Too much noise. Too much movement! That is how Georges Duhamel had described his perception of cinema in 1930, expressing the disturbance that the filmic image produced in his ability to perceive and understand the world. Almost thirty years before, at the outset of the century we concluded, George Simmel had diagnosed a similar phenomenon for the inhabitant of the modern metropolis. The excessive quantity and speed of images has not wreaked the harm he had feared, but it has provided a new range of influence for contemporary art: inquiring into the individual’s senses and consciousness, into our physical sensibility and our critical capacity to distinguish reality from fiction, or simply to enjoy the ambiguities.