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we were very, very marginal from the art world, which is our context and needless to say, from the traditional mainstream television and film work. But as it happens, [[strikethrough]] things develop; [[strikethrough]] the technology develops. The major problem that we had at the beginning of the video was access. When we would have a meeting, we would have a discussion,  forum, and we would talk access, how can you get equipment? Syracuse University was one of the first major institutions to provide equipment to all of us, so we were able to come here and produce our videotapes. Now the technology has advance so much that access is not a problem. Technology has become so accessible that almost anybody can afford a video camera and turn out a fairly well produced video.

But anyway, the difference between filmmakers and video makers now is being blurred because a lot of Hollywood movies, the traditional filmmakers, they are all now working in digital high definition cameras. [[strikethrough]] I was in Los Angeles a few weeks ago, and I visited several studios, and ninety percent are using this digital high resolution camera, and the quality is unbelievable.[[strikethrough]]

O.K.,I would like to talk about context in terms of the work you are about to see. My field is fine arts, not in the commercial world. This means that a [[strikethrough]]mere[[strikethrough]] two million people may ever get to see our work. Maybe we would be satisfied if thirty people come; we would be satisfied if three museums buy the work, [[strikethrough]] because we are part of what is called the art world. I don't want to say the words "high art" because many people consider that a field in a level higher than the other arts. But in the jargon in the art world, this work is considered and called a high art. [[strikethrough]]