In this article, Price defines video art as a medium whose artists present diametrically opposing arguments for the nature of video. Beginning with the differences between film and video, emphasizing that video's loss of detail, instantaneity and novelty keep the video audience active where the film viewer is passive, Price turns his attention to presenting similar binaries within video art itself. Price asks a series of questions about video art that identify ideological oppositions within the form. He sets up categories that attempt to define video art as electronic or mechanical, organic or manmade, excessive or minimalist, simultaneous or asynchronous, transparent or artificial, for artists or for the public. Price provides close textual analysis of several artists to demonstrate the oppositions he has identified; however, these detailed descriptions do not always clearly support his intellectual argument for distinct and opposing categories.