This resonates strongly and feels as relevant today! Something tells me that this is Nic's Nouveau ShamaNIC!

The Sorcery of Cinema: Is the Future Really 3D?

"One day soon we will probably have cinema in three dimensions, even cinema in colour. Yet these are secondary resources that cannot add much to what is the bedrock of the cinema itself and which makes a language out of it, as music, painting and poetry are a language. There’s a whole element of contingency and mystery in cinema that isn’t found in the other arts. Indeed, any image, even the slightest and most banal, is transfigured on the screen. Due to the fact that it isolates objects, it endows them with a second life, one that tends to become ever more independent and to detach itself from the habitual meaning these objects have. There are also the distortions of the camera itself, the unexpected use it makes of the things it is asked to film.

Then there’s the physical intoxication of sorts that the rotation of images communicates directly to the brain. The spirit is moved, whatever the representation. The kind of virtual power images have goes rummaging in the depths of the mind for hitherto unused possibilities. In essence, the cinema reveals a whole occult life, one with which it puts us directly in contact. But we have to know how to divine this occult life. There are better ways of divining the secrets that stir in the depths of our consciousness than the simple play of superimpositions. Considered as such, in an abstract way, cinema in its raw state [le cinema bruit] emits something of the atmosphere of a trance conducive to certain revelations. To use it to tell stories, a superficial series of deeds, is to deprive it of the finest of its resources, to disavow its most profound purpose. 

That’s why cinema seems to me to be made, above all else, to express things of the mind; the inner life of consciousness, not so much through the play of images as through something more imponderable that restores them to us with their matter intact, without intermediate forms, without representations. The cinema arrives at a turning point in human thought, at the precise moment in which an exhausted language loses its power as a symbol, in which the mind is sick and tired of the play of representations. For us clear thinking is not enough. It defines a world exhausted to the point of collapse...it’s a wonderful time, right now, for sorcerers and saints, more wonderful than ever before".

- Antonin Artaud, from his essay Sorcery and Cinema (1927)

http://www.youtube.com/watch?v=w0tknpfywKg

The Seashell and the Clergyman (1928), written by Antonin Artaud and directed by Germaine Dulac is often cited as the first truly surrealist film. It was banned by British Board of Film Censors in 1929, who claimed: “This film is so obscure as to have no apparent meaning. If there is a meaning, it is doubtless objectionable”.

http://www.foolishpeople.com/foolishpeople/2011/01/the-sorcery-of-cinema-is-the-future-really-3d.html