Path: utzoo!utgpu!news-server.csri.toronto.edu!cs.utexas.edu!samsung!sol.ctr.columbia.edu!emory!ogicse!milton!hughes@maelstrom.Berkeley.EDU From: hughes@maelstrom.Berkeley.EDU (Eric Hughes) Newsgroups: sci.virtual-worlds Subject: Re: Sensory Modalities (was Re: Musical Virtual Worlds) Message-ID: Date: 3 Dec 90 21:37:29 GMT References: <12145@milton.u.washington.edu> Sender: hlab@milton.u.washington.edu Organization: ucb Lines: 28 Approved: hitl@hardy.u.washington.edu In article <12145@milton.u.washington.edu> cs225fg@ux1.cso.uiuc.edu (Steve Dillinger) writes: [quoting someone else] >>If you are sitting in a dark room, a good composer can affect your >>mood and emotions *much* more effectively than a good imagemaker. >I would have to disagree with this. [...] [If] an image maker [...] >wanted to soley affect the mood of the person watching, with no >consideration for meaning he could do so much more effectively. [...] >To elicit sadness he could have a scene with a baby being dragged >from his screaming mother. Happiness could be the sight of a child's >eyes upon seeing the presents santa has brought. This technique is exactly what the first deconstructionists did with film--and that was with silent films. There has been a lot of thought about these issues; it would do well for those interested to look some of it up. While film, as a medium, might not be considered a reality in the sense of the illusion of space, it certainly is a reality insofar as it creates an illusion of a different narrative and causative realm. The parallels of film and VR are significant not in any technical sense but at the highest level of design of the interface. Eric Hughes hughes@ocf.berkeley.edu Brought to you by Super Global Mega Corp .com