“The natural resistance of stone is a very good guide, it helps balance form against form.  In stone carving , I stress a compact and solid composition of mass and related forms, that flow in, out and around a piece to give it a unified movement of design.  For instance, a stone carving should be like a pebble or a boulder that has been washed

and polished by rain, so that when it rains on the boulder it sheds water like a duck.  There are no crevices in a boulder to retain water and so carved sculpture, to my mind, should not have deep recesses; so that if a sculpture should be left in the open for a few thousand years, it might get smaller in size, but it  would still have its flowing form.”

Benedict Tatti    1940

“Video is a comparatively new tool; it meets many demands of the artist.   He can electronically draw, paint. shape and interrelate sound and motion in black and white or color.   Because the medium is electronic it enables the video artist to experiment in “real time”.   It offers opportunities for immediate aesthetic conceptualization that are endless and unburdened by the physicality of traditional media.   Video art may place the traditional arts (done by hand) such as painting and sculpture in the realm of antiquity art.   From a communication standpoint, video art will reach an audience far beyond the confines of gallery or museum exhibition, since television is well within the means of the average  person.   It will return art to the people and free it from the limitations of institutional showplaces.

The artist in his exploration of form, line and shape will discover that the basic sine wave is characteristic of nature.   It is a component of nature and the elements, from the movement of a snake, the waters of the ocean, or the currents of the air.   Unlike frozen blocks of architecture, static statues of sculpture and arrested stillness of paintings, video art reflects the pulse of contemporary and future art in a technological society.”

Ben Tatti, 1976
“Video Art, An Anthology”  Published by
Harcourt Brace Jovonovich, Inc., NYC
(Note:  Pages 130-131)