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There is plentiful further evidence for the contention that our brains are more than willing to generate experiences of motion.
Evidently, our brains are more than happy to supply us with experiences of motion at the least opportunity.
Second, in the visual case, it is well known that rapid successions of static images can result in experiences of motion.
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Doing the teaser trailer for Comic-Con, I had my first experience of motion capture.
The common illusionistic experience of motion pictures depends on editing for its force and excitement, but editing can play an even more important role in films that bypass or refuse the illusion of realism.
Isn't the fact that we see motion on TV and movie screens evidence that successions of motion-free images can give rise to an experience of motion?
What the latter needs is an account of how successions of momentary conscious states, each possessing entirely static contents, can give rise to the experience of motion.
Perhaps our ordinary experience of motion does, after all, consist of nothing but momentary static snapshots – in accord with Cinematic antirealism – but these momentary experiences seem dynamic thanks to the activation of the 'pure motion' mechanism in our visual system.
If not, the Cinematic model itself would be less than fully unsatisfactory, even if it could provide a credible account of our short-term experience of motion and change.
From a psychophysical perspective, a great part of the experience of motion can be described by the dimensions of space, which is considered the medium for the deployment of movement, and by the time, which is considered the medium for segmentation and synchronization of movement [1].
Using upstage and downstage screens, the animations created an immersive experience of motion and depth, challenging the audience to engage the visuals in service of the narrative.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com