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There is a big push that we all are engaged in, in wanting to have the newest in innovation - and I think that's all really great. But I also feel that human beings need to be aware of, and grounded in, history.

Art is, for me, the process of trying to wake up the soul. Because we live in an industrialized, fast-paced world that prefers that the soul remain asleep.

The world is fine and everything is normal and then, bang, you just get bowled over by the wrathful deities somehow. That happens in very small ways and happens in very large ways when you have a major conflagration in the world. It's another cycle of existence of human beings.

I cry a lot. Usually once a day. I think it's one of the most profound forms of human expression.

A doctor once told me that with crying you aren't sure what its derivation is. If someone comes at you with a knife, you don't cry: you scream, you try to run. When it's over and you're OK, that's when you cry.

The velocity and knee-jerk response to events happening in real time that television brings us precludes any kind of reflection or contemplation and therefore analysis. And that's been one of the greatest political dangers in the post-war era. The idea of the reasoned, thoughtful response goes out of the window.

Revolution is something that actually starts in individual hearts.

Creativity is not the property of artists alone. It's a basic element of the human character, no matter what culture you're in, no matter where you are on Earth or in history.

My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.

There's another world out there just beyond the world we're in. It's just on the other side of that translucent, semitransparent surface.

Vision connects you. But it also separates you. In my work, and my life, I feel a desire to merge. Not in terms of losing my own identity... but there's a feeling that life is interconnected, that there's life in stones and rocks and trees and dirt, like there is in us.

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.

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.

Emotions are the key to many aspects of life. They are precisely the elements that make human beings human. I think the fact that emotions have been reduced and put off to the side in intellectual work, particularly in the 20th Century, is tragic.

A lot of what making art is, is just being open, and empty. And putting yourself in the right place for things to, literally, come together.

One of the most important things for me in terms of my working method is doubt. I get very insecure about my ideas. And I don't say 'insecure' in kind of a paranoid way. I mean just: 'Are they good enough?' 'Is this the right thing to do?' I really beat myself up over that.

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.

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.

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

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.

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 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.

You are just as qualified as any expert to make a judgment and have a feeling or a response to any work of art.

When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.

The very first video experience I had was in high school. They brought a black-and-white closed-circuit surveillance camera into the classroom. I will never forget, as a kid, looking at that image.

I spend a lot of time writing. I get inspiration from texts rather than images.

The future art historians are going to be software guys who are going to go into the depths of the code to find out what was changed hundreds of years before.

You can always tell in a movie when they are setting you up for something. If someone leaves an important object on the table and walks away, the camera will have some way of indicating that to you.

This thing called the camera, that takes everything in equally, taught me a lot about how to see.

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