--- In videoblogging@yahoogroups.com, Adrian Miles <[EMAIL PROTECTED]>
> around the 23/11/05 Enric mentioned about [videoblogging] Re: War On
Text that:
> >I don't see the relationship.  Cinema and the subset of the edit is
> >linear, hypertext is non-linear.  This seems more poetic simile
> >mismatch than illuminating.
> quickly (am busy)
> A. shot of man, cut to shot of dead child.
> man interpreted to be expressing grief
> B. shot of man (identical), beautiful woman
> man interpreted expressing desire/love
> etc.
> exactly same content, new relation, new meaning. the meaning is NOT 
> in the shot, if it were then how could A and B be possible? (if 
> meaning in the shot then what they mean would be indpendent of order 
> or relations between parts).
> same deal with hypertext links, which all hypertext fiction has 
> demonstrated. you're right, difference is hypertext has multiple 
> possibilities, trad. film (not vogging) has one. but that is only 
> difference. effect of link/edit is same.
> -- 
> cheers
> Adrian Miles
> this email is bloggable [ ] ask first [ ] private [x]
> hypertext.RMIT <URL:http://hypertext.rmit.edu.au/admin/briefEmail.html >

Yes, I got a B.A. in Film Studies from the University of California at
Berkeley.  In 1978 taking a beginning class on film history I read of
the "Kuleshov Effect"


this 1918 discovery was remarkable for film editing at that time. 
It's funny that poeple still refer to this pre-1920 discovery as
something remarkable and relevant.  Gestalt psychology beginning in
the 1930's studying vision and decision making and now cognitive
psychology have gone beyond this basic knowledge of image association
to show in cognitive assocation happens naturally in the mind based on
available information.  The mind infers the best assocations based on
sensory data available -- visual, aural, olafactory, and/or tactile. 
This capability is not unique to film or hypertext.

  -- Enric

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