Though the plant ornament in all its variations is temporally and geographically one of the most widespread characteristics of art, plants as a 'plastic' material were never taken seriously into consideration by the history of art. With the exception of G. Semper, however, who already had mentioned an important indicator of anthropological dimensions: the hand as the first tool. Fibrous plants instead of stone. 'Sculptures' made with plant materials. In this context the movie shows the accumulated materials and how they, in the process of this doubtless age old technique, become beauty. An aesthetic principle creates itself, which is strikingly simple, at the same time highly complex: the separition of 'heaven' and 'earth'. A very surprising man-size model of the Chinese Yin-Yang symbol is built. And, like the Chinese Yin Yang symbol - but much closer to the earth! - it contains the whole world in its form. Human basics: a sensually striking 'bundle' of categories like 'natural' and 'technical', 'compact' and 'transparent', 'not defined' and 'defined', 'multitude' and 'unity', 'up' and 'below'. Time-machine? Do we see something very primordial in the cyclic recreation of this fibroconstructive form? It seems so. Note that - locally - it is considered as a deity, it is the nucleus of the village organisation, spatially and socially. This too an indicator of high age: the sacred, the symbolic, the semantic, the philosophical, the spatially existential are 'still' intimately amalgamated with art. Thus, the most spectacular aspect of this movie is its very unspectacular documentation of - very likely - the birth of art!