I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.

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.

The human brain is probably one of the most complex single objects on the face of the earth; I think it is, quite honestly.

I would prefer to be forgotten, then rediscovered in a different age.

In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.

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.

Since the time of St. Jerome, it was mandatory for any kind of scholar or thinker to spend time out in the desert in solitude. It's no coincidence that the desert has been a major part of the visionary or mystical experience from the beginning of time.