Meanwhile the speakers talk one after the other; films are being shown in the contiguous amphitheatre. Paradoxically they are projected in big screen. The quality of the image is not that good, a pixels matter... I think that they've decided to do so because the common experience is still reached, mainly, by sharing a film collectively. Later on, I discuss with a Brazilian publicist and we remark that: "maybe they should do as in airplanes, one small screen for each person..." In my opinion, in a way it seems as if the own festival would not have a convincing statement about the matter.

Mr. Ohashi's talk about Do-Co-Mo and the newest i-mode(s) is also quite revealing and predicting. For example one hand set for 2 different telephone lines, for 2 family members or one for business and one for private line. I think to myself, that yet again, there is this intrinsic dialogue between public and private life/space. He also shows examples of some specific features, such as direct music download towards the mobile phone, the telephone as a credit card, as a GPS, etc. He leaves clear that there are still many things that may be worked on, such as capacity, sharing speed, copyrights. Indeed, an overview of many relevant issues.

With Juha Kaario, from Nokia, we reflect on what mobility is: being on the move, changing situations, filling idle times and social near or far connections. In closed connection to Biknell's question, Kaario quotes Jonas Mekas, who in the tamperefilmfestival.fi/ said that "it is not the screen size but he story; medias is about good stories." Since Mr. Ohashi had also shown us that it is already possible to connect our portable phones to our computers, actually something that I've seen today in a notice, I guess we ought to continue thinking about it.

I learn that it is also possible to do very quick image editing; the software has already been launched and is users friendly. One can add metadata notes, such as: speaking, sound recording, describing weather conditions. Something which is now called context photography.

Around 4 p.m. it is Nancy Proctor's turn. She pictures some of different possible utilities the portable phone might have, such as provide a museum tour. The experience has already been held at the Tate Museum with plenty of success. She also talks about UGC (user-generated content, not the French UGC cinema chain...), where the product is not the most important part, but the process. However, concerning this topic there are many different points of view.

I keep on hoping from one amphi to the other. I feel I am the embodiment of these zapping situations, of being and not being in one place. Situation, that keeps on happening to us when in a telephone conversation. You are in the place from where you are speaking but you might be, kind of transported into the other place/space. It reminds me of when driving, you can look intermittently backwards and forwards through the rear-view mirror, without really realizing it. Similarly, or in the same sort of mood: how do we think about these ephemeral images we see? And or about those forwarded e-mails we constantly receive? About the films we see e.g. in You.tube? Who has made them? Where do they come from? Is that really important? Doesn’t that actually matter?

In the hall there is a large group of teens; I get to talk with one them. The teenage girl kindly explains me about the pilot program she took part in:http://www.atelier-numerique.net/. This group of students were lent camphones (SFR) for about a year. Fortunately, sometimes new technology enables students learn, question and express themselves artistically.

Day one continues but I am really exhausted, so I set off thinking about something Nancy Proctor had said earlier: "the best technologies are those which are invisible"; I couldn't agree more.

Day two: the schedule is pretty much in the same style; there are talks and there are videos/movies being shown. I decide to attend Heidi Tikka's lecture. Being Finland (in what concerns portable phone industry) one of the avant-garde countries, they talk about m-cult. The focus is also in the users, audience as active, we are in the heart of the DIY culture. But Ms. Tikka asks: "What happens when phones integrate our lives? How does texting intertwine with our daily tasks? What does a sent image imply? And last but not least, what happens to us in all this?" To exemplify her questions she shows some of her latest projects: imaginary journey and Births. She also thinks and makes us think about all these new rituals we are currently transforming.

Among the other many talks there were, I'd like to summarize Mr. Masaki Fujihata's one (actual dean of the Film and New Media department of the Tokyo National University of Fine Arts) Mr. Fujihata reinforces that the speed of changes is fast, but that there are still some constraints, at least for him. He also shows us his field work and his studentsí videos. In a world where we may act as if in a scene, the cellphone acts not only as a communicative tool, but also as a souvenir box, as an expression tool, as a mise en abyme of our own bodies. We just need to keep an eye on our overexposures and in our publicy: contraction of public and privacy (strongly recommend this article).

Having the chance to film and edit my first pocket film, I decide to give it a try. One of the festival crew follows me, just in case I'd want to steal the telephone? After shooting the images it takes us around half an hour to quickly decide the bits and built up the 1 minute film. The editor explains me that they are working with Sony Vega cause it is the software that reads directly telephone images. He suggests I bring next day some soundtrack to add, which I do. At the end I felt quite happy with the result. Moreover, it really motivated me to try filming more.

On Sunday I add the music and retrieve my video, the prizes are given and the weekend is over. To conclude, I'd like to say that overall it was an enriching festival and that I hope this kind of initiatives continue to happen.