"Expanded cinema does not mean computer films, video phosphors, atomic light, or spherical projections. Expanded cinema isn't a movie at all: like life it's a process of becoming, man's ongoing historical drive to manifest his consciousness outside of his mind, in front of his eyes. One no longer can specialize in a single discipline and hope truthfully to express a clear picture of its relationships in the environment. This is especially true in the case of the intermedia network of cinema and television, which now functions as nothing less than the nervous system of mankind."(41)
"Emerging with it is a major paradigm: a conception of the nature of cinema so encompassing and persuasive that it promises to dominate all image-making in much the same way as the theory of general relativity dominates all physics today. I call it synaesthetic cinema. In relation to traditional cinema it's like the science of bionics in relation to previous notions of biology and chemistry: that is, it models itself after the patterns of nature rather than attempting to "explain" or conform nature in terms of its own structure." (76)
"Synaesthetic cinema is the only aesthetic language suited to the post-industrial, post-literate, man-made environment with its multi- dimensional simulsensory network of information sources. It's the only aesthetic tool that even approaches the reality continuum of conscious existence in the nonuniform, nonlinear, nonconnected electronic atmosphere of the Paleocybernetic Age.
...
Finally, I propose to show that synaesthetic cinema transcends the
restrictions of drama, story, and plot and therefore cannot be calel d a
genre." (77)
"Just as every fact is also metaphysical, every piece of hardware implies software: information about its existence. Television is the software of the earth. Television is invisible. It's not an object. It's not a piece of furniture. The television set is irrelevant to the phe- nomenon of television. The videosphere is the noosphere trans- formed into a perceivable state. "Television," says video artist Les Levine, "is the most obvious realization of software in the general environment. It shows the human race itself as a working model of itself. It renders the social and psychological condition of the envi- ronment visible to the environment." (78)
"This implosive, self-revealing, consciousness-expanding process is irreversible. Global information is the natural enemy of local govern- ment, for it reveals the true context in which that government is operating. Global television is directly responsible for the political turmoil that is increasing around the world today. The political establishments sense this and are beginning to react. But it's too late. Television makes it impossible for governments to maintain the illusion of sovereignty and separatism which is essential for their existence. Television is one of the most revolutionary tools in the entire spectrum of technoanarchy." (78-9)
"Synaesthetic cinema is a space-time continuum. It is neither sub- jective, objective, nor nonobjective, but rather all of these combined: that is to say, extra-objective. Synaesthetic and psychedelic mean approximately the same thing. Synaesthesis is the harmony of different or opposing impulses produced by a work of art. It means the simultaneous perception of harmonic opposites. Its sensorial effect is known as synaesthesia, and it's as old as the ancient Greeks who coined the term. Under the influence of mind- manifesting hallucinogens one experiences synaesthesia in addition to what Dr. John Lilly calls "white noise," or random signals in the control mechanism of the human bio-computer." (81)
"The emphasis of trad-i tional logic might be expressed in terms of an either/or choice, which in physics is known as bistable logic. But the logic of the Cybernetic Age into which we're moving will be both/and, which in physics is called triadic logic. Physicists have found they can no longer de- scribe phenomena with the binary yes/no formula but must operate with yes/no/maybe."(81-2)
"The harmonic opposites of synaesthetic cinema are apprehended through syncretistic vision, which Anton Ehrenzweig has character- ized as: "The child's capacity to comprehend a total structure rather than analyzing single elements... he does not differentiate the identity of a shape by watching its details one by one, but goes straight for the whole."9 Syncretism is the combination of many different forms into one whole form. Persian tapestries and tile domes are syncretistic. Mandalas are syncretistic. Nature is syncre-tistic. The majority of filmgoers, conditioned by a lifetime of conven-tional narrative cinema, make little sense of synaesthetic cinema because their natural syncretistic faculty has suffered entropy and atrophy." (84)
"Synaesthetic cinema provides access to syncretistic content through the inarticulate conscious. Similarly, it contradicts the teachings of Gestalt psychology, according to which we must make an either/or choice: we can choose either to see the "significant" figure or the "insignificant" ground. But when the "content" of the message is the relationship between its parts, and when structure and content are synonymous, all elements are equally significant. Ehrenzweig has suggested that syncretism is "Gestal-tfree percep- tion," and indeed this must be the case if one expecst any visual "meaning" from synaesthetic cinema.
"Paul Klee, whose syncretistic paintings closely resemble certain works of synaesthetic cinema, spoke of theendotopic (inside) and exotopic (outside) areas of a picture plane, stressing their equal importance in the overall experience."(Paul Klee, The Thinking Eye (London: Lund Humphries, 1961).) (85)
"Synaesthetic cinema transcends the notion of reality. It doesn't "chop the world into little fragments," an effect Bazin attributed to montage, because it's not concerned with hte objective world in the first place. The new filmmaker is showing us his feelings. Montage is indeed an abstraction of objective reality; that's why, until recently, Warhol did not cut his films at all. But synaesthetic syncretism is the only mode in which the manifestations of one's consciousness can be approximated without distortion."(86)
"Just as every fact is also metaphysical, every piece of hardware implies software: information about its existence. Television is the software of the earth. Television is invisible. It's not an object. It's not a piece of furniture. The television set is irrelevant to the phe- nomenon of television. The videosphere is the noosphere trans- formed into a perceivable state. "Television," says video artist Les Levine, "is the most obvious realization of software in the general environment. It shows the human race itself as a working model of itself. It renders the social and psychological condition of the envi- ronment visible to the environment." (78)
"This implosive, self-revealing, consciousness-expanding process is irreversible. Global information is the natural enemy of local govern- ment, for it reveals the true context in which that government is operating. Global television is directly responsible for the political turmoil that is increasing around the world today. The political establishments sense this and are beginning to react. But it's too late. Television makes it impossible for governments to maintain the illusion of sovereignty and separatism which is essential for their existence. Television is one of the most revolutionary tools in the entire spectrum of technoanarchy." (78-9)
"Synaesthetic cinema is a space-time continuum. It is neither sub- jective, objective, nor nonobjective, but rather all of these combined: that is to say, extra-objective. Synaesthetic and psychedelic mean approximately the same thing. Synaesthesis is the harmony of different or opposing impulses produced by a work of art. It means the simultaneous perception of harmonic opposites. Its sensorial effect is known as synaesthesia, and it's as old as the ancient Greeks who coined the term. Under the influence of mind- manifesting hallucinogens one experiences synaesthesia in addition to what Dr. John Lilly calls "white noise," or random signals in the control mechanism of the human bio-computer." (81)
"The emphasis of trad-i tional logic might be expressed in terms of an either/or choice, which in physics is known as bistable logic. But the logic of the Cybernetic Age into which we're moving will be both/and, which in physics is called triadic logic. Physicists have found they can no longer de- scribe phenomena with the binary yes/no formula but must operate with yes/no/maybe."(81-2)
"The harmonic opposites of synaesthetic cinema are apprehended through syncretistic vision, which Anton Ehrenzweig has character- ized as: "The child's capacity to comprehend a total structure rather than analyzing single elements... he does not differentiate the identity of a shape by watching its details one by one, but goes straight for the whole."9 Syncretism is the combination of many different forms into one whole form. Persian tapestries and tile domes are syncretistic. Mandalas are syncretistic. Nature is syncre-tistic. The majority of filmgoers, conditioned by a lifetime of conven-tional narrative cinema, make little sense of synaesthetic cinema because their natural syncretistic faculty has suffered entropy and atrophy." (84)
"Synaesthetic cinema provides access to syncretistic content through the inarticulate conscious. Similarly, it contradicts the teachings of Gestalt psychology, according to which we must make an either/or choice: we can choose either to see the "significant" figure or the "insignificant" ground. But when the "content" of the message is the relationship between its parts, and when structure and content are synonymous, all elements are equally significant. Ehrenzweig has suggested that syncretism is "Gestal-tfree percep- tion," and indeed this must be the case if one expecst any visual "meaning" from synaesthetic cinema.
"Paul Klee, whose syncretistic paintings closely resemble certain works of synaesthetic cinema, spoke of theendotopic (inside) and exotopic (outside) areas of a picture plane, stressing their equal importance in the overall experience."(Paul Klee, The Thinking Eye (London: Lund Humphries, 1961).) (85)
"Synaesthetic cinema transcends the notion of reality. It doesn't "chop the world into little fragments," an effect Bazin attributed to montage, because it's not concerned with hte objective world in the first place. The new filmmaker is showing us his feelings. Montage is indeed an abstraction of objective reality; that's why, until recently, Warhol did not cut his films at all. But synaesthetic syncretism is the only mode in which the manifestations of one's consciousness can be approximated without distortion."(86)
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