This text tells about one of the most significant works in the orientations of video research in the 1980s, and about Studio Azzurro’s early interest in the audience’s perceptive experience.

“The Swimmer (going to Heidelberg too often)” develops the usage of the new electronic means to reveal a series of minimal signs of persistence, variety and complexity of perceived differences. Screens are lined up in an empty pool, a clock marks a time which is both real and artificial together, while images appear in short flashes and glide. The viewer is involved in an ambiguous situation.