sense when they include the documentary, for example, that you made in 1983 — called who killed colin roach briton at a london police station. i mean, can you deal with such a topic in a poetic way, as you've just said? well, you know, when i made that film in 1983 as an art student, you know, of course, i was rebelling against my art—school teachings. i took my camera onto the street, my new video art camera, and brought it to the demonstration. and so, in a sense, i think in that work, it was made at the time of the advent of video art. i was encapsulating video art technologies, or techniques, into the telling of the story of the family's campaign to get a public inquiry into the death of their son, colin roach. you know, in a way, i think it was made with that in mind. and i think, in a way, for me it's very much about also trying to make work that somehow is against the way that the dominant media tells stories about these questions. and so, i guess there's a certain poetry within that. i see. but how far do you see yourself as an artist as well as an activist? i mean, that sounds like