A journalist knows more about a grizzly murder than is good for her. All her evidence points toward a mysterious millionaire but no one will believe her.

The project seeks to reflect about the image, and its contemplative experience from the factors of time, color and movement. We focus our view on the human-landscape relationship, facing it in two temporal dimensions: the geological and human. This definition synthesize well the will of the project: “The landscape are layers of time condensed into an image”. We seek to merge different temporal layers into a single image, proposing two exploration lines: emphasize the ephemeral and fleeting passage of man over the territory; and invite to a leisurely contemplation showing the poetry and mystery of the movements of landscape.

The project seeks to reflect about the image, and its contemplative experience from the factors of time, color and movement. We focus our view on the human-landscape relationship, facing it in two temporal dimensions: the geological and human. This definition synthesize well the will of the project: “The landscape are layers of time condensed into an image”. We seek to merge different temporal layers into a single image, proposing two exploration lines: emphasize the ephemeral and fleeting passage of man over the territory; and invite to a leisurely contemplation showing the poetry and mystery of the movements of landscape.

This film illustrates Debussy's works "En bateau", "Arabesques", "Reflets dans l'eau" and "Arabesques en sol". As a visual counterpoint to the music it shows playful reflections, transparencies, and iridescence of water.

In ‘Images de Tunisie’, Younes Ben Slimane returns to the locations where an archive film of the same name was originally shot by French colonialists in 1940s Tunisia. A minimal approach that Slimane – who is also trained as an architect – uses as a counter-narrative, dissolving the historical markers between past and present with his tactile images. The archive material, originally created for propaganda purposes, is intercut with Slimane’s own footage from the same sites of traditional architecture in Berber villages in southern Tunisia.

Perception changes ambiguously between moving images and sound. 　　I went on a journey by water. I had been gazing at the calm sea for hours on the back deck. Before my eyes was endless sky, the nearly leaning sea horizon, strong sunlight shining on the surface of the water, and trails on the sea traced by the ship. The sound were of the engine and waves, vibrations propagated through the ship hull, and a pleasant breeze. I’m trying to sense every moment. I am here to watch the sea. Thinking this, I will daydream even before I know it. Occasional whistles make the scene in front of me clear.

Art historian James Fox explores how the power of images has transformed the modern world.

Art historian James Fox explores how the power of images has transformed the modern world.