Painter / Videomaker Eric Cameron comments on the nature of his video pieces in an excerpt from an article originally written in 1972. Cameron examines the potential contained within working with television cameras, in which the half-hour tape is seperate from the camera itself, allowing for certain possibilities, such as dropping a camera off of the Empire State Building, or throwing it over Niagara Falls. These practices reveal the possibility for a camera lens to function as much as a finger or penis as they do an eye. Cameron expresses these possibilities through a number of works where the camera and tape are referenced and revealed for their barest functions; a camera runs across the surface of a wall, the lens is scratched the duration of a tape, a clock is taped for the duration of the tape, etc. He divides these actions into four categories: falls contacts, insertions and rewinds. Cameron uses these pieces to question the nature of modern art (and in effect, create by questioning), and again notes the necessity of working as truthfully to the medium of video as possible.