As I indicated in my presentation in NMNF session 2, there is much to say about video. From a 4D+ artist point of view, to comprehend the potential of video as a medium requires convolutional thinking. First, optimized video must conform to sonic sensational experience. To put it another way, the conventions of seeing and movement must be made all-directional simultaneously, with the features of waveform added, so as to create a life-like, encompassing, environmental scenarios. Video without narrative only addresses light-reflective surface and light-absorptive areas on a narrow visual spectrum. Narrative may provision amplification of artistic intent, enhanced via multifaceted focal and directional effects. VR is therefore a "natural" extension of video, which itself is an extension of single-pointed, stereoscopic optical awareness, supplemented by sonic awareness. Helpful introductory classroom exercises might include teaching students to "see first with their eyes closed" in short-long duration, and afterwards scripting their "imagined movies" conceived during the eyes-shut exercise. Another might feature shutter-open video-making in natural landscapes (or hybrid topographies with plenty of moving parts) with short-long duration, and inviting students to think of these in all-at-once modes post-facto the video artifact, for the purpose of better understanding certain features of 4D+ painting, as it relates to moving image production. Keep in mind the memetic qualities of camera-based activity.