The video-art"/" by Hovhannes Margaryan is a series of sonographic images of the artist's internal organs. The sound of heartbeat accompanies the video, which seems to be a sarcastic reference to Hegel's renowned formula: "Just as a human body, contrary to an animal, reflects the presence and the beating of the heart, thus the art reflects the soul, and any character on its surface turns into an eye a formation of the soul's lumber room." Hegel's formula is a reference to art's ability to turn internal into external. Visual technologies do the same in direct manner: the inside that used to be perceived merely figuratively is now presented with vulgar ingenuousness by the sonograph. Thus the heartbeat and the blinking of the eye are directly related. The outside and the inside, the heart and the eye this is a theme that persists in the subsequent works as well. The appearance, according to G. Deleuze, can be the body and its enjoyments, while the inside - the body and its desires. This inside, folding back, becomes an appearance of knowledge or reality. It is the relation of the truth to our existence, and is the formal condition of being for every knowledge. It should be noted that, in European culture, the gender is subordinated to the formal condition of knowledge through sexology and psychoanalysis. Confession was filmed in a church, during a religious service. A crossing motion is slowly played until the end of a four-and-a-half-minute conversation between a psychotherapist and the patient. By comparing a Christian confession with a psychoanalysis session, Hovhannes presents the inner frustrated reality, contradicting it to sin, to the socialized, religious perception of reality. Politics with such a conclusion is a formal condition of freedom. Thus presenting itself, it makes visible the forms of political terrorism that are outlawed from social conscience by mass media. It is the "internalization of anticipation" of violence that reflects the nature of politics. Frustration is based upon the documentary of October 27, 1999 terrorist events at the National Assembly of RA. Frustration aims to unmistify the nature of power and violence in contemporary society. According to G. Debord, in an acting society the exclusive right of formation of power belongs to mass media unique social nurses who turn everything into performance, pretending that there exist nothing but show. In this case the reality in the form of violence is nothing but a performance, a mirage created by technology. It sells the reality as mirage. Interestingly, documentary film shots are projected in the mirror in the author's work. This simple, but weighty inference of the artist shows the unethical nature of violence in today's government and performance society. It eliminates all dubiousness whatsoever, for conspiring violence can seem moral. This is the aesthetical value of the artist's approach. Videoart can reflect the interconnection between an image and the length of time. Society writes on a body, and the action of writing gives it the renowned plasticity. In Hovhannes' Frustration, the political is the power through which time acquires its conditional forms.