We visit the Prohlis housing estate. I belong to the group who have dressed up as property investors. Iara cuts the slyist looking investor. She's wearing elegant shoes and criticises the game's tour guides, Eva Hertzsch and Adam Page, for the long distances on foot. Mr Schmidt and Mr Siekmann continue their conversation. "Nervous artists are seen as being sensitive, nervous economists are just uncertain", says Rudi Schmidt. The spaghetti in the restaurant in Prohlis was not a good choice, even though kindly cut small for me.

Christoph Schäfer and Margit Czenki present Hamburg City Council's pioneering new idea to develop an international city outside of the jurisdiction of German immigration laws in its port's free trade zone. A city called Suitcase City Grassbrook in which nobody is required to prove their identity. The Hamburgers' daring is captivating.

During Tomislav Medak and Damir Blazevic's lecture an argument about money and profit in culture ensues. "We are non-profit. We are non-profit,” says Damir. During the break we polish off a tray of cake. Luchezar tells me how artists were portrayed in socialist Bulgaria: long hair and a long beard. He began studying at an art academy at 17, he explains. He was completely foxed as to why he couldn't grow a long enough beard. He also tells me about the status of the chairman of the artists' union: he was the top artist in the country. Luchezar describes the Visual Seminar, so often mentioned here, like this: "Visual Seminar is really just a pressure group".

One of Andreas's suggestions is to create a free trade zone in Zossen. Attract capital by setting up fake company adresses there. That's not possible under German law, counters Rudi Schmidt. "Why?", asks Andreas, "are our lawyers so bad?"

Later Uwe Rada speaks in praise of international commuters. He talks about "regions where there is no capitalism anymore", of "spaces of functional irrelevance“, of between places and of "the temporary as a resource". He talks calmly about not quite and just about. Rudi Schmidt calls for consistant argumentation. The interpreter copies the striving in the speaker's voice in her own pleasant way. She has a good tan. She gesticulates in her cabin while translating.