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Figure 30. tntegrating Virtual Reality and Video. In Diego Bonilla's Limbo sedion of A Space in Time,theviewer moves through aQuicktime VR environment, climbing stairs, moving through corridors, and entering various rooms, always able to rotate 360degrees' Upon entering one ofthe large rooms in the empty building, the viewer encounters one or more floating figures, eachofwhich functions as a link that activates segments ofvideo taken from the project's second part, streom ofConsciousness.(Courtesy of Diego Bonilla.)Similarly, upon entering certain rooms on the upper floors, the viewer seesone or more people floating in the air (Figure 30); clicking on them eitherlaunches videos or animated poetry supposedly written by pandora (or panda).Many of the videos present young people who have spent the night in thebuilding at other times and places. In one group of these videos panda andfriends confront a local talk show host and attack the way advertising damagesculture. In another, a young woman rants-pandora's word-about theexistence of websites offering beautiful Russian brides to ugly American (andother) men. Yet others depict the police interviewing a homeless man whilesitting in a diner. Throughout, as the cD cover explains, panda and her friends"attack the most wicked result of capitalism. In addition to her criticism ofadvertising, Panda, her friends and colleagues express their contempt for theblind use of technology, the commercialization of love and sentiment, currentfanatical faith in science, and ever-increasing speed of so-called .pro-