Personal relations mediated by the telephone. The story, in which desire enters the logic of fast-food, is told by a group of people. 6 Muestra de Vídeo & Fenómenos Interactivos

"It may indeed be questioned whether we have any memories at all from our childhood: memories relating to our childhood may be all that we possess. Our childhood memories show us our earliest years not as they were, but as they appeared at the later periods when the memories were aroused. In these periods of arousal, the childhood memories did not, as people are accustomed to say, emerge; they were formed at that time. And a number of motives, with no concern for historical accuracy, had a part in forming them, as well as in the selection of the memories themselves." Freud . This ten-part video strains childhood through a history of reproduction, culling pictures from the Lumiéres to the present day in order to find the future in our past. Here are children of pictures, as pictures, the ones who will walk on our graves, granted a legacy of framing and image making that have helped shape their lives, and their ability to grieve those no longer around to share them.a video in ten parts: In the Future (3 min), Jack (15 min), Last Thoughts (7 min), Portrait (4 min), Secret (2 min), In My Car (5 min), The Game (5.5 min), Scaling (5 min), Imitation of Life (21 min), Rain (3.5 min).

A personal digression on telephone books, in which the author reflects, among others things on how women lose their surnames in many countries in the world, through descent and marriage, asking what becomes of these names. 6th Independent Vídeo & Interactive Phenomena Show

Addressing issues of transition, alienation, refusal, identities, ethno-fascism, body as object & metaphor, agents, monsters, abjectness, subjective affinities, and objective trusts with material taped predominately while moving through Ljubljana, Zagreb, Sarajevo, Belgrade, and Skopje. The subjects conversing come from a range of constituencies; migrants, refugees, asylum seekers, residents (permanent and transient), students, workers, and cultural producers, recounting experience, locating sites, shifts, events, and the theorizing and accounting of the issues at stake, with associated ambient imagery forming specific histories of locations, and locations of histories at the intersection of cultures in this/these particular place(s) and time(s).