Gary Hill's work is especially significant due to his incorporation of text in video art, evident in works such as Incidence of Catastrophe 1987-88. Hill began working with video, text and sound in 1973. He was influenced by the intellectual orientation of conceptual art which dominated art of the 1970s. His reading of the writings of Maurice Blanchot, in particular, provided him with ideas relating to the way in which language impinges on phenomenological experience, and a notion of 'the other' stemming from the philosophy of Emmanuel Lévinas. Such reading informs Hill's visual-poetic explorations of the interrelationships between language, image, identity, and the body. For example in Cabin Fever he uses the binary opposition of light and darkness to convey the notion of an interaction between a self and an ‘other’.[1] He has also explored immersive environments, as seen in his 1992 piece Tall Ships. Hill's work thoroughly exploits the capacity of video to offer complex nonlinear narratives that encourage active engagement on the part of the viewer. In Roland Barthes' terms, Hill’s video narratives can be understood as ‘writerly’ texts.