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Agustín Pérez Rubio (Valence, Espagne 1972), historien d'art, critique d'art et commissaire d'exposition, est aussi conservateur en chef du MUSAC, Museo de Arte Contemporáneo de Castilla y León (musée d'art contemporain de Castille y Léon). Il a été directeur du Jornadas de Estudios de la Imagen de Madrid de 2001 à 2004. Des contributions régulières dans des magazines internationaux comme NU : The Nordic Art Review (Suède); Art Journal (Philadelphie), Kalias (Espagne), Tema Celeste (Milan), Arts Mediterranea (Milan, Barcelone, Paris), Atlantica, (Espagne), Le Journal des Arts (Paris), entre autres. Il a organisé de nombreuses manifestations telles que Trasvases: artistas españoles en vídeo (Buenos Aires, Mexico D.F., Lima, 2000); Antro-apologías (Valence, 2001), Michael Elmgreen & Ingar Dragset (Madrid, 2002); mais aussi BAD BOYS, la biennale off espagnole officielle au sein de la 50ème biennale de Venise; Cruising Danubio (Madrid, 2003), et Tobias Rehberger. "I die everyday. Cor I 15,31", (Madrid, 2005). Son poste de conservateur au MUSAC l'a amené être co-commissaire d'expositions de groupe comme Fusion. "Aspects of Asian Culture" dans la collection MUSAC en co-commissiariat avec Kristine Guzmàn, ou "Globos Sonda / Trial Balloons", en commissariat avec Octavio Zaya et Yuko Hasegawa; sans compter l'organisation et de montage d'expositions monographiques d'artistes comme Dora Garcia, Julie Mehretu, Muntean & Rosemblum, Pierre Huyghe ? avec Marta Gerveno-, ou l'équipe d'architectes japonais SANAA. Il a aussi été co-commissaire avec Octavio Zaya des Project Rooms de l'ARCO ?06 intitulé Curva de Persecución / Pursuit Curve, sans mentionner son projet Present-Future organisé avec Katerina Gregos pour Artissima -Torino´06.

Forever NL, installation, configuration 16`52? A number of well-dressed American women, lounging by the swimming pool in a deck chair or strolling in the garden, take turns in this double-screen installation. Each individually they tell us what matters to them, what makes them happy and how they see themselves. The women in `Forever` are mostly talking about their outer appearance. And yet, inner beauty is what is most important, says one of them, `although that is reflected by someone`s looks,` she adds. Does she mean that what it is about is the preservation of external beauty, which is after all the reflection of the unchangeable inner self? It is difficult to guess how old they are exactly. Nevertheless, the dark, slightly worn voice that we hear when we see a girlish figure with streaming hair sitting there in a little pink summer dress, betrays that this cannot possibly be a young woman of around thirty. They take photos of themselves with a self-timer. The camera of the filmmaker always cautiously keeps its distance. The carefully created illusion of the age of their choice is not undermined anywhere just to make the image `more realistic`. `Forever` is a portrait of the way these women want to see themselves, and of the way they want us to see them if a filmmaker should portray them. Rudelius graciously gives them the chance. Fifteen minutes of fame. Forever as young as they were then, with the promise of the future preserved.

Le projet de trio d?improvisation est une première collaboration entre trois musiciens venus d?horizons différents. Slovaques (MACHAJDIK et RUDOLF) et américains d?origine (MOSS), leurs villes d?adoptions sont respectivement Paris et Berlin. Ces deux capitales forment un axe idéal pour une course imaginaire. C?est autour de ce thème et à l?image du Tour de France ou du fameux Prague ? Berlin - Varsovie (un course cycliste de l?époque communiste), que les trois interprètes ? commentateurs, plongent dans le peloton de coureurs (cyclistes ou autres ? ) pour livrer une radiographie des instants vécus par les participants, en mélangeant l?atmosphère de l?événement aux exposés officiels et photos musicales instantanées. Il s?agit d?un sorte de bloc-notes intense et incomplet d?une compétitions où l?important est de survivre. Peter MACHAJDIK ? guitare électrique David MOSS ? percussions et voix RUDOLF Robert - ordinateurs

The film observes human meetings staged in a context of lights and shadows. The series of portraits binds relationships in which glances are body movements.

Born in Stuttgart in 1977. Trained as a cook. Has been studying experimental creation using arts and media at the Arts University of Berlin since 2002.

Title: PLAN ROSEBUD 1 Genre: DOCUMENTARY ESSAY Producer: CGAC (GALICIAN CENTER OF CONTEMPORARY ART) Director: MARIA RUIDO Year: 2008 Length: 114 MINTS. Country: SPAIN Synopsis: Plan Rosebud 1: Crime scene Plan Rosebud 1 is focused on the recent social debate around ?The Historical Memory Act? in Spain, and the current relations between the sites of memory and the politics of memory that are produced through cultural industries. They are studied in details, in our case, through war tourism and commemorative tourism. In Plan Rosebud 1we visit Museums and Commemorative Historical War Sites and these materials form the main part of Plan Rosebud 1. This study, is not only limited to the Spain, and especially to the Spanish province of Galicia (where I, and General Franco were born), but it is presented as a comparative study with war and commemorative tourism site in Great Britain and Normandy as the European memory policy site of the WWII. The reason to choose Great Britain as more significant comparative variable was related to the fact that Britain is a well established European democracy with a completely different past from the one we have inherited from the Franco dictatorship and, nonetheless, as we discovered throughout the process, we have much more similar dynamics than expected in terms of links between cultural industries and production of memory (as an unstoppable and supra-state phenomenon due to economic globalisation). The politics of memory is in fact equally selective in relation to episodes that may contradict or question the compact and linear heroic narratives that are transmitted by the state or the media (I am referring, for example, to the very low interest in research about the condition of German and Italian prisoner in detention camps in the United Kingdom until very recently).

María Ruido (Spain) works as a filmmaker, cultural producer and researcher. Since 1995 she has been developing, mainly through video and writing, interdisciplinary projects about the social elaboration of the body and its place in the imagining of work, as well as about the mechanisms of constructing memories and their relationship with narrative forms of history. She is a teacher at the Department of Media at Barcelona University. She has published many texts about representation and its contextual relationships, such as Ana Mendieta (2002), Corpos de producción: miradas críticas e relatos feministas en torno aos suxeitos sexuados nos espacios públicos (2005) and Plan Rosebud: sobre imágenes, lugares y políticas de memoria (2008). Her audio-visual projects include the videoactions Cronología (1997) or La voz humana (1997), and the documentary-essays La memoria interior (2002), Tiempo real (2003), Ficciones anfibias (2005), Las narrativas del trabajo (2005) and Plan Rosebud (2008).

ElectroClass is a film about the imaginary of labour made by a regional television broadcasting channel in Spain starting from the 80s. Taking the archives of ETB (Basque Country broadcasting channel) as source material and the city of Bilbao as a specific case study, ElectroClass reflects upon the dissolution of the traditional concept of the working class, the changes in our working conditions from industrial capitalism to cognitive capitalism,the expansion of the tertiary sector and the radical transformation of the 'polis' city into the 'Bilbao brand'.

born in 1976. Artist, filmmaker, researcher and cultural producer, since 1998, María Ruido has been developing interdisciplinary projects about the imaginaries of labour in postfordist capitalism, as well as about the mechanisms for the construction of memory and its relation to the narrative forms of history. She lives in Madrid and Barcelona, where she works as a teacher at University of Barcelona, and she is part of various research studies on politics of representation and its contextual relations.

Plan Rosebud 2 focuses its attention specifically in the Spanish Transition period and in its cultural context, as well as in the last years of British labour period in the seventies and in the arrival to power on the conservative leader Margaret Thatcher. It tries to dismantle, trough the analysis of some specific cases of social movements and productions of the popular culture, the idea of Transition as a pact among elites, the official discourse, teleological and compact of a political class that, with Adolfo Suárez and the king Juan Carlos at the front, it ?saved? the Spanish state from a new civil war thus making it possible the ?pacific? change to a democratic regime (as we can see and listen, for example in the most famous mythological-media account, La Transición española, the series directed by the journalist Victoria Prego in the first years of the government of Felipe González).

María Ruido (Spain) works as a filmmaker, cultural producer and researcher. Since 1995 she has been developing, mainly through video and writing, interdisciplinary projects about the social elaboration of the body and its place in the imagining of work, as well as about the mechanisms of constructing memories and their relationship with narrative forms of history. She is a teacher at the Department of Media at Barcelona University. She has published many texts about representation and its contextual relationships, such as Ana Mendieta (2002), Corpos de producción: miradas críticas e relatos feministas en torno aos suxeitos sexuados nos espacios públicos (2005) and Plan Rosebud: sobre imágenes, lugares y políticas de memoria (2008). Her audio-visual projects include the videoactions Cronología (1997) or La voz humana (1997), and the documentary-essays La memoria interior (2002), Tiempo real (2003), Ficciones anfibias (2005), Las narrativas del trabajo (2005) and Plan Rosebud (2008).

An African legend: It has been a few years since a stranger brought a stone to the village. The stone was found among the debris of a vertical city. The stone was introduced in the aquarium of a tribe, an aquarium that suppressed all the secrets of generations. Since that time, the animals seem less familiar, and accelerations in time have not stopped being produced. Structured as a schizophrenic experience, the video succeeds in evoking an apocalyptic landscape of a drowned earth. The soundtrack creates a feeling of anxiety that three months later begins to produce its fruit: a mud of shapeless little organisms. The inherent domestic reality is interpreted as other realities, other landscapes, and other cultures. An imaginary journey where we ask ourselves about the displacement, about the encounter with other cultures and other customs. Searching for the enigma of the other in an introspective reflection aroused by the powers of displacement. A place explored without mediation through signs, symbols, the traces of time, and its conditions. Francisco Ruiz de Infante works with the tension of the constant menace exploring the natural behaviours and the unconscious in all their destructive and transformative effects, a genuine interior agitation. A structure that reacts in a fashion unhoped for in the face of the other, an agitation that contributes to the progress of the natural system.

Francesco Ruy was born in 1966 in the city of Vitoria-Gasteiz in Holland. He currently lives and works in Paris, Auberive, and Strasbourg, where he has been teaching at the Ecole Nationale Supérieure des Arts since 1999. He received his master in fine arts from the Ecole Nationale Supérieure des Beaux-Arts of Paris in 1992, and a diploma in painting and audiovisual studies from the Faculté des Beaux-Arts du Pays Basque in 1991. A varied artist, he has taken courses in cinema, video, photography, theatre, dance, and plastic arts. He has produced individual exhibitions in Europe and the United States; installations and collective exhibitions in the European capitals, as well as in Mexico and Brazil; and has realized shows, performances, and public interventions. His film work has been exhibited at festivals around the world. Since 2002 he has been the co-director at the "Centre des Rives", a contemporary art and documentation centre in the rural medium in Haute-Marne, and since 2001 he has been the co-director of the Transmedia and Chaufferie Festivals (ESAD of Strasbourg).

Synopsis : Un serpent guidé par une main parcourt différents espaces. Un serpent guide une main et regarde plusieurs espaces. Plusieurs espaces bougent lentement derrière une « main à la tête de serpent » : le grenier, l`étagère des livres, le studio de montages vidéo, la salle des machines-contrôle? Le nid de serpents (en réalité des câbles non coupés) se cache au c?ur des machines. Le serpent est libéré et chassé à tour de rôles. La vidéo laisse entendre doucement une chanson de sirènes: qué sera sera?

Fabriquant : Francisco RUIZ DE INFANTE enfante@club-internet.fr ? Quelques Links : www.ruizdeinfante.org ? Forme : Fragiles constructions à habiter- dispositifs - parcours expositifs - images fixes et mouvantes - sons - dessins - textes. Ruiz de Infante a exposé au MNCA Reina Sofía de Madrid, à la Kunst-halle de Bonn, au PAC de Milan, au Musée Guggenheim de Bilbao, à l?ARC Musée d?Art Moderne de la Ville de Paris, à la Biennal Site SANTA FE (USA), au Stedelijk Museum d?Amsterdam... Parmi les projets importants on peut signaler ?BlueSky / Laboratorio de laboratoiros? au EFT de Buenos Aires, ?Banquete? au ZKM de Karlshure, ?Zone 1 et 2? au festival Mirages et désirs de Izmir, ?3+4=8 mètres en tout? au CAC Le Plateau de Paris, un complexe parcours d?installations intitulé ?Trembling? au Musée de l?Université de Houston (Blaffer Gallery). L?installation ?Hymnes? (Art Statements / Foire Internationale de Bâle), ?L?âge des serpents? dans l?exposition Vidéo-Topiques au MAMC Strasbourg, ?Black Sky? (Salle La Gallera de Valencia), et les projets ?Tables amplifiées?, FRAC Champagne-Ardenne, ?+Insectes? La Panera de Lleida. Certains de ses films sont visibles dans la collection permanente du Centre Georges Pompidou. ? COMPOSITION Excipients Quelques états éphémères (présent/passé/futur), quelques espaces instables, quelques paradoxes (mammifères aquatiques/mauvaises graines), plusieurs dualités faussement ressemblantes (réel/imaginaire), plusieurs journaux télévisés (ou pas) et d?autres complexes accélérateurs de l?inconscient. Catalogation Artiste hors-format, Ruiz de Infante appartient à une génération dont la sensibilité est marquée par la rencontre et la confrontation des machines audiovisuelles avec les matériaux les plus simples, voire les plus quotidiens. Jongler sans complexes entre la haute technologie et le bricolage d`urgence. Il reconstruit la manière dont fonctionne la mémoire lorsqu?elle nourrit le présent : par saccades pleines d?erreurs d?information, ou comme un torrent d`images qui recommencent sans fin. Tâches de recherche (objectifs, obsessions et terrains d?observation) 1. Retrouver les modes de construction (sans hiérarchies) de l?enfance. 2. Rendre visibles (sans les trahir) quelques lieux cachés. 3. Inventer des situations avec un désordre hautement sophistiqué.... et dessiner leurs cartographies. 4. Regarder fixement la diversité des EAHCI (Espaces et Actes Humains, Complexes et Inefficaces) 5. Tester les limites du dicton : ?on dit ce qu?on fait... on fait ce qu?on dit? 6. Comprendre et relativiser la notion ?d?interdit?... par l?invention de règles pour d?étranges jeux. 7. Construire des écosystèmes (dans lesquels la notion d?intrus, de catastrophe, de transformation et/ou d?évolution sont prises en compte) 8. Montrer, parfois d?une manière très physique, que la vie est une affaire de risques et qu?il faut être en alerte. Tâches d?ordre alchimique 10. Creuser la problématique de l?échelle. 11. Problématiser ?la chose non-finie? 12. Fabriquer les bouillons de culture inflammables qui génèrent des symétries inexactes. 13.Nourrir l?aquarium des idées cancérigènes à polysémie vertigineuse. (Cf. Projet INDEX) ? Co-opérateurs: Ermeline Le Mézo / Pierre Mercier / Christian Sebille / Eléonore Hellio / les BlueSkyers. ? Références: Les beaux mensonges de la tradition orale (enfantine et adulte), les déraillements violents de Nietzsche, le froid/chaud de Bob Wilson et ses organisations sonores, les grimaces de Kantor, les enfants de Kanevski, les aventures contrastées de Courrier International... et aussi les voyages de Tarkovski, Deligny, Savitskaya et Daumal. ? Dans quel cas utiliser ce produit : Quand le désir d?un voyage vers la zone molle devient grand. ? Mises en gardes spéciales : La trajectoire parabolique de ce produit peut produire des vertiges et états métaphoriques délirants.

Peter Pan, in the novel by J.M. Barrie, taught us that to be able to fly we only have to think of wonderful things. Some know (do we know ?) that we learned to fly a long time ago and we are now flying very fast. But in this world we live in, what we have forgotten - or perhaps never learned - is how to descend slowly, look at the landscape and, after a gentle glide, turn off the engines. Potential Fields is not an audiovisual essay, nor is it a linear science fiction project with a retro aesthetic, nor an epic poem, but it presents characteristics of these three genres to get us into the adventure. Divided into a series of "flights" and "flight simulators", the movie is a metaphor of a society (ours) that is launched at exponential speeds and has no idea where to land, or if it really wants to. The video travels along (and inside) several narrative lines where the real and the unreal are confused. The flight started a long time ago, and to enjoy it we will have to let ourselves be carried away by the currents.

Francisco RUIZ DE INFANTE Vitoria-Gasteiz (Spain), 1966. Lives and works between Strasburg and Auberive (Fr) Since 1999, he has been coordinator of the research group Art Hors-Format –Time Arts- at the Haute École des Arts du Rhin (Strasburg). As an artist, he has shown major projects with institutions like the Musée d’Art Moderne de la Ville de Paris, Museo Nacional Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum Bilbao, the Maison de l’Image in Geneva, the Blaffer Gallery, Houston, the ZKM in Karlsruhe, the Kunsthalle in Bonn, the Museo Carrillo Gil in Mexico City, Centro de Arte La Panera in Lleida, and the Metronom gallery in Barcelona. In 2008 he started a cycle titled « Ecosistemas BlueSky », which has given birth to exhibitions, films and publications in diverse contexts : Argentina (Espacio Fundacion Telefonica, Buenos Aires), France (Atheneum de Dijon; Galerie Fernand Léger in Ivry-sur-Seine/Grand Paris), Spain (Artium, Alava; Galeria Elba Benitez Madrid; Fundacion Botin, Santander) … Video works produced over the course of the cycle include « HolyBilis » (2013), « B.S.o.D ». (Training attitude) (2009), and his latest piece, « Potential Field »s (2019-20). From his extensive film catalogue, we can cite the feature-length « The Wolves » (1995) and the short film « Les choses simples » (winner of a Prix Découverte at the Festival du Nouveau Cinéma de Montréal, 1993). He is currently working closely with choreographer Olga Mesa in their joint theatrical, plastic and audiovisual arts project “Carmen // Shakespeare” (2013?21), as well as in the "Never-Never" project.

One man dipped into a pool made him recall his childhood memory and feel that moment.

“TEUN” is my final year project that I`m graduated from King`s Mongkut Institute of Technology Ladkrabang in film and digital media in Thailand.(2016)

Simo RUOHIAINEN nous offre dans son court métrage d`une minute un fantastique spectacle d`une nature déchainé d`eclairs dans le ciel. Cette compilation d`images fortes dans les couleurs sombres de la nuit est accentuée par un montage réussi, ce qui donne l`impréssion d`assister à une danse.

Words shape our impressions and form our history. In ?Scene Shifts, in six movements? a journey through historical layers of various locations on several continents unfolds. However, it is primarily an intellectual journey. The locations, images, texts and music hold references to a long history of cross-cultural misinterpretations.

Jani Ruscica (b.1978) is an artist working with film, video, photography and other media. Ruscica works collaboratively, his interest lies in how one defines one?s location, one?s placement in the world, and how this definition changes ? continuously, if necessary ? according to personal, cultural, representational or even scientific factors. Ruscicas works explore the intersection between cinema, video art, theatre and performance. His recent exhibitions include 6th Liverpool Biennial, 2010, 5th Momentum Biennial, Moss, Norway 2009, ?Life Forms? Bonniers Konsthall, Stockholm, 2009, ?Tracking Traces...? Kiasma, Helsinki as well as screenings in institutions such as Centre Pompidou, Paris, TATE Modern, London and MoMA, New York. His film Evolutions was awarded the main prize at at the prestigious KunstFilm Biennale in Cologne in 2009, in 2010 Ruscica was awarded the AVEK prize for important achievements in audio visual culture. Ruscica is based in Helsinki and was educated at Chelsea College of Art and Design in London and at the Academy of Fine Arts in Helsinki.

Not a valley, just a hole beside a dump. No path leading to the house, only mud on the way to a miserable shed. Lacking everything, but not a lack of kids. This is where Mrs. Sonia lives - In the middle of this Roma reality - strong and intelligent. But also helpless. Documentary film by Daniela Rusnokova is an intimate portrait of a family from Romany settlement in Eastern Slovakia made during the period 2004-2006.

Daniela Rusnokova was born 1980 in Bratislava (Slovakia). She studies Documentary at the Academy of Music and Performing Arts in Bratislava. Now she is in 2nd year of the post-graduate programme. Her films were awarded in many European festivals (Austria, Finland, Italy, Germany). Her last film ´Soňa and her Family´ has won many prizes last year. Daniela´s films mainly focus on social issues.

A tone-poem in blue and red by US artist and experimental filmmaker Ben Russell, Against Time is a visually staggering kind of cine diary, shot on various locations between 2019 and 2022. Trying to find a way through the fog of recent years, the piece plays with dissolving images, non-linear montage, modular synthesis, and a variety of looping techniques to reflect on how we experience time as a fragmented phenomenon. It results in hypnotic and beautiful experimental cinema that seems to mirror life in all of its interpersonal intricacies. (Rewire Festival 2023)

Ben Russell (1976) is an American artist, filmmaker and curator whose work lies at the intersection of ethnography and psychedelia. Russell was an exhibiting artist at documenta 14 (2017) and his work has been presented at the Centre Georges Pompidou, the Museum of Modern Art, the Tate Modern, the Museum of Modern Art Chicago, the Venice Film Festival and the Berlinale, among others. He is a recipient of a Guggenheim Fellowship (2008), a FIPRESCI International Critics Prize (IFFR 2010, Gijón 2017), and premiered his second and third feature films at the Locarno Film Festival (2013, 2017). Curatorial projects include Magic Lantern (Providence, USA, 2005-2007), BEN RUSSELL (Chicago, USA, 2009-2011), and Hallucinations (Athens, Greece, 2017). He is currently based in Marseille, France.

Circle A departs from a heavily edited conversation between five strangers in an art bookshop. Their discussion circulates around the term 'Anarchy', including its abstraction and how the word functions in both an imaginary and a real way. It is cut alongside footage from the Las Fallas festival, Valencia, a five-day celebration of fire and pyrotechnics as well as interjections from the late author, social theorist and orator Murray Bookchin, who coined the term ‘Lifestyle Anarchism’. Threaded throughout the film are hundreds of newspaper clippings from an open archive. The soundtrack of drums, pops and explosions fall in and out of syncopation, providing driving rhythm and moments of rupture. Circle A inserts Anarchy as an aspirational conceit both on micro and macro level into the language of the everyday spectator. If Anarchy is affirmed as a response to order, the film puts full emphasis on the word ‘response’. In other words, the work is a thought experiment on how to begin to undo a system.

Eoghan Ryan (b. 1987, Dublin, IRE) is based between Brussels, Amsterdam and Dublin. He works across moving image, installation, performance, puppetry and collage. His process engages collective and personal trauma, power dynamics, double speak, acting and reacting to play out disintegrations of mediated language. This often involves confusing and dismantling notions of ‘European’ states of identity, ranging from nation states and states of being to the cultivation of provisional culture, in art as much as bacteria. Recent and selected shows, performances and screenings have taken place at The Complex (IE), Edith Russ Haus(DE), Centrale Fies (IT), ICA London (UK), Busan Biennale (KR) IFFR, Rotterdam (NL), Visio (IT) Foundation Pernot Ricard (FR) Kunstervein Freiburg (DE) South London Gallery (UK) Serralves Museum (PR) and IMMA (IE). He is currently developing a new project for EVA biennale 2025(IE)

“ Modern Props ” joins a pair of actors as they shop for furnishings and objects to decorate their character’s new home. The department store, in which they shop, is in fact a TV and Film props warehouse; the objects are devoid of their original function, existing only to be photographed. As the couple traverses a multitude of environments; ancient Greek, British colonial, medieval, they begin to experience aesthetic disharmony. Conflicts around etymology, authenticity and concepts of perfection abrade at the relationship until eventually our couple breakup.

Approaching film from an art background, Ruaidhri entertains a distinctly humorous view on hyper-real, self-aware constructs, perpetually chasing a notion of authenticity that does not exist. Often disclosing methods of production and combining the sincere with the ironic, Ruaidhri continues to develop conceptually driven, narrative films for gallery and film festival exhibition.

ANTIDATAMINING is based on the recovery and the viewing/visualization of web-extracted data. It aims at creating audiovisual environments written, fed and updated in realtime. The goal of this project is to make emerge and to identify, using the Data Mining processing, several social and economic imbalance ?phenomenas?. ADM seeks to visualize these phenomenas, and to tries to establish a global imbalance cartography. www.antidatamining.net

RYbN : A multi-field artistic collective based in Paris (2000) and specialized in realisation of installations, performances and interfaces by refering as well to the codified systems of the artistic representation (painting, architecture, counter-cultures) as to the human and physic phenomenas (geopolitics, socio-economy, sensory perception, cognitive systems). Their axe of research : the construction of a « semantics of the convergence », via the coupling, the diversion and the perversion of writing and formalization tools connected to the technologies of communication, information and sensory ? webs, data flows, smell, surveillance, audiovisual, interaction, real time. www.rybn.org