Playing the Pixels

I was browsing through an older interview between Jonathan Rosenbaum and Jean-Luc Godard concerning his Histoire(s) du Cinema the other day when I came across a statement similar in nature to one made more recently in an interview with Andrew Noren, both concerning their use of video:

“Well, I’d say for technical reasons, because video is closer to painting or to music. You work with your hands like a musician with an instrument, and you play it.”
- JLG 

√Čloge de l'amour (2001, Jean-Luc Godard)

“if you think of cameras and editing systems as potential instruments for visual music, which I do, then this is empowering…For me, the entire digital apparatus is like a great visual piano of a wonderful sophistication.”-Noren

Free to Go (Interlude) (2003, Andrew Noren)

Aberration of Starlight (2008, Andrew Noren)

PURE SPECULATION on my part (and fairly superficial regardless) , but I wonder if Godard’s use of video, which dates back a ways, had any sort of influence on Noren (who stated in A Critical Cinema 2 that he still had an interest in Godard), in that they both, as stated in an article by David Phelps on Aberration of Starlight  “understand that video’s faculties are not for showing the world anything as it concretely looks like.”