Desire finds tenuous footing in Lydia Schouten's Civilization Without Secrets (1987, 16:14 mins). Prompted by images of Ronald Reagan, Whoopi Goldberg and Lola Montes, performers cavort in an illogical story where all yearn for the impossible. For Into the Future (1986, 7:23 mins), Richard Hefti has constructed a collage of images torn from newspapers, alongside outlines of objects, human figures and hazy landscapes. An electronic soundtrack enhances the associative and finally emotional impact of the tape. Jaap Drupsteen's Ricercare (1987, 6:10 mins) presents an ensemble of cellists playing a work by Bach. Through electronic manipulation, the musicians and their instruments are transformed into a visual pattern analogous to Bach's composition. A menacing mood dominates Ricardo Fueglisthaler's Nightsoil (1984, 3:52 mins). Here, ritual acts undermine redemption, leading instead to some imminent horror. In Watching Out (1986, 13:05 mins), the artist, Nan Hoover, looks out over a drawn landscape. Sometimes the surfaces out of which her face is "constructed" dissolve into the background; hence the images become abstract and detached from reality. Rene Reitzema's The Road (1987, 5:25 mins) leads us into a future of foreboding achievements. Grit is scooped away from the screen to reveal a silent highway while Goebbels' voice is heard on the soundtrack. Reitzema's videotape seems a warning of history unchecked.