Communicating ecstasy and self-transcendence through purely visual means was of primary interest to many experimental filmmakers during the 1960s. Concerned with representing the mechanics of consciousness, these artists dispensed entirely with verbal logic and narrative structure, choosing instead to convey meaning through the movement of pure light and abstract forms. Often utilizing cutting-edge technology and non-traditional projection methods to dazzle and bombard the senses, these films take the adventurous viewer on a kinetic trip to the outermost edges of being.-Albert Kilchesty