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Registration is now open for the 3rd International Baltic NeuroCine Conference - programme and details

Registration is now open for the 3rd International Baltic NeuroCine Conference, which will take place on the 24th and 25th of April at Tallinn University, Estonia. The conference aims to bring together an interdisciplinary group of filmmakers, artistic researchers, film scholars, cognitive scientists, and anyone else who is interested. The topics of discussion will include:

How tacit skills and experiential heuristics are reflected in the professional film practices
How expertise can be observed in verbal accounts, actions, and psychophysiology
To what extent such insights may be generalized across other practical domains of expertise, for example, simulated situations in education and healthcare.

Attendance is free of charge. During the conference days, complimentary lunch, snacks, and coffee will also be provided.

You can register via this link.

Detailed schedule, details of the presenters, and information about the presentations can be found below.

Please note that the schedule might be subject to change and the organizers reserve the right to make changes in the schedule.

24 April Friday

09:00 - 09:45 Registration and Coffee

09:45 - 10:00 Pia Tikka & Elen Lotman, Welcoming words

Where is neurocinematic studies heading? - new frontiers

10:00 - 10:30 Elen Lotman, Opening Talk

Title: Tacit knowledge in filmmaking and its applications beyond film.

Abstract: The opening talk explores the potential of studying and using the tacit skills of the filmmakers beyond just making better films. And the study of films and filmmakers beyond the analysis of how film theory. There is vast potential in engaging the knowledge that exists in film practice within other fields of study, for example learning about human perception and cognition and how it evolves. Films and the way they are made can be used as not a mere naturalistic stimuli, but as supernormalised stimuli that has more defined effects than natural environments. This means that there is vast potential in leveraging this tacit knowledge in human wellbeing, for example within the mental health system. The focus of NeuroCine conferences has been, from the first edition, building bridges between filmmakers and researchers, thus the talk aims to further highlight the potential of seeing film and filmmakers’ skills as something that is applicable in other fields beyond art and entertainment.

Bio: Elen Lotman is a cinematographer, who has shot numerous documentaries, short and feature films. For various film projects she has travelled to Japan, Tibet, China, India, Nicaragua, Costa Rica, Lapland and Russian Arctic. Her films have won and participated on A-list festivals. "Good Bye Soviet Union"; won the Black Nights Film Festival audience award and was selected to multiple competition programs. Feature screenplay "Container" made to quarterfinalist at the American Film Academy Nicholl screenwriting competition. Her virtual exhibitions filmed for Tallinn Art Hall were chosen among best virtual exhibitions of 2020 by both New York Times and Wallpaper Magazine.

10:30 - 11:30 Robert Marchand, Keynote Speaker 1

Title: The Potential of Character-based Improvisations in Mental Health Simulations

Abstract: The Paediatric Mental Health Training Unit (PMHTU) at the University of Adelaide has been providing intensive simulation-based mental health teaching to senior medical students for thirteen years through its iLab program. iLab offers a safe simulation environment where students can gain practical experience in effectively engaging children, adolescents and families dealing with mental health challenges. Students receive guidance in developing an empathetic interviewing approach while retaining their ability to think during stressful clinical situations. This prepares them to collaboratively engage with patients in addressing real-world clinical complexities post-graduation. An acting methodology called Character-Based Improvisation (CBI) is used to create authentic, well-rounded characters. Harnessing CBI, actors can seamlessly tap into a wide range of tendencies, defences, and motivations during their performances. Resulting simulations generate a vivid sense of reality, evoking deeper emotional engagement from students. An inventory of 19 unique simulation vignettes, each featuring discrete groups of actors ranging from 11 to 80 years old, has been developed for training purposes. Vignettes cover presentations such as domestic violence, trauma, grief, and drug use, adolescent psychosis, suicidality, unexplained medical signs and symptoms, anorexia nervosa and more. Robert’s presentation will detail how the process works and include examples of different vignettes.

Bio: Dr. Robert Marchand is the foremost expert in the Character-based Improvisation (CBI) Process and teaches this process all over the world. In addition to using CBI Process in creative fields, Robert is also the Director of Performance at the Paediatric Mental Health Training Unit (School of Medicine, University of Adelaide). He uses the CBI Process to improve diagnostic skills for medical students studying to become GPs and psychiatrists. Robert has created workshops for actors, filmmakers and writers in many locations and many languages. Robert’s expertise in the CBI Process has been featured at Directors Guild and Screen Producer conferences; he has developed workshop programmes for filmmakers at film schools and universities in Australia and across Europe as well as over 100 workshops for actors through various organisations in a number of cities worldwide. His credits include many television mini-series and telemovies and his achievements include four Australian Film Institute Awards; Logie, ATOM and Penguin awards and nominations. Robert’s work is underpinned by his academic investigation of the CBI Process through his PhD at Flinders University. In addition to using CBI Process in creative fields, Robert is also the Director of Performance at the Paediatric Mental Health Training Unit (School of Medicine, University of Adelaide). He uses the CBI Process to improve diagnostic skills for medical students studying to become GPs and psychiatrists.

11:30 - 12:00 Mirona Radu

Title: Mindful Cinema as Embodied Practice: Tacit Knowledge and Attention in a Participatory Filmmaking Case Study

Abstract: This presentation introduces Mindful Cinema, a practice-based framework grounded in phenomenological film theory, embodied cognition, and tacit knowledge. It examines a participatory short film created with neurodivergent children without a fixed script, where filmmaking decisions emerged through attentive engagement with participants’ rhythms and interactions. The study explores how embodied attention shapes perception, authorship, and ethical responsibility, emphasizing decision-making rooted in sensing and responsiveness rather than preplanning. Speaking from within practice, it argues that filmmaking generates forms of knowledge that resist full theoretical capture. Mindful Cinema thus offers transferable insights for education and care, positioning attention as a developable professional skill.

Bio: Mirona Radu is a Romanian filmmaker, researcher, and artistic director in several film festivals, with nearly 20 years of experience in the field, including directing, producing, and curating. She is the founder and director of the Film O’Clock International Festival, spanning twelve countries across two continents. Her practice-based work explores how attention, presence, and tacit knowledge shape creative processes and audience engagement, often through participatory projects with diverse communities, including neurodivergent or pediatric oncology children. She has presented her research at international conferences and contributes to discussions on embodied film practices, creative pedagogy, and the therapeutic potential of cinema.

12:00 - 13:00 Lunch Break

13:00 - 13:45 Maarten Coëgnarts, Thematic Talk

Title: Visual Thinking in Cinema: A Videographic Exploration

Abstract: This presentation revisits and extends Rudolf Arnheim’s theory of perceptual dynamics to the domain of cinema, arguing for a mode of visual thinking that unfolds in time rather than in fixed images. Arnheim’s concept of “structural skeletons,” or Gestalts, demonstrates how meaning in the visual arts emerges from the organization of perceptual form itself. While his schematic diagrams illuminated these dynamics in painting, they do not account for the temporal complexity of moving images. To address this gap, the presentation proposes a videographic methodology that translates Arnheim’s schematic approach into an animated form of analysis. Drawing on the graphic affordances of the video essay – particularly keyframe animation and visual overlays – this method traces the evolution of shapes, vectors, and compositional forces across moving images, rendering visible the rhythmic and spatial patterns that structure cinematic meaning-making. Building on earlier videographic exercises published in [In]Transition (Coëgnarts 2023; Kiss and Coëgnarts 2025) and The Journal of Science and Technology of the Arts (Coëgnarts 2025), the presentation introduces new case studies that further establish videographic practice as a method for investigating artistic thinking in cinema.

Bio: Maarten Coëgnarts is assistant professor in film studies at the University of Antwerp, artistic researcher at LUCA School of Arts and research fellow at the University of the Free State. His research on embodied cognition, metaphor and cinema has been published in various peer-reviewed journals including Art & Perception, Frontiers in Neuroscience, Metaphor and Symbol, New Review of Film and Television Studies, Projections, and The Journal of Aesthetics and Art Criticism. He is co-editor of Embodied Cognition and Cinema (Leuven University Press, 2015) and author of Film as Embodied Art: Bodily Meaning in the Cinema of Stanley Kubrick (Academic Studies Press, 2019). He also serves as co-editor of Projections: The Journal for Movies and Mind.

13:45 - 14:15 Anna Huth, (Online)

Title: Tacit Expertise and Heuristics in Film Crewing

Abstract: This presentation examines film crewing as a practice-based judgement system shaped by experiential heuristics, social verification, and embodied professional perception. Drawing on interviews with producers and production staff, it shows that competence is assessed through multidimensional, tacit criteria—technical skill, behaviour, stress performance, and reliability—communicated via reputation fragments and micro-evidence. The study identifies key heuristics, including competence-by-proxy, stability signals, friction forecasting, and trust compression. Findings suggest hiring prioritises risk reduction and social predictability over maximal skill. Crewing thus operates less as optimisation and more as a safety-critical, socially embedded decision process grounded in professional experience.

Bio: Dr. Anna Huth is a film industry professional, working at the intersection of film production practice, talent development, and innovation. She is the founder of team4set (EFM Startups, VISA Foundation grant), a film-industry networking and crewing platform designed to reflect how crews are built in Europe through recommendation networks, proximity, and verified experience rather than generic job boards. She also develops professional training initiatives for below-the-line (BTL) film departments through film:lab and collaborates internationally with festivals, film schools, and industry institutions. Her work focuses on practical decision-making under uncertainty, risk reduction in hiring, and cross-border collaboration in the European audiovisual ecosystem.

14:15 - 14:45 Ali Mehdipour, (Online)

Title: A Neurofilmological Investigation of the Subjective Correlative Intercut

Abstract: This study uses a neurofilmological framework to examine how the Subjective Correlative Intercut—metaphorical imagery inserted into narrative—shapes viewers’ interpretive freedom. EEG data from 22 participants were recorded across five frequency bands during pre-, intercut, and post-intercut phases. Results show a biphasic neural pattern: intercut sequences produced synchronized activity (increased delta and gamma, reduced alpha), followed by widespread post-intercut desynchronization. This sequence correlated with heightened self-reported interpretive freedom. The findings provide empirical evidence of how tacit editing heuristics guide cognitive-affective engagement, demonstrating EEG’s value in capturing film experience and offering a transferable model for narrative-based learning and therapeutic contexts.

Bio: Ali Mehdipour is a filmmaker, screenwriter, editor, and university professor specializing in neurocinematics, neurofilmology, and neuroaesthetics. He received his Ph.D. in Neurofilmology and Neurocinematics from the Art University of Isfahan with highest honors. His interdisciplinary research investigates how cinematic form and rhythm shape embodied spectator experience, integrating perspectives from philosophy, cognitive neuroscience,neuroimaging, and film studies. He has conducted collaborative research at the University of Bergamo’s VMLab with Professor Adriano D'Aloia, focusing on neurocinematic and psychophysiological approaches to film experience. Alongside his academic work, he has written and directed several films and published scholarly articles on rhythm, embodiment, and perception in cinema. He currently teaches film practice, film theory, and interdisciplinary courses in neurocinema, neuroaesthetics, and neurofilmology at Iranian universities.

14:45 - 15:30 Coffee Break

15:30 - 16:00 Iiro Jääskeläinen, Keynote Speaker 2

Title: How films changed research in social science

Abstract: In this talk, I will go over recent results that indicate a still largely uncovered potential of free film viewing to study social cognition and emotions in participants during neuroimaging experiments.Traditionally, in the social sciences one has relied on self-report questionnaires. While these studies have provided invaluable insights, they are limited by the poor self-awareness of experimental subjects on the inner workings of their mind as well as by response bias in certain cases. With the new film viewing approach, one can ask the brain directly in addition to asking the experimental subjects,making it possible to measure and model brain activity during social cognition and emotions.Thus far, this approach has been utilized to answer specific social science questions including on kinship premium effect, mutual understanding, intergroup bias, and intergroup emotions. In my talk I will cover examples of such research findings. I will also highlight method development that can open up even further possibilities in social science research.

16:30 - 17:00 Larissa Barbosa Curi

Title: Affecting pleasure and fear: The use of verbal accounts in planting and payoff scenes in horror films

Abstract: Verbal accounts comprise oral retellings of past events or descriptions of concealed images. When used in the context of planting and payoff in film, they either consist of an image that is referenced in a later oral description, or a verbal retelling early in the story which is recalled in visual representation toward the end. The present work analyzes a small sample of verbal account planting and payoff pairs from horror films and draws on Berliner’s (2020) cognitive effects of planting and payoff to argue that the memory recall cued by the payoff affects aesthetic pleasure in the viewer.

Bio: Larissa Barbosa Curi is a screenwriter and Junior Research Fellow at Tallinn University’s Baltic Film, Media and Arts School. She holds a bachelor’s degree in Social Communications from the Federal University of Rio de Janeiro, Brazil, and a Master of Arts degree from the practice-based program Kinoeyes - The European Film Masters, with her thesis film premiering at PÖFF Shorts 2019. Recently published in the International Journal of Film and Media Arts, Larissa’s doctoral research focuses on verbal account scenes in horror films and their emotional affect through a cognitive and embodied perspective.

17:00 - 17:30 Summing up, moderator Elen Lotman

17:30 End of Day 1

20:00 - 00:00 Evening Event, Night Shift at Fotografiska

Anton Corbijn exhibition at Fotografiska

25 April Saturday

09:30 - 10:00 Coffee

10:00 - 11:00 Willeke Rietdijk, Keynote Speaker 3

Title: Using micro-phenomenology to investigate the tacit and embodied processes of filmmaking

Abstract: Drawing on theories of embodied, enactive mind and naturalistic neuroscience, filmmaking and artistic decisions are increasingly viewed as physical, perceptual, and experiential activities, with the body regarded as a vital starting point for creating and interpreting meaning for filmmakers and viewers. However, our understanding of cinematographers first-person tacit and embodied creative experience and decision-making during filming remains limited. We investigated this by inviting six cinematographers to a professional filmmaking experiment to film a short dramatized scene with a handheld camera and interviewing them afterwards using the micro-phenomenology method. We will present the interview findings and examine the potential of the micro-phenomenology method for studying creative practices.

Bio: Willeke Rietdijk holds Master’s qualifications in clinical psychology as well as education and obtained her PhD investigating the micro-phenomenology of contemplative processes from the University of Southampton, UK. She conducted quantitative and qualitative educational research for 13 years at the University of Southampton, UK and the Vrije Universiteit Amsterdam and alongside developed a deep interest in the enactive approach and 5E cognition. She currently works as a micro-phenomenological researcher on the "Cinematic Minds behind-the-scenes: A neuro-phenomenological window to filmmaker's enactive cuing of expectations" (2024-2028) project led by Prof. Pia Tikka.

11:00 - 11:30 William Primett

Title: Data visualisation tools for exploring the cinematographer’s creative process in the act of creation

Abstract: This talk introduces a multimodal visualisation tool designed to assess affective and motor responses during the filming process from the cinematographer's perspective, bringing forth alignments between detailed verbal accounts and physiological patterns. The platform synchronises physiological sensor graphs, displaying inertial movement, skin conductance, and cardiac activity with frame-accurate video playback. By aligning these objective metrics with interview data, the filmmaker’s somatic state is connected to their creative decisions on a moment-by-moment basis. In addition, we discuss how automated feature extraction and Bayesian inference can be harnessed to present the cinematographer’s autonomic behaviour alongside the film's visual composition.

Bio: William Primett is a researcher at Tallinn University under the Cinematic Minds project, forming an enquiry into computational embodiment through the lens of choreographic principles. Following the core themes behind their PhD thesis: “Non-verbal communication with physiological sensors: the aesthetic domain of wearables and neural networks”, William’s research aims to compile principles in computational neuroscience, somaesthetic enquiry and narrative structure in audio- visual media. William is also affiliated with the department of Cultural Research under the Faculty of Arts and Humanities at the University of Tartu, in an effort to develop systems for researchers and creative practitioners working with interactive narratives.

11:30 - 12:00 Burcu Ayşe Ürgen, Online

Title: Spatial Sound in Cinema: Behavioral Foundations and Neural Implications of Immersive Audio

Abstract: Sound is a central yet under-theorized component of cinematic experience. This talk adopts a naturalistic neuroscience approach to investigate how spatialized audio shapes the perceptual organization of complex auditory scenes, including film. Using controlled immersive audio paradigms, participants perform sound localization tasks in single-source conditions approximating real-world soundtracks. Behavioral findings show that spatial layout systematically constrains the segregation and localization of auditory objects, providing a quantitative window into auditory scene analysis under ecologically valid conditions. This framework links object-based audio engineering with experimental neuroscience and establishes a foundation for future studies integrating neural measures such as EEG.

Bio: Dr. Burcu Ayşen Ürgen is an Associate Professor in the Departments of Psychology and Neuroscience at Bilkent University. She received her PhD in Cognitive Science from the University of California, San Diego (USA) in 2015. She completed her undergraduate studies in Computer Engineering at Bilkent University and her master’s degree in Cognitive Science at Middle East Technical University. Following the completion of her PhD, she worked as a postdoctoral researcher in the Department of Neuroscience, Faculty of Medicine, University of Parma, Italy. Dr. Ürgen’s primary research focuses on human perception and cognition, including visual, auditory, and multisensory processes. She employs behavioral methods alongside a broad range of invasive and non-invasive neuroimaging techniques—such as fMRI, EEG, and intracranial recordings—to investigate the neural basis of human perception and cognition. Her work frequently integrates state-of-the-art computational approaches, including machine learning, computer vision, and effective connectivity analyses. In addition to her fundamental research in cognitive neuroscience, Dr. Ürgen pursues interdisciplinary work at the intersection of social robotics and cognitive neuroscience, aiming to understand the human factors that enable successful interaction with artificial agents such as robots.

12:00 - 13:00 Lunch break

13:00 - 13:45 David Novack & Sandra Ramos, Thematic Talk

Title: Creating an audio-driven phenomenological teaching framework for animation students

Abstract: Animation education often produces works that are figurative in image and simplistic in sound. Pedagogy consistently fails to address two key aesthetic considerations: embracing audiovisual abstraction that animation uniquely affords and intertwining the development of sound and image through embodied authorship. Grounded in approaches to abstraction, embodiment, and phenomenology, students in one course are launched into an exploration that materializes abstract concerns in their lives. They begin by rotoscoping motion-video, abstracting that motion with non-figurative, pure movement-based stop-motion animation, then reapproaching the work with sound design, both concrete and abstract, rooted in specific “essences” of human experience triggered by the visual work. A second exercise begins with sound first, designed to communicate an abstract concept via sonic mood and metaphor, progressing to animation based on the sound work, using a complex illustrative approach. A third exercise demands the articulated development of sound and image in tandem. Exercises are supported by critical theory in phenomenology and essences, embodied cognition in arts, a critical look at diegesis, and the rhetorical construction of sound/image, with examples of professional and student work. Thus, animation becomes a vehicle for students to explore philosophical approaches to feelings, identity, humanity and existence, embracing abstract ideas and critical thinking.

Bio: David Novack teaches sound at Lusófona University and is the Director of the Master’s program ReSound. With degrees in engineering, music, and a PhD in Media Arts, David has enjoyed an award-winning career in sound design and re-recording mixing for films. Highlights include Todd Haynes’ Velvet Goldmine and Larry Clark’s Kids. David designed sound for Pedro Serrazina’s new abstract animated short Shadows of Ourselves and for an international exhibition, Space Messengers, in Portugal. David’s current research through the FilmEU Centre of Excellence “FilMind” focuses on neurocinematics, and exploring embodied cognition activated via sound in audiences.

Sandra Ramos completed her bachelor’s degree in Equipment Design in 2000/01 from the University of Lisbon, Faculty of Fine Arts, and a Diploma of Advanced Studies in Animation Filmmaking in 2003/07 from La Poudrière - École du Film d'Animation. She is an Invited professor at the Lusófona University of Humanities and Technologies, School of Communication, Architecture, Arts and Information Technologies. Her work focuses on the Humanities, with an emphasis on Arts, and on Film, Radio and Television Studies. In her curriculum vitae, the most frequent terms related to her scientific, technological, and artistic-cultural output are: Drawing; Animation; Painting; Stop Motion.

13:45 - 14:15 Liis Nimik

Title: Sensing Skill: Tracing film editing students verbal expertise in response to the sensed emotions

Abstract: This case study investigates how artistic expertise becomes observable across two channels—verbal accounts and concrete film-editing actions. Editing education is examined as a process of subject formation (Biesta 2016) through an event-based pedagogy grounded in chance-seeking (Bardone 2011) and Barthes’ punctum. Based on four years of classroom action research (~150 exercises), students respond to one question only: “How did this make you feel?” Results show a clear pattern: weak scenes generate single-word reactions, while compelling edits evoke poetic and paradoxical responses. Punctum-based practice activates deeper perceptual engagement, enabling students to articulate emergent meaning and reposition themselves as responsive editors working in relation to the material rather than controlling it.

Bio: Liis Nimik (b.1979) is an Estonian filmmaker, editor, lecturer, and researcher whose work moves between the borders of fiction and documentary. Her debut feature Sundial (2023) premiered at Visions du Réel and Hot Docs, winning several awards for its quiet intensity. As an editor, she has shaped some of Estonia’s most celebrated arthouse films, including Free Range (2013) and Roukli (2015). With a deep sensitivity to both form and feeling, she has taught editing for over a decade at the Baltic Film School and abroad. A member of the European Film Academy, she is currently exploring film editing as artistic research.

14:15 - 15:00 Elen Lotman, Thematic Talk

Title: Viewer's event segmentation comparison with filmmaker's intent

Abstract: Human cognition parses the continuous stream of everyday experience into meaningful segments. Event segmentation supports memory function by dividing experience into smaller, meaningful units, enabling more effective encoding and supporting long-term memory (Şimşek and Kurum 2024). In addition, segmentation supports the prediction of events, enabling one to anticipate what might follow the present moment (Basgol et al. 2022; Drew and Soto-Faraco 2023; Eisenberg et al. 2018). Event segmentation also plays an important role in cinema. Films are characterized by a structured composition, where major episodes (sequences) and varying tempo give rise to patterns (Blau et al. 2013). Based on film theory and dramaturgy, films typically follow a three-act structure — exposition, confrontation, resolution — and the use of sequences makes orientation within the story easier (Gulino 2024). These structural elements maintain the rhythm of the film, which can support the viewer’s cognitive engagement and make the film experience more interpretable and memorable (Şimşek and Kurum 2024). Aware of the cognitive effects of event segmentation, filmmakers strategically structure their films into major episodes that engage the viewer and provide cues for how to understand the narrative. To draw attention to certain aspects of events, filmmakers use various means and techniques that influence the viewer’s perception of the structure of events and their recall — that is, memory processes (Blau et al. 2013; Magliano et al. 2020).

The aim of the study presented in my talk was to investigate event segmentation in film and to compare the filmmaker’s intended segmentation with viewers’ immediate experiences, using Tanel Toom’s (2019) feature film Truth and Justice as a case study. Although previous literature has analysed how viewers segment films and how editing techniques affect segmentation, few studies have compared the filmmaker’s initial structuring intentions with the viewer’s segmentation at the receiving end of these intentions. To the authors’ knowledge, no such study has been conducted with a feature-length film where the director’s precise vision of sequence boundaries has been mapped. In addition, we examined whether alignment between filmmaker and viewer segmentation predicted aspects of film experience, as measured by the Narrative Engagement Scale (NES; Busselle and Bilandzic, 2009).

In the talk I will present the results of the study and discuss the implications and limitations of the experiment.

15:00 - 15:30 Coffee break

15:30 - 16:00 Sachin Sharma, Online

Title: Seeing Closer / Seeing Afar: The Interplay of Film Format, Camera Proximity and Viewpoint in Shaping Empathy towards Characters

Abstract: This presentation explores how cinematographers shape audience perception through format and camera proximity. Drawing on cognitive and phenomenological perspectives, it examines how sensor size, focal length, and camera-subject distance construct spatial relations, intimacy, and narrative viewpoint. Format is treated as a key creative variable, historically linked to aesthetic intentions—from the realism of 8mm/16mm to the spectacle of large formats. The study considers how these choices influence embodied and interpretive viewing, including shifts between immersion and alienation. Using excerpts from practice-based work shot on Super 8 and large-format, it investigates proximal and distant viewing as expressive tools in cinematic storytelling.

Bio: Sachin Sharma is a cinematographer who has worked behind the camera in different countries, Asian and European. He studied filmmaking and cinematography at FTII, Pune and FAMU, Prague. He successfully completed the Cinematography Joint Masters -'Viewfinder' from SzFE Budapest, BFM Tallinn and IADT Dublin on an Erasmus Mundus scholarship. Previously, he served as an Associate Professor of Cinematography at the Film and Television Institute of India, Pune. He is currently a PhD candidate in Media Arts and Communication at Lusófona University, Lisbon, supported by a FilmEU/FCT Research Scholarship.

16:00 - 17:15 Film screening, The Squeeze

Followed by a discussion on PhD thesis film making for artistic research track

17:15 - 17:30 Take home message, Elen Lotman & Pia Tikka

17:30 End of Day 2