objectivity are. Low resolution is functional for pointing out the inconsistency of the concept of high resolution, as perfect precision and exact copy of the real, whereas precision is, instead, "a characteristic of the image, not of what is reproduced’ for saying it with the artist's words. Unveiling the assumed objectivity of the television report, Simonetta Fadda again attests to the words of Marshall McLuhan, that television is language and any linguistic choice is aware and, therefore, potentially ideological. The origins of video art and some of the developments of the medium during the Sixties and the Seventies, are the theoretical cues which substantiate Simonetta Fadda's approach to video. On one hand, she recuperates the heritage of the analytical and meta-linguistic vision of artists like Nam June Paik. The deconstruction of the video language, by working on the electronic signal and on the inner possibilities of the medium—with the consequent production of images compositions, rather than real stories—, is one of her starting points in her choice of low resolution as a standard, along with the consideration of imperfection as an expressive, as well as a critical possibility. On the other hand, there is the alternative information movement and everything involved by a political and social use of the video medium, from video activism-born with the diffusion of portable anc user-friendly video recorders-, to the low-resolution standard for propagating the theoretical and political importance of the power of live-capturing the events’ and life's flux-with the assumption of getting more truth. So, for staying in Italy, Anna (1972-1975) by Alberto Grifi, which shows to what
