The arrival of video in the sixties, the "massification" of its use in the seventies and the development of digital technology in the nineties has permitted a revival of image interrogation. These questions have been approached in a large variety of ways depending upon the person concerned:

Visual art artists, dancers, performers or video producers.

In fitting into a domain other than a review of the multiple uses of video, the festival gives a unique place to experimentation.

In the same way, Images Contre Nature attempts to redefine this genre, which has had such success with the cinema, the experimentation of the moving image, as being a own proper notion of what qualifies a video work, not to register it on a scale of values but to recognise it as an experimental work in its own right.