When you're making video, you're giving structure to time, which is what a composer does.

Video artists being at the low end of the totem pole economically, one of the ways we survive is to go around showing work and giving these talks.

In the 1970s, a lot of critics didn't understand video. I got a lot of bad reviews. But film-makers didn't understand what we were doing, either. There were actual fistfights between film-makers and video-makers. I was witness to one.

The fundamental aspect of video is not the image, even though you can stand in amazement at what can be done electronically, how images can be manipulated and the really extraordinary creative possibilities. For me the essential basis of video is the movement - something that exists at the moment and changes in the next moment.

If you look at landscape in historical terms, you realize that most of the time we have been on Earth as a species, what has fallen on our retina is landscape, not images of buildings and cars and street lights.

I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.