Nathaniel Dorsky has created a beautiful body of work which has recently been likened to "a meditative practice" (Scott MacDonald). For Dorsky, cinema at its best doesn't refer back to language or lend itself to analysis, but instead is experienced as a visual phenomenon. He characterizes Love's Refrain (U.S., 2000–01, 22 mins, Silent @ 18fps, Color) as "a coda in twilight, a soft–spoken conclusion to a set of four cinematic songs." Peter Hutton describes his lyrical Time and Tide (U.S., 2000, 35 mins, Silent, B&W) as beginning with "a reprint of a shot by Billy Bitzer in 1903 titled Down the Hudson....It chronicles in a single time lapse, a section of the river between Newburgh, NY and Yonkers. The second section of the film...records fragments of several trips up and down the Hudson River...travelling on the tugboat ?otha'..." Minyong Yang's haunting and beautiful The Dark Room (U.S./Korea, 2001, 4 mins, Silent, Color) was filmed at San Francisco's camera obscura. The uniqu, mysterious imagery of Schichtwechsel by Christian Hossner (Germany, 1997, 9 mins, B&W, From Light Cone) is created through the use of a pinhole camera.Mathias Mueller's Nebel (Mist) (Germany/Austria/Luxemburg, 2000, 12 mins, Color/B&W, 35mm) draws on Ernst Jandl's Poems to Childhood and, in Mueller's words, "attempts to translate into images the heterogeneous structure of these poems, their ambivalence, their melancholy and also their scurrilous humor."-Kathy Geritz