“The tools, often designed collaboratively with other electronic artists, include video synthesizers, colorizers and keyers, as well as techniques which, at that time, were unique to the Vašulkas’ own work, namely horizontal drift and the interface between video and audio signals … One might say that the concept of feedback takes on a special meaning in the Vašulkas’ work: an interaction with new tools leads to further conceptualization about the medium which then engenders the design and construction of more advanced tools. The video camera, the primary image source for other video artists, is simply another piece of hardware at the Vašulkas’ disposal, neither preventing a tendency toward abstraction nor forcing their work into representational or, especially, narrative modes. Rather, the real images gathered by the camera provide a concrete point of reference against which the radical nature of electronic image processing can be considered.”