and screen formats that offer access to critical recontextualization of the reproduction of borders, and of unfolding new agents of social and political (ex)change. On a more formalistic note, how does the documentary form carry a politic, an ethics or epistemology and how can the documentary film help us see and act differently? Does the time of the border transform its place, or its performative character? Does border activism lend itself to the cinematic? Can we film another way across? Comments The question you frame have been very important to us in terms of thinking out the trajectory border disturbance technologies here at bang.lab ( http://bang.calit2.net ) and we are approaching the question of cellphones/microscreens/sonification as important to our re-locative media research in relation to border(s): the Transborder Immigrant Tool (TBT) ( http://bang.calit2.net/xborder ) uses multiple orientations of sonification -- you can scroll down and see visual poems to be presented on the cellphones as one layer of the tools safety protocols for those crossing the Mexico/U.S. border -- another element of border crossing sonification is part of the navigation (you can look at the how to page: http://bang.calit2.net/xborderblog/?page\\... TBT appropriates the mapping and tracking drive of locative media for a simulation of oppositional force that asserts an impossible task: that the desert and its vicissitudes, including the border patrol and vigilante groups, can be mapped out and anticipated, and consequently, that migrants can be rerouted to elude dead-end paths. The tool appears as a donation, an affirmation of hospitality