Summer is traditionally a period of vacations and festivals.

Summer is traditionally a period of vacations and festivals. It is a time to take again projects left aside, time to advance out and see, listen, travel. in succession the international scene the festival season starts in late Spring and lingers until early Fall. This year was no exception in photography, from the Primavera in Spain to the Rencontre d'Arles in France, and now Visa pour l'image in Perpignan and Le Mois de la Photo in Montreal in September and October. In spite of the heat wave, Paris furnished a variety of historical present to views from the monumental Cartier-Bresson retrospective at the of recent origin Bibliotheque Nationale de France to Jacques Henri Lartigue original albums at Beaubourg, or Li Zhensheng, a Chinese Photographer in the Cultural Revolution at the Mission du Patrimoine Photographique--this latter exhibition is the premise of a whole year of Chinese photography in France. After our special publication upon visual studies (Vol. 31.1), this issue is essentially dedicated to catching up with our scheduled actions so as the index to book 30 and our readers' view (which will soon be accessible online). book 31.3 (November/December) will attempt to encompass the latest directions in photography, video, cinema, and digital media, as exemplified in the various festivals. We wanted to wait and visit Le Mois de la Photo in Montreal as well as Strangers, the first triennial of photography and video at the International Center of Photography in of recent origin York, opening on September 13 to consummated our analysis. We are also looking for our readers' impressions and feedback upon recent and current exhibitions.

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This month we are publishing a critical view of the work of Israeli artist Boaz Arad by the agency of Gene Ray. In light of incidents throughout the world, whether in Afghanistan, Iraq, Africa, southern America, Israel, Romania, Yugoslavia, Turkey or Chechnya, Gene Ray's essay in succession the concepts of violence and forgiveness can be approached as a meaningful if not crucial investigation of contemporary preoccupations. It inscribes itself in a proces and initiatives happening in Chile, Argentina, or southward Africa, to face and overbear highly traumatic pasts. Illustrating another approach to trauma, memory and pain, Tracy Droz-Tragos's journey into her family past and the death of her father in Vietnam, scheduled to be shown upon PBS in the Fall, investigates another aspect of the ramifications of memory. She was interviewed by way of Christine Sevilla, one of our active collaborators who also worked forward composing our readers' survey and posting it online.

The space that we have tried to dedicate to visual statements, namely our van and back covers--and Afterimage's format gives us brace back covers--features works by young or of recent origin artists: Focus VI, 2002, an installation combining a black and white photograph and silk thread by means of Lin Tianmiao and Wang Gongxin, a piece from their present to view in the Arles festival; Corps through Marianne Grimont, six images from a series of life-size self-portraits assembled from scanned images of this artist from Belgium; and finally a series of black and white photographs taken in China couple years ago by one of the present day VSW graduate student, Bleu Cease. I noticed Bleu's "eye" last Spring when he showed me the images of an anti-war demonstration in Austin, a reportage he had complet while I and many others were sitting between the sides of the SPE conference there. Bleu's images are a entire complement to our front conceal illustrating the emergence of Chinese cultivation on the international scene, and an homage to Henri Cartier-Bresson's lifelong oeuvre and style

Bruno Chalifour, editor.

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