In the Aristotelian tradition, Hollis Frampton attempts to define both video art and film art by listing first their apparent similarities and then their differences. He also discusses their relationship to the flat plane of painting and the omnipotent specter of television. Video, he claims, resembles furniture as it is in the hands of the everyman for his own tinkering. Filmmaking, however, contains multiple delays of the final product where one must enter the mysterious darkroom, and then projects on a grand “heroic” scale, allowing it to retain an alchemical magic foreign to instantaneous video.