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage.

THE FILM WAS SHOT IN THE POCONOS IN PENNSYLVANIA USA WHEN HURRICANE IRENE WAS HAMMERING AROUND. Early on August 27, Irene further weakened to a Category 1 hurricane as it approached the Outer Banks of North Carolina. At 7:30 am EDT (11:30 UTC) the same day, Irene made landfall near Cape Lookout, on North Carolina's Outer Banks, with winds of 85 mph (140 km/h). After having tracked over land for about 10 hours, the eye of Irene became cloud-filled, although the center remained well-defined on radar images. Later on August 27, Irene re-emerged into the Atlantic near the southern end of the Chesapeake Bay in Virginia. Shortly before sunrise, at about 09:35 UTC on August 28, Irene made a second landfall at the Little Egg Inlet on the New Jersey shore with winds of 75 mph, and soon after moved over water again. Hours later, Irene weakened to a tropical storm with winds of 65 mph (100 km/h) near New York City.

Frode Fjerdingstad (born 1975) is a photographer, born in Oslo, Norway. He studied photography at the London College of Printing. Frode has exhibited his work at the National Artcenter Tokyo and at several other occasions in London, Oslo, Zürich.

Dans Impromptu n°. 3, le calme apparent, cependant d?une répétition mécanique, du geste d?une caresse d?un visage est intensifié via l?utilisation d?images inversées. Le mouvement fragmenté de la vidéo inversée apporte une analyse plus profonde du personnage et suggère une existence encore plus affligée. Par l?utilisation de scripts synchronisés, l?image vidéo inversée a été manipulée, à partir du film de départ d?une recherche médicale dans un sanatorium mental, afin de montrer une ?réalité psychologique? du patient plus exacte. Ainsi, obtenant via une manipulation une représentation peut-être plus accrue des sentiments du malade que ce que la source documentaire avait espéré.

Né à Rome, en Italie, Adrea Flamini habite actuellement à Kansas City, dans le Missouri aux Etats-Unis, où il est professeur assistant dans le département de photographie et nouveaux médias à au Kansas City Art Institute. Les installations de Flamini créent des environnements cinématiques qui testent nos perceptions de la mémoire, de l?espace et la narration. Dans cette base de données, les narrations, de courtes fables de conflits et de résolutions, sont développées avec des variations infinies qui résistent aux logiques conventionnelles de cause à effet de la narration. Le travail de Flamini est exposé dans des festivals des médias, des galeries et des musées aux Etats-Unis et ailleurs.