The camera, microphone and lighting are all mounted on to the participants head. This is cumbersome, and unnatural, and yet it frees them up to move as they wish through the crowd and space. This allows them to move themselves away from the centre of attention in the social space, although of course their face is always fixed in full illumination large on the building above. In an interview in “Art in the Twenty-First Century” from which the Tijuana excerpt is taken, Wodiczko describes this as “background and foreground at the same time … shifting focus”.