Manovich Chapter Three "The Operations"

cut, copy, paste, search, composite, transform, filter (obvious categories - 118)

selecting, compositing, and teleaction (Manovich's categories - 118)

sampling and morphing (the work of others - 118)

The logic of selection - menus, filters, plug-ins - databases of stock material

Predefined menus and the logic of identity (128)

Postmodernism and Photoshop (129)

Compositing: Simulation of space, camera movement, and objects (137)

Montage: lyrics and video from Team America

vs. no montage in Touch of Evil and Russian Ark

Lack of montage in games (desire to correlate different senses)

And using editing to give the illusion of penetrating space (Dove Onslaught and parody with a feminist critique here.)

Or privileging the morph over the cut in Women in Art or Daydream

More resources for video editing

The idea of telepresence - illusion and action (164)

vividness and interactivity matrix

Vision no longer opposed to touch (175)

Possibilities for aggression (175)

Animator vs. Animation

Manovich Chapter Four "The Illusions"

Synthetic realism seeks to attain two goals: "the simulation of the codes of traditional cinematography and the simulation of the perceptual properties of real life objects and environments." (391-392)

The idea of the "uncanny valley"

Mimesis and illusionism - the story of Zeuxis (195) - and its prehistory in Plato's Republic

"Pre-assembled standardized objects, characters, and behaviors readily provided by software" (197)

Massive games and cinematic tools Carleton Big Ad

Special effects for Hollywood films being like medieval cathedrals (201)

SIGGRAPH as the professional society for computer animators

A representation of a different reality (202)

Analogy to Socialist Realism (203)

But new media "keep reminding us of their artificiality, incompleteness, and constructedness." (205)

Oscillation between illusionism and deconstruction (208)

Military simulators (209-210)

This should begin with definitions of the meaning of the terms "machine" and "think.

How does a game about gender become a game about humanity?