Each and every thing has a pre-history and many circumstances with which it co-habitats. How to describe the projects, co-workers and work technology of a period in as greater detail as possible? When the word comes to Zemira and me, two larger periods occur: the initiation period in the 1980's and the realisation period in the 1990's. In Bodočniki - an underground video the FVVideo period [Initiation] is recycled, and this period is finished with the compilation video cassette The Triumph of Desire in 1989, or, to be more precise, in February 1990 when it became publicly available. The material is interesting enough to represent a rounded up video activity. It does not need any explanations as regards the circumstances in which it emerged. Even more - it marks that situation, that moment with great affection. On such a readily available medium as the CD-ROM it seemed worthwhile to publish as many as possible original clips, which offer the best picture of the video itself. Bodočniki/The Futurists - an underground video is divided into two (sub)periods 1982 - 1985 and 1985 - 1989. The dividing line is defined with the perception of the video as an important creative medium and life choice. The difference between both (sub)periods can also be found in the technology of making the video. The two boarders are defined by two compilation video cassettes - So young and Search for the Lost Time. It is interesting that none of the two cassettes were edited in Ljubljana. People, with whom we co-created the images, are (I hope precisely enough) stated at each individual project. Taking into account the picture language and the thoughts as regards the starting points of this language, and especially taking into account the visual contribution of this CD-ROM, Goran Davide is especially exposed (he died in 1989). On one hand his arrival to the FV 112/15 Theatre enabled the movement towards the (let's say) technological presentations, and on the other hand his work with real time computer animations is the best definition and illustration of the video language, which was researched by FVVideo. That is why the clips include everything that remained from his work in original. The other such personality (who was not a member of FVVideo) is Marijan Osole - Max. Max not only gave the Ljubljana scene of the time a relevant video tool (which was elsewhere performed by state institutions) but he also showed the way towards authentic video with his projects. (Neven Korda)