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" "Freud spoke of oceanic consciousness as that in which we feel our individual existence lost in mystic union with the universe. Nothing could be more appropriate to contemporary experience, when for the first time man has left the boundaries of this globe. The oceanic effect of synaesthetic cinema is similar to the mystical allure of the natural elements: we stare in mindless wonder at the ocean or a lake or river. We are drawn almost hypnotically to fire, gazing as though spellbound. We see cathedrals in clouds, not thinking anything in particular but feeling somehow secure and content. It is similar to the concept of no-mindedness in Zen, which also is the state of mantra and mandala consciousness, the widest range of consciousness.
(May 30, 1942 – April 6, 2021) was an American theorist of media arts and politics, and a respected scholar in the history and theory of alternative cinemas. His best known book, Expanded Cinema, was the first to consider video as an art form and has been credited with helping to legitimate the fields of computer art and media arts.
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For some years now the activity of the artist in our society has been trending more toward the function of the ecologist: one who deals with environmental relationships. Ecology is defined as the totality or pattern of relations between organisms and their environment. Thus the act of creation for the new artist is not so much the invention of new objects as the revelation of previously unrecognized relation- ships between existing phenomena, both physical and metaphysical. So we find that ecology is art in the most fundamental and pragmatic sense, expanding our apprehension of reality.
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The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming... the mystique is gone - we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry.