In the provided context, video art can be understood as a practice that treats moving image not simply as a medium for playback, but as a three-dimensional structure that contains time. The text describes video as a “Space-Time Volume / Video Cube,” meaning that an image sequence is conceived as a volumetric form extended along the time axis. Ordinary video playback is then framed as a limited sampling process: it presents this volume one frame at a time as cross-sections perpendicular to time. From this perspective, video art is concerned not only with showing recorded footage, but with working on the structure of the image itself as a temporal and spatial object.
The examples in the context reinforce this approach. In the installation work Passing, the artist uses rotation of the video volume and transformation into parallel projection. Mid Tide #3 employs 4K120FPS and extraction of a space-time volume, while Slack Tide #1 presents multiple time axes simultaneously and uses slit-scan techniques. These works suggest that video art can reconstruct moving images physically, spatially, and temporally, expanding how viewers perceive motion, duration, and spatial change.
The context does not provide a broader historical definition of video art beyond these examples, so this entry is limited to the described technical and conceptual usage.