Most importantly, we were trying to avoid fakeness. Since there was a very real threat of becoming fake, it seems to me that uninterrupted and rather honest self-criticism was the most valuable result of our work. This was the element of seriousness that accompanied our game. I call it a game because there was something childish about it: we prowled the city’s spaces and the quotidian that they belong to. They gave way to us far more than we expected, becoming extremely plastical, as an answer to our secret invocation to be little different. What is ostensibly a territory for work became a field for play. People who were otherwise hardly spoiled by contact with cameras stepped into communication with us very ethusiastically, becoming theatrical, playing for us, demanding attention. It was as if the neighborhood itself had become sensitive to the situation of our “drift”; its inhabitants were drawn into this situation for just a single moment, against the background of a workaday in which any of us would have probably grown numb and unable to respond to any interest from art, history, or anything thing else.