What remains for the audiovisual avant-garde is to conduct absolutely uncommitted fundamental research into the principles of sound and image. The isolation, aestheticization, and acceleration of images resulted in the revolutionary genre of the video clip, which immediately turned into the measure of all images and currently defines the rhythm of both feature films and news bulletins. The spread of video art will contribute to the devaluation of images. By definition, mediaphilia as a hobby is reserved for a select market segment. Passionate image collectors may be aware of the beauty of their personal preferences, yet to outsiders, their collections are as meaningless as they are impressive.
Indifference is the greatest threat to the still omnipresent media.
The remote control, combined with the unlimited proliferation of channels, enables one to instantly eliminate uninteresting images, only to find out that none of the available images are worth watching in the first place. All-out switching between channels during commercial breaks would force even the advertisers to withdraw from the media. People will voluntarily go on a media diet out of sheer boredom, and the media addicts will be catered to by self-help groups. Just as the death of God rendered religion a private affair, so the image will become a matter of personal experience which, at best, will organize itself into secret societies of heretical mediatists. The implosion of reality in the media has been adequately recorded and proclaimed.