The Vanishing-Vantage Point
When you looked at PoussinŐs (1660-1664) The Four Seasons [Wait, have you ever been to the Louvre?], you were detached. His works were framed; the subject of the painting was enclosed by the frame, and you, the human subject-observer, existed outside of the frame [You couldnŐt argue with me there, could you?]. You were not part of the material object in any sense. As McLuhan (1966) pointed out, this changed with electric technology. When you viewed the television, for example, you became the vanishing point for auditory and visual media. Information met its ends when it is entered you.