[1]BURRIS John, “¿Fue el Portapak la causa del vídeo? Notas sobre la Formación de un Nuevo Medio” [texto on-line] http://www.upv.es/laboluz/2222/textos/portapak.htm [consulta 2/1/2012]

[2] VT. is not TV. (Vídeo Tape no es Televisión), esta afirmación de Gregory Battcock se convirtió en un eslogan del video arte inicial. En el mismo sentido Nam June Paik señaló: Television has been attacking us all our lives. Now we can atack it back (la televisión nos ataca en todos los instantes de nuestra vida. Ahora podemos contraatacar).

[3] HILL, Chris, “Interview with Woody Vasulka,” The Squealer, Summer 1995, p. 6. Texto original:
I started with light, light and shadow, a typical filmic agenda; I started working with stroboscopic lights. Then I encountered video, whose principles essentially negate film. I gave up light instantly. Video was undefined, free territory, no competition, a very free medium. The community was naive, young, strong, cooperative, a welcoming tribe. There was instantly a movement mediated by two influences. One, the Portapak made an international movement possible, and two, the generation of images through alternative means -the camera no longer carried the codes.

[4] FURLOG, L., "Valga la expresión. Entrevista con Gary Hill" en Arte:proyectos e ideas, e-magazine. [texto on-line] http://www.upv.es/laboluz/revista/pages/numero1/rev-1/hill.htm  [Consulta 4/1/2012]

[5] HILL, Chris, Rewind: Video Art and Alternative Media in the United States, 1968-1980. [texto on-line] http://www.vasulka.org/archive/Artists2/Hill,Chris/Rewind.pdf [Consulta 4/1/2012]. Texto original:
Distribution Religion : The image processor may be copied by individuals and not-for-profit institutions without charge. For-profit institutions will have to negotiate for permission to copy. I think culture has to learn to use high-tech machines for personal, aesthetic, religious, intuitive, comprehensive, exploratory growth . The development of machines like the Image Processor is part of this evolution. I am paid by the state, at least in part, to do and disseminate [sic] this information; so I do. ...

[6] ROSLER, M., "Video: Shedding The Utopian Moment", en Illuminating Vídeo. An essential guide to Video Art. Ed.Aperture/Bay Area Video Coalition, cop. New York, 1990, pág. 31. Texto original:
Not only a systemic but also a utopian critique was implicit in video's early use, for the effort was not to enter the system but to transform every aspect of it and - legacy of the revolutionary avant-garde project - to redefine the system out of existence by merging art with social life and making audience and producer interchangeable.

[7] Fuentes consulta: SHANKS, Michael, "Sony Portapak Global Affects" [texto on-line] http://documents.stanford.edu/67/624
y New Media Enciclopedia, Chronological Landmarks http://www.newmedia-art.org/ [Consulta 5/1/2012]