When Willy Legaud gave us the proposal poster that illustrates the cover of the catalog of the 19st Instants Vidéo, I immediately said, “Well, here is a picture that speaks to us of our past and our present; artists we love, and confused world in which we struggle. ‘ The electric son seem disconnected from the rest of humanity. The tower is not intermediate between the energy received and transmitted energy. However, all reflected power unequaled energy, the result of a tension of opposing forces, between fall and flight, gravity and wind eddies. Image of fragility, too. The kind of unstable situation that did not stop someone like Johanes Kepler, impotent one hand and short-sighted, discovered that the orbit of planets are elliptical and lay the foundations of universal gravitation Newton establish less a century later. The vulnerability is synonymous with creative power. This pylon to cut and wriggling son is a picture that is well suited to those who exceed their limits, which face the reality surrounding hostile, inventing new conditions of daily life, considering what they create as islands that stand the land while remaining fertile. Many filmmakers imagine that grow flowers for their art, the only important sun (technical virtuosity, force): those we deliver arid landscapes. It lacks the rain (an inner necessity, concerns a revolt deep weaknesses). Then, may well an oasis in the desert. This amounts to asking for the hundredth time the question of the social utility extravagant films we show, smuggling work we assume for nineteen years between the work and the viewer, links and barter we establish in the world. There is also the question of the transmission. What are we sending? Works we discovered off the beaten track for commercial distribution. The fruits of our experiences during our travels, seminars, workshops, programming, reading … We also try to leave a legacy through the works of the “masters” of video art that matter to us. Those who have learned to overcome in us hoisting on their shoulders to see farther, beyond the wall of propriety. It is the purpose of our involvement in a project aptly named OASIS aims to make accessible to all on the Internet, the traces of our history and works of the men who nourished our adventures and reflections sensitive. A week of meetings, discussions, workshops, screenings, exhibitions are organized from 4 to 12 November in Marseilles to reflect on the question seems essential: how to make the past archives are memory, rather than cemetery, a horizon? It is also the contention of the book time at work, f(r)iction we co-publish with the help of Incid 90 and will be presented Oct. 14 at the library of the Alcazar in Marseille. You will also discover the Friche Belle de Mai database dedicated to famous artists Steina and Woody Vasulka, and the great work the company led by Anne-Marie Duguet from the works and working papers Thierry Kuntzel: Title TK.Mais back to the poster of the pylon. The son, formerly stiff as a military parade in the movement intertwine: the inter-image (in) disciplinarity we always pampered. We can not define truth in confronting the lives of others. That’s why our floating territory, inhabited by imaginary electronic, is open to winds strange and foreign music, theater, poetry, film, multimedia … Our stubbornness is constant: how subjugate the senses and spur reflection of the viewer? Only the intensity of the work is a suggestion on the viewer. This constant search of our event can suffer no artificial boundary. How do the artists who live on other continents, influenced by other traditions, other faiths, other suffering, others expectations … ? All of these programming Instants Vidéo 19C comes in 38 countries. We will be pleased to receive and meet artists and complicit German, French, Argentine, French, Indonesian, Icelandic, Moroccan, Lebanese, Iranian, Dutch, Peru, Poland, Switzerland, Czech Republic, Uruguay … And exceed our limits, the festival will take place both in France (Marseille, Martigues, Aix-en-Provence, Paris) and South America (Argentina, Paraguay, Uruguay). In Thailand, I have seen musicians play xylophones strange shaped canoes (ranât eek). Traditions and travel! Music as roots uprooted! This makes me think that the culture, there is no genius loci of a voyage, is transplanted after original ripped in the middle. An electricity pylon can be eclectic art canoe is a canoe video images. The tower of the poster is firmly on its four legs. Without disheveled son, moved and naked, it would be a dead weight. Which keeps alive is breaking. Then I see the attitude of the artists we love, those who parted company with the zealous guardians of standards, those who are struggling to create according to internal needs despite the ravages of tolerant indifference of those soon judging them socially useless and the park in an enclosure. The tower is similar to a battery capable of discharging at any time its own energy. The Instants Vidéo have other concerns than to affirm solidarity with these bursts of emancipation poétroniques. They do not proclaim spokesman for the insurgents, but try to have a word that we hear the door for deep necessities which we could define as a-social. Why do we lie to ourselves? Why should we hide our motives behind the façade of reassuring justifications “Utilities”, “political”, “social”, sponsored by those who fear the unknown? If he really is an inner necessity, it leaves marks around it, it is contagious, it turns into actions: the works. More artists, the right word is really oeuvriers. If life does not come from the feet of the tower, it is that we are witnessing a reversal: the son roots are flying like wings, seeking saps nomads. Dances or guerrilla exiles, left to their own devices, the uprooted. Some poles uprooted together, and here an oasis springs. Fight for it is not a mirage more. Marc Mercier to Jean-Charles Berardi