Néstor Olhagaray, the video maker and researcher, writes about the arrival of video in the Chilean art world. He refers to one of the essential characteristics of the medium, which is its ability to create both a personal and a social imaginary. He also notes that video cannot be pigeonholed into any particular discipline, since it can be thought of as a form of photography, film, literature, and other things besides. Once it took root in the Santiago art scene its diversity soon became apparent: there is a purely “documentary” form based on specific information, experiences, testimonies, and/or reporting, and there is a genre of “fiction video” that focuses on a more personal kind of expression. Both styles include other possibilities; video can be seen as an art form, for example, that is more concerned with framing, shots, and angles, granular images, technical manipulation, and so on. These formal characteristics encourage symbolic or conceptual approaches. To illustrate this diversity, Olhagaray refers to Torre Eiffel (Eiffel Tower), the video by Juan Enrique Forch, which is a perfect example of the kind of work that defies classification. Beyond its essentially “documentary” nature, the video’s material quality is affected by conceptual features associated with how it is used.