The moment - to - moment flow of common public amusements in Santa Cruz, Santa Monica, Santa Clarita, and Santa Rosa, California, is exposed through a kind of twenty-first century perceptiscope, a device used by Ray Birdwhistell and Jacques D. Van Vlack in their legendary film, Micro-cultural Incidents in Ten Zoos. Where Birdwhistell and Van Vlack used their 'film projector as microscope, ' Micro-Celluloid Incidents in Four Santas,' utilizes digital tools to interrogate film, and in so doing, to investigate meaning. What can be shown and what can be known?