At the Sign of the Avatar

At the sign of the avatar.

Beyond it is accepting a transformation in human nature as the Avatar is a new you. Still, its like the first person narrative, the hand held camera shot, the possession of the moment by the viewer.
So, behaviors not formally available are now empowered? There is that second factor, that the Avatar was a moment waiting to be released as pre-staged by factor one Novels and 1st person, but there is this even a third factor of having been there but frustrated, and yet a final fourth factor of suppression of which lent itself to War.

Is this  also ten year marriages? Switching jobs at mid life? Out attention span is not so much ADD, but just becoming aware, in the Ego or Self Esteem, that even in the past monogamy was less enforced and the nuclear family less a factor. That bound to a company or conforming to a State elements, such as in nuclear family, that this is eroding.
The past is gloriously violent, with pregnancy frequently, low frequently, like 1 in 10, leading to death. That we got past that, and the aggression and fear that tapped into, into now, with Nuclear War finally fading a bit...in fear.

So the tenor of one single long suffering lifetime with outbursts of violence....would I rather stop bashing rocks together in this slave pit for another ten years, OR, go bash some guys head off and then have a place a to live as a citizen soldier?

Not a hard choice to make. Life was cheaper. There was no such thing as anyone possessing any authenticity.
But that potential was carried over in the Industrial Age, where it emerged in the urban person.

If but for a simple Mining problem...a really old practice by then, was trying to get air down to the Minors.

The industrial did enable a great degree of settlement and comfort for new generations. Comfort better than Kings eventually...air conditioning and TV is better than a king.
So in a way they used to be old entertainment, they are not anymore.

Yet, they are still around.
The point here a kind of inclusion of some light...once what was oil or candlelit now electrically lit. Big advance. Created real night life. Created new media...new persons that we could become.
The city lent anonymity, so much so that we really have a lost time; that medieval age of quiet, candlelit humility.

So, the labors were awful...people died...the silicosis age...to put a kind of geologic spin on it, was followed by the furnace operator. I think the steel manufacturing might be..so the Silicosis Age of Industrialism to the Steeler Age.
Thats really better because the Steeler Age is closed by the Atomic Age.

And there is the three ages of Industrialism. It begins with an illness (wherein, in the medieval the illness came after the conversion to...Christianity and then Islam), which leads to a warfare material, and a series of wars all fought during the Steel Age.
The Silicosis Age could also be the muzzle rifle, or the Colonial (really, thats the underlying structure, beneath which is a instinct developed from literacy, for private property), but I think it wise to include in material definitions when the trade occurred and resulted in new viral or illnesses.

This is to also follow where and when the illnesses appeared around the globe.

But, the point is the Industrial Age eliminated, marginalized, minimized, and yet allowed some other custom to remain.

Post Industrial means those people who where processed by the Industrial (print or tv media age), and then had to go through being re programmed for the Digital Age.

So sometimes there are mere generational adaptations not really that noteworthy, but do call attention to inter-generational mindsets, and then this leading to when a cluster around where that span of intergeneration ends, such as the GenX last member dies...circa, 2080.
"We" being the last us "Us"; the Industrials.

That world will be as much of a memory as medieval, or, some parts of the medieval will return...finding a kind of open space from the digital media eliminating industrial spaces.
Such as, no post office, all deliveries by robot trucks or drones, no police but camera drones, footage now being typical in that media.

So here is a time of some micro adaptations. Such as typewriters. Or AM radios.

What being then, medieval having three things more, then the industrial having six things more, 2 subtracting from the medieval three to leave a medieval one.
Then digital adding eight, subtracting four from industrial, freeing up one for medieval.

Just like adding technology tracts to historical animation that one can zoom from the Lithic to the Digital...

So what eight does digital add?

Looking down.
Tapping on a touchscreen
Instant scholarship if reading
messaging peers instantly

global anonymity

remote control by satellite
programming

avatars

Lets examine some of the closure on Industrialism

Labor (repeating motions, standing or sitting)

Motion Picture/Printing/Photography
Electrification
Cars
Centralized Paperwork
Nations and War over Resources
Burn power

Before any of this, was Medieval;

Bent Over (farmwork)
Scribes
Churches
Seasonal practices
Horses and Horsepower
Gang Terror

Not the best modeling but not bad.

So, this adding and subtracting is like time traveling multi-story lines, or interactive storytelling more like in the circuit or maze which is draped with "world-trappings".

For within the frame there quickly emerges a root of say, pumping air down into a mine. From that mine draw more resources. The invention proves useful in many more contexts.
That leading out from the root into weaving...all sorts of power producing textiles...this then causes a significant change, wherien, we insert the drama of the day.

Its like catching the precise moment in time like Fathers and Sons, and perhaps DaVinci Code.

So the machine replaces a lot of labor but then a lot of labor is then toward the machine....this creates the huge war machines. Just because its possible.

Here:

"The official thirty fourth year of Inter-national War Simlution begins!"

Applause. Hoots from out in the Stadium. Holograms emerge and disappear, then all light go dark, a single light projecting down through the cloud from near orbit, blasts detail from the empresario on center stage. He continues,

EMP
"Before you is last years winning team, team Han!"

Applause from the audience. Its a stadium full of people, with two concentrations of Chinese boosters leading the way. This hooting subsides quickly...the Chinese always end their boostering sooner, in some kind of polite contest...which of course, America is not even aware of.

EMP
",..and, for the eighth time in last decade, America!"

This hooting goes on too long. Ushers are called in...sound cancellation devices engage. The Americans sit down.

Emp turn away from the American section to a close up in the Camera, with a shrug, resumes,

EMP
"From old Arabia, our special guest this year...we honor King Faisal the Honorious..."
Close up on aged King Faisal from underneath a messanine...one boo, he waves, sits down.

Cut to:

Newsroom Commentary: Bert with Bonnie.
BURT
"And, in a surprise ending...last years Americas hackers dropped the ball on last engagement.
We wonder if centrifuges are kept running for these energy surges in hacking codes attacks.
I mean, how many volts Bonnie?'
Bonnie pauses a fraction of a second then looks up from her hand held.
BOONIE
"Four Mill...thats some capacitance, for sure, for sure, for...
...I am thinking of a ruse?"

BURT

Not this one!

And. so on..

The point being simulation might inhibit war in a Hamlet kind of way.

(In Hamlet, there might be someone invisible running around. Like Bilbo has his one bad adventure...so at the end, Bilbo takes off the ring and walks out of the area where all the dead bodies are.)

Simulation inhibiting war the same way a Nation state had a comfortable middle class and upper class while the lower class and disenfranchised...meaning over population, fought wars.
At first they were inhibited from the war, but eventually Modern War began to spill into the cities.
Wasn't like that in the Middle Ages.
The war was going from village to village without getting robbed or killed.

So, regardless of the simulation idea, the remote control of actual battle robots on a remote island...good tv show.

No, there is going to be a lot more kinds of simulation.

So, this simulation takes over reading novels, watching tv, pretend play.

There is less of a reason to live in density, unless one is sorting out who to live with later.
This used to be class, the neighborhood, but the social media, the lines of communication and shared projects, these will draw people into their own localities...starting with loners, scattered everyone, then mostly all of them working together online, to social groups exchanging social productions with other social groups. The sifting, perhaps beginning when Gen X retires and finds its ultimate retirement community.

Into that there is a increasing factionalism in a proliferation of interests.

Gaming and Motion Pictures the main, even so far in. Radio vanishes.

People attend a live stream, much like old televised preachers, for lectures...but really for presentations of media rich knowledge.

Media rich knowledge, the artful presentation of documents, mixing illustration with simulation, and simulations also being further sites, accessible by remote.
A fist fight on the South Pole might be a popular game. Wherein, the players show up, endure as long as they can fist fighting...so that the winner immediately dies after the loser, but each time they get a endure cold point.

It really a new field of creating media, from print, sculpting, painting, gaming...taking a break from gaming to chat with another Avatar through a hole in the fabric, wherein, she sees into your world, and you see into her.

The " Absolute", a cross platform interface always effective, and its legal research begins in five, four, three, two, one...oh wait a minute, already going on!


Another is a kind of unconscious collapse in time wherein, written delivery required burning massive amounts of oil.
We lived in slower, dumber world.
Now the IM is total. But, that is just closer to what is really normal, while the written age was a kind of abnormality, a period between wherein, the adaptation required some genetic selection...but was probably best founded on those previously "genetics" held in the shaman types...naming everything and remembering as much as possible. This probably became a family trait and likely these technologists of the Human Brain adapting to reading and print before others.
Well, except after the Accountants.

So, skipping the Industrial paper print era is an advantage, though, we do not know how a gene pool which has such access without literate training, will react to...say perhaps a lecture on programming?

Given they had the computer, and the lesson took them step by step, they might not engage in following up on references that slowed them down...maybe they figured it out by mere insight, but then some would be curious enough to see how the insight, which is then noted in the lesson, uses another sub technique.
So the illiterate math talent goes to the next reference, and engages in a process which slowly moves them into a direction of which sometimes, in order to get there, they need some kind of sub lesson, but not too many, before the pupil can decide they are brought back to the original project...to then work a bit...in this case, programming.

Sure...Math is not really a literacy bound practice. There will be many that argue otherwise, but I say there is three d thinking, or spatial thinking, which has more math than print.
This then, connecting the programming problem to body motion, means, animation and simulation.

While these actions are going on, an overlay of Math, can exhibit scale, dimensions, conventions of axis, polarity, energy control. Of course, this is what happens in games.
Its not on the screen, but a math overlay, to then put say in red or blue stylized indicators from drafting conventions...so of showing an arc with a meter following the Mario Jump, or the bullet trajectory.

Given these items, this model, these environmental factors, simulate going to Mars.

Twelfth Century Squirrel vs Eels Bollywood Musical

Fractal Culture

Back inside the final Industrial vision, before the future actually hit, there was a lot of desperate posing.
Fractal Culture, expected from fractal mathematics ala Gleick, or the seminal book by Mandelbrot,  or the many swirlies...but which had been written about best as a culture perhaps in Gibson, was an idea of fractalicious future consciousness depicted in jumpy editing and hand held cameras.
Our attention span beset by such diversity of subject with so much coding and over-coding and under-coding, that overwhelmed, we would be stunned.
The collective, incremental coordination of the disposing of "paperwork mentality" has already occurred.
There is a crescendo, yet, in this case as it is new, the crescendo slowly ascends, losing those whose computing power is not merely rated in megaflops per second, but in collusion with group goals, for instance, the taking over of another Nation's internet.
Or, maintaining a double internet, internet 2, wherein, slowly the intelligence staff sifts the population into this control group, and those others, say allowed to face the ultimate void of total "self and identify" identification without internet 2 stunts.
And whatever freedom in this voidy, the isolation, can be mediated by this Virtual-Remote-Interactive-Avatar.

Why not..but, what that is bound by is the total amount of time one spends with media.
Driving, talking to family, the quotidian eating, sleeping, yet, very little looking around for very long, until media is engaged. Listening to music while driving.
Talking with family online, or through the phone, with eating and sleeping and actions that dont fit into that always in media paradigm of today and less varied into yesterday, such as opening eyes.
Actually having the time to record in full such actions. Not edited down to the dramatic pace...but these bits of action having full coverage, this can be a squelchable factor. Nipping the header and footer, even.
The, a sequence probably having multiple transitions from the camera swarm, ...which as a sequence would be
Waking up, which is rising from supine. Sitting up or sitting on edge of bed...about the same frequency for the same moment.
Immediately, fiddling with media of some greater variety than just splitting the moment of action in two, is the lifting up the hand held, or reaching out to the clock radio, turning on the light, all fiddling with covers.
That is a three swarm sequence. A swarm of 24 cameras.

Thats a range of 6 motions for each. Starting after the first one, just as a methodology in action. With other methodologies mentioned in previous articles.

Walking while holding a media device, or not, to the bathroom.
Walking not holding a media device into hallway
Walking, not holding, into other room.

Its sorta like taking the Sims, but making each action individual and different.
Adding a real talking simulator. Maybe just comments being read by actors...and this file recorded, yet sometimes ill fitting, though being delayed...aligned to coincide with the expressions on the faces of the Sims.

That is a kind of robotic presentation...using the Sims to model better, the actual spontenaity of humanity to some degree and with greater eloquence, but without much plotting or the amount of plotting you can get away with in the Sims...more than my puny imagination could think of right now.

Yet, this is a kind of sub program for the Game Show. In the game show the players interact, and create a kind of duplicate model to the Sims interaction.
However, there is not enough violence in the Sims, and the Sims does not have a cutaway to a Game Show set.
The game show set taking up most of the show time.

However, the sims sub program must include a wider range of actions per previous program, include speech and emotional expression on the faces, this transcends any licensing associations.
Simulations of action could suffice as a tag, but the Sims is a good example of a program of human simulation.
Lacking actual humanity until now, as it is simulated, even situated into a more television like product, as its animation can be Mocapped in live.
Or, at least faked to be mocapped in live.

That is the model in which time is broken into smaller bits, and in the case of all footage, capable of being slowed down on demand.
Its possible the motion is captured live, but the point is the show can go on autopilot: one can sit back and relax and watch the show, then go back to the start, mocap again, and change the course of the show.

The Interstitial, wherein, even in this case there are transitions, from one set of motions to the other, as a set of multiple camera sets up in another set.
So, eyes first, then waking up sequence occurs, stops, and then standing up and going to hallways starts. These two sets of action-sequences  are different, they can be tuned, or even produced there on the spot (as mocapped).
Then, each one on auto pilot, but not as a response to the live mocap, the sequence that then follows, that could follow from mocapping, is from a list of eight versions or acts of the Actions...so the first eight actions can relate to the next eight actions...while inside, there is a variety of subsets of eight.
It actually simple to visualize in other than writing:
Opening Eyes, 12345678
scene
Geting up
A From Supine, 12345678
+
B Moving cover, 12345678
X
AReaching to clock/radio
or
AReacing for hand held (then, all sets of moving with hand held until hand held is put down)

Resulting in a three steps within the second group. The third group, lets say, going first from Moving Cover to Clock Radio...these things are not randomized, yet, they are not totally free of influence yet.

But, the story goes on in these moments of interaction to being so much in mocap, actually building the story to try to achieve a goal.

Meanwhile, the player can do research by watching a lot of auto modes, but the goal sometimes changes then.

So, in auto pilot mode, the improvisational construction has this kind of field of variables: Each Moment can have on motion or more.
Each moment has a interstitial break in time.
The grain of the interstitial can be simply how much time in implied that is not there to create a transition from action to action. How big is the gap.
There was a Jarmusch movie that played with this...
And, it had the kind of rhythm that Ozu's...well, Ozu's transition I think are a bit longer.

But the point is the interstitial regions forms a kind of counter space. A negative space into which can be inserted more interpolation.
And, this can scale up so that a larger order of a gap, say, instead of 10 frames, its one year, other variables can added. But lets talk of the small gap.

Lets take that out and examine it...the transition not there, from the waking up to the hallway, is change in camera angle to another set.
Are necessary for processing within the moment, but also providing a streaming moment to stop or pause, and in a role playing game moment, this is where each player begins, briefly.

But then they must be combined.

Combining the separate auto pilot actions is actually re forms or uploads each model into one space.
Whose space is it? Random.
However, once everyone is in, that is a processing problem that is different.

Then, they break away on occasions back to their own ongoing sets, which are run perhaps (by Mocap choice being a frequent sudden breakaway) as a single person watching their own tv show that can then join another tv show.

So, one could transition from the Sims into Call of Duty, with still having a house back at the Sims.
And, the artificial people bots and so on, the AI running the theater of the other people if, and sometimes mixed in of course, the player gets into the game as mocap, or, directs, by some point of pause in the interstitial, their avatar to go on auto pilot and join, or remain.

One can find oneself restarting the game and being somewhere totally bizarre....however, they can load the last save, and go back.

So do we have a question for how to coordinate those going back.

The question involves how is the camera work on auto pilot or, even, how does camera also subdivide into each action. One can dial up or program a setting, or maybe even have a slower or faster camera work command.

However, the camera at default would work like this:
Some randomizing
From dividing the moment into a first, then second, then third camera, offset yet gravitating around a 180 axis around a characters head.
As the sequence stacks more actions, the camera will decrease in constructing three parts and do two parts, then four parts, then eight parts total, for perhaps a longest sequence of actions within a Character's Cardinal act.

The way the cameras cut from each other is changing the angle, but other inputs would activate the moving. And so would emotional cues, such as notes in genre, keywords spoken, voice modulation, posture.
This divided in itself by Decorum
Decorum being how fixed into the environment one is.
Then, how long is one likely to be.
Then how interactive must the environment be (on ice? during a rainstorm?)
Then matching gestures in comparison to previous actions...

This creates cameras that jump about, that pop in and out with the same rhythm.

Genre and "tone" and decorum cues create a subset of executions, slower then slowing down, to cut to the next shot being still...then it moving slightly, right before the next transition.
These are created by User choice, as in Romantic/scifi/comedy/action/opera/squirrels/eels/12oobc. 

Crisscrossing-indices of genre and form

A psychologically unstable reality as represented by narrative techniques, such the PKDick kind, or the larger but similar "rubber reality" which is exemplified by the movies: Vanilla Sky, Jacobs Ladder, The Wizard of Oz, the Cabinet of Dr. Caligari. Wherein, "Caligari" is the most-used rubberized ending; waking up its all a dream.
An action movie is not rubber reality, well, generally. Rubber reality is a corruption of reality in that for a moment longer than exists several actions can be covered if time froze, for instance in a action move where the stunt was shot from different angles and the editor goes over the same event from different angles....no rubber reality. 
Nor is slow-mo, so a realistic action movie is pretty much linear.
If one indulges in this multiple camera set up but then jumps to another location, that is not rubber reality, just parallel storylines.
However, if the scene is shot from another camera angle yet seen in the cliche action repeat of the same action again and again from another angle, one of those angle the "car" driving down a street is a giraffe.
Yet, that giraffe is not just a single incident in the narrative, it somehow represents a large narrative where the car is a rhino, then a giraffe, then a car is the odd thing out.

Rubber realities always have some obvious breaks in the narrative, skips, leaps, transitions that seem too artificial in space in time. 
Suddenly, the character aging twenty years might be a part of realistic narrative, but in rubber reality movies, that character aging twenty years might be due to a flashback. 
In one case we know the narrative skips around in linear fashion, say, like Forrest Gump, but in another case the narrative skips and suddenly the audience realizes it was all a flashback...that is the transition to rubber reality, however, its only an instant.
There are realistic action movies. Lets say Italian neo realism is realistic, and yet Bergman's own unreality is more real; it coming from Genre beginning it very division between Fantasy and Reality, wherein, the first division away from Realism is into what I now assert is Psychiatric Horror.
PH  is in fact actually aware of reality and being so is important, while in many rubber realities it is not. For instance in Wizard of Oz, there is a moment of anxiety, yet, then fantasies come about and Dorothy has no doubt they are real.

 Psychiatric horror is the first step away from reality toward the vast range of other kinds of genre's.
We see the narrative or plot shifts, slightly, and Psychiatric horror a sub-genre of Realism that does not dispense with reality.
Nor it is "sensational", as in always being set in a Psychiatric Hospital.
Vertigo is actually a good example.

The term then impedes or closes, limits, filters, or constrain so, that the non Psychiatric Horror film "represents" the subjective imaginings of a character, while on the outside the reality is more of the drama...for instance, reversing Total Recall, wherein, the moment the counselor enters the hallucination and offers a pill to bring the Character back to reality...or the psychiatrist is lying and the pill will kill the Character. 
In this case, the Character rejects the pill, and succumbs to the psychotic break...
The parallel story line would be of the people at the office looking in on user who paid for a service and was rendered "gone".
This gone ness is in Strange Days too, a mind blitzed or fried or permanantly damaged, by "an interface", and in Brazil.
Other stories have psychiatric horror...Bartleby the Scrivener.
Many of these are embedded into Drama, but its par for the course inso how much Netflix and Amazon flex and propose and promote differing ways to divide up and present the libraries, afflicted yet emerging out from the old industrial terminology.

Subjectivity. This giving oneself up into a movie, to be comfortably subjective and personal, is a release, well, was a common release over four or five generations before the digital age, when the world itself was treating "you" impersonally...say, for instance, demanding personally unchallenging work you might suppress taking it all personal at one time and just get along.
Or, of course, no air conditioning provided the viewer a desire to go out to the public place where there was one cooling the room.
It used to be a big let loose after work or retirement, but things are well organized by capacity, and people are placated by the new technologies, in ways the empower a new demeanor and Zeitgeist. Sounds hi concept but I cant think of anything more obvious that since the internet its not business as usual.

So that moment to enjoy your authentic subjectivity, ala Kerouac On The Road, well, that is going away. 
There is a heap load of making personal empowerment user design. Or, one can see in cross genre proliferation, or in cooking shows gone wild, or social media overall.
So, with that comes a allowance of personality into any old job, as, one is online.
Even washing dishes. I mean, that might be a good show right now, "John, who washes dishes". Of course, John is just washing dishes, meanwhile, not known to the audience, he is working on a dissertation about late nineteenth French Literature.

As that teeters, and we find enough accord with reality where before it was wanting, this is much more so than in the past, and now it is due to our advanced perspective to try and clarify what this means.
Hence new Art.
We fit in, we have authenticity...and regardless of what we do, there is a society into which we are heard and responded. 
Intersubjectivity, so rare as to be only a family event, is no longer exclusive to family.
Oh, it wasn't. It was contained in the Bible and Theocracy. There was also a subjectivity exposed, shared, affirmed. Religion still does that, yet, media is now a new practice even further from ritual.

Nor does it mean not-having-to-take-things-too-personal. Wait...I think that means "things can be taken more 'personally'", but in a bland general way, meh, without it being an outburst of protestation, rebellion, critique or recognition of "authenticity".
Its a 90's 'we are all here' meme, evolving out 60 and 70's belonging factories.

Furthermore is ever this shift in what Art History used to be. To Baby Boomers: a more fantasy genre breaks away from an earlier reading public of simpler genre, to mark the realists as classicists for they oppose the new genre, which being romantic, has accepted a new subjectivity.
Thats English Literature 101...the new audience of the romantic genre. Oh, they were still reading poetry as competing with novel. Paintings early demise visible in the new photography. 
That is a narrative of development: the Impressionists took over from the academy, while a counter movement in dark subjective fantasies, a sub genre of romanticism, formed a less popular, less lucrative market. The Impressionist sold in great emerging markets of triumphant colonial Imperialist, as the innovation in light and brush stroke that became the signature...a technique as style as pictorial innovation.
None of that really is a narrative anymore. Its all here right now, without having to organize it into a time line. Modernism seem to break down catagory, and it might have been predicting the dissolution of catagorization...no longer is there Drama and Comedy, for instance.  
One can really take the entire thing, from dawn until now, into a panorama that slowly compresses, say, one extra arc minute a decade (half a generation) as we add the present, and well, one can use any of this panorama, right now.

One can order up any style. Fonts might be a good cant, but only if the person at the keyboard knows art history, so as to identify it.
Central to the thinking I am seeking to lay down here over a series of essays or chapters is that wherein experts know, the selection can also be random.
Providing it entertainment where there is no need for education, but merely identities affirmed, distracted, personalized...as long as the big bad chaos was somehow humanized in emotion. The actual underpinnings in millenia of distilled scholarship is irrelevant.
In fact, as this kind of new transparency, or increase in the resolution of the scholar/jounalists at hand, we can close some of the gaps. Gaps being where for instance, we had to wonder about this person based on observation...perhaps a good example is how detectives worked before forensics.
For example, one Historian was dedicated to Rennaissance, and taught all that contra-posto, perspective, etc. While another class is taught by another Historian specialized in Modern Abstract...say, beginning with Mondrian, or Turner or something.

No longer is that line drawn so resolutely, the boundaries are diminishing, and in the compression...in the immediate presentation of all knowledge some of these barriers and gaps between will go away.
Yet, some will remain.
So, I must say some of this work, this multiple genre, proliferation of visualization and dilating of narrative.
Focusing on narrowing or reconfiguration of smaller categories into larger categories, wherein, there are more larger categories, and even then, the subjects have melded together to form more space where a finer grain to categorization can be experience and compressed...for instance, going from horror (Psycho) to sci fi (Forbidden Planet) to action (The Great Escape), as seperate movies, instead now to "horror-sci fi-action" (Aliens), where abounds many new stories, same narratives, varying spectacles and greater manipulation of emotional responses insofar as fear, excitement and...lets just call scifi, generally, wonder.

While the movie genre itself compresses into a single website, or two, for sourcing.
So film studies are more colloqualls, even less seminars, and certainly not a class or a subject warranting a degree in study.

One thinks more correspondences between things, even in the sciences this had become the norm. Psychochemistry. No, seriously, Astrochemistry, or biophysics. When in fact the study truly is now Astrobiochemicalphysics.

So to are this essays about the predicted super genre's, or genre mutation into more capable digital categories, such as Realism vs. Psychiatric Horror. So to the sciences so to the Humanities. Or what had been delegated by the industrialist as Entertainment vs. Art...because it did make a difference back then.
But that is an old argument from the Fifties, creating low brow and high brow, underground, counter-culture, alternative...genre's which dont really exist anymore.

First of all, to continue clarifying this future art, lets take Realism, in the case of totally redefining, starting with its first sub-genre.
Certainly, to be more inclusive and to also include a "shift in reality" that is the mark of a transition of a industrial paper society into electronic screen society. Realism now means something more than the literary genre used in the late nineteenth century.
Furthermore, Horror is too widely subjective. 
As a scene of drama, the external world is inadequate and so is Realism...the external world, the social public world in which people cannot escape.
We've set aside the old Tribal or Historical "religions".
I put "religion" into parenthesis as its really a good way of saying what used to be religion is no longer that functional.
For what it used to do, in a nutshell as well crafted as a set of literary devices go, is provide Cosmology.
Religion does not do that anymore. Well, to some it does, but their wrong.

So, even then the idea of a Personal Being plastered over reality...up into the sky eventually because that was the least tangible...most sandy part of what is known. Differing religion competed and I have a feeling over time the superstitions associated with whatever earthly reality paled before comparison, until, the only thing left to attribute to a personal will beyond man was in the sky.
The Theological argument is valid. Religion does root civilization. Other people can argue uprooting the old cosmology however, we dont want to throw out all the books just because, at first guess, there was a lot of error. 
But that is a spurious track: cross genres we go, and hence, Psychiatric horror favors the use of the term Realism.

Realism as package in which to store things: photos are real. But there is photo realistic images of dragons. So, they are Psychiatric Horrors.
Indeed, they are!
However, there is Horror into which language has rounded up large amount of material. The reference itself contains a subjective reaction: not everyone will find this or that horror, horrific. 
Its a problem in the word definition...but the Industrial way has gelled here, and so we make use of it for Google, sure.

However, in posing Psychiatric Horror, we include many dramas, many Histories, and many other tone of anxiety, depression, psychosis..etc., wherein, with Realism, we would have simulations of local murders, very strict narrative into autobiographies, all based not around words or the "power of print", but instead on visual correspondences, and emotion correspondences.

Genre and visual definitions cross index, in a seemingly arbitrary way.
Yet Audio is, as far as I can see it practical, in this enlargement of context, text, thought, and technique, does have its compression and correspondences, yet, Audio is bound to the visual image, wherein, the visual image is not bound to genre...while audio is bound to the genre. So audio does not detach from the visual and much as genre and the visual detach from each other.
Lets say its like the Alpha Centauri, Beta Centauri, and Centuari C...a three sun system, but one sun as a White Dwarf: audio. 
So, audio is more the dwarf insofar as it associations are more strongly bound to the referencing above.
Meanwhile, what that means is the larger categories of Visual and Genre are more or less equally laid across, with in example one intersection, but in actual deployment it is inter-laced, or in Thomas Shippey's describes as intrelacement, a technique in Medieval writing corresponding to the inter-lacing of lines in Celtic and Illuminated Manuscript.
Its kinda what Foucault mentioned, comparing the Chinese ideogram favorably to the Western print, seeking to expose the limitations and perhaps more narrowing thinking encumbered by this...old system. Of Western logo centrism.
For within the ideogram was packed multiple meanings and associations all not really that related to each other.

So, the genre of Psychiatric Horror, what is a sub genre of realism closest to Fantasy Sci fi, Mythological material...without dropping out to oppose Realism.
We are looking not for oppositions so much as categories that cascade down from a basic impulse to define itself in reflection as composed of other notions that can be oppositional, but do not oppose reality.
Psy Horror poses sub-genre's, including the now more obvious, drama of psychosis..or ostensibly rubber-reality narratives...but not always...some of the rubber realities are not explained by "psychosis" narratives. Though some narrative of psychosis, whether expressed in style or exemplified in biography, does not include most "it was all a nightmare" conventions of endings.

This is a way to sub catagorize symbols of psyches: a new way to peruse the infinite library for the viewer, they can follow Psychiatric Horror to frame Drama, like Persona, or the compound genre like Aliens, or the expose's like Shock Corridor. Or, Citizen Kane.
Psychiatric Horror biggest problem as a genre, is that too much of it has Tolkiens correspondences to symbols. Orcs, Monsters, etc. are subjective states that have Horror but we see them not thinking they are pure psychic energies set into a sequence...frequently of doubt of reality.
I mean, really, Dragons? No, they represent some psychology of character that cannot be bound by mere quotidian reality. Yet, if one sees, hears and is affected by Dragons, in a Psy Horror film, that person is an example of someone who has lost reality. Its still Realism.

Punk, is a catagory. I would like to see a catagory of Punk movies, however, this is pretty well transiting to digital reference insofar as "related movies" as a search catagory covers the genre and what it could be, very well.
Repo Man next to Sid and Nancy, next to Decline of Western Civ docs, or, even movies that people who described themselves a Punk back in the day, and who know have evidence of how that self designation was affirmed in different media. Their consuming patterns then presented to other viewers as Punk.

Science Fiction remains a categery but its too cluttered too.
Fantasy now requires a Psy test. Or, it is wanting to live in a atavistic time analgous to the Middle Ages?
Fantasy Horror, Vampires, Werewolves, but not Aliens or Godzilla or Frankenstein...is also under psychiatric horror.
Well, I think the idea is understood.

We could think of purifying all categories and reducing them to Realism vs. Fantasy, yet, there are too many useful categories. What we look for instead is the same as what is being done on Netflix, however, the classification is shoddy, nor is there enough usefully provocative categories as they depend upon old Industrial terms, dramas, comedy, and new 'make it personal' or (variations of 'my list').

I am saying we dispense with borrowing old genre's and making connections by way of 'suggestions' based on examples...the mirror effect is okay, but, the preceding lists are quickly wrong in association.
Instead, the genre's should narrow and focus in...on issues, like Environmental movies...that is a good example of a subject into which movies are dumped. 
But reality TV is not a good term. Autobiographical is probably better.
Documentary is an old term as well that is no longer useful. Dividing them by ideology would be useful.
Same with Drama. Same with Action. Same with Comedy. Break them all down into smaller categories.
Comedy should be sub-divided. We are not perusing the shelf at the video store and we are even further away from the Comedy-Drama dichotomy of Classical Greek thought.
No, its a computer and our schemes are nearly infinite. 

So, we get the "visually exciting" category, which is what we all know as bullshit...as visually exciting is probably someone else's list.
In Horror, we get such uneven, so many sub genre's...really, the list can be redefined, and sometimes there is doozy's...such as one I remember being "stories based on Campbell's Hero with a thousand faces".
Not that I would be attracted to that genre.

The idea being I the user, would select a horror, then a comedy horror, and this brings up a list. No problem.
However, I want a comedy horror which is a cartoon with rock music (no orchestration).

Or, a bad Hollywood movie. This is an objective catagory, a bad Hollywood movie. Or a biography about Hollywood that is a farce.

Farce and Satire would be extremely useful categories...never used. Nor is that being really handy with the definition for its academic parsing..oh, until now. 
Its just defining once by one academic that then that applied!

So, to speak of defining for once and for all, that can include structures of dialogue and of course, some categorical errors, but, by and large I can watch a satire. About World War 2. That is a good selection of movies, though it may be well applied today in some search engine, these errors of say then including All's Quiet on the Western Front, is not really a comedy.

But this problem is ongoing and gets a lot of visual play. Clearly, we see how unstable its all becoming.

Hence, I think a dynamic between Realism (cmon, really showing reality) without breaking the boundary of reason...and with humor within the character interaction, and not violating the fourth wall.
Breaking the fourth wall, why, that would be super reality, or epic theater (which is a stupid terminizing, okay?).
Or Reality TV, now broken into autobiographical reality tv or fly on the wall reality TV, or game reality TV.
Though the character can address the audience, and the character can know the cameras are there, there is some other gig going on, like sports, or games.
A Reality TV that is addressing the audience, like Rick Steves, is Auto-Biography but of a objective factor, while there is auto-biography which is of a subjective factor, wherein, Rick is serving us with a novelty of a Europe we cannot visit, while others are serving us by showing themselves working and their emotional reactions to working, sometimes through the lens.
Which would include most of reality tv but also Forrest Gump, and other narratives as told by a narrator.
Not Citizen Kane, which has a opening and closing bookend narrator(s), but we really dont get to know them, those reporters. 
However, that would be a sneaking into many new genrifications or cross index (and new categories to call cross indexing), an error prone inclusion.
Probably this is a temporary error due to low computation (although I am predicting this system for higher computation than today!), wherein, the program cannot tell the difference between audio that is addressing the other in tone being the other on screen or off screen.
Maybe in the future THAT GAP will close.

Apart from an initial experiment, somewhat successful, in machine visual analysis being able to distinguish genre's of painters based on style of brushstroke and "styles" of color, the organization across genre of similar narratives occurs simultaneously, not just due to formal accidents.
Say, the opening scene of Wizard Of OZ just seems to fit with the opening song on Dark Side of the Moon.
That kind of mix, which is accidental, I am seeking to engineer into a program that identifies where this does work...and even has some modifications to shoe horn these formerly disparate media and story setting together.

Again, this accident is cross indexing by a human mind, thinking, "maybe this'll sound right?" but the computer can handle this, I am thinking, so that, in systems of narrative as defined by various authors, one can dial around their ways of systemizing narrative, to make a database wherein, say, all scenes of action that occur 20 minutes into the viewing, wherein, the action is composed of nearly the same sequence of shot reverse shot, close up, spectacle of disaster...cut to the Hero, more action, reverse shot, you know, etc.

Barthes, Popper, Campbell, Bordwell, and other literary theorist have systemizations.
Yet, what is suggested is both somewhere beyond mere timing correspondences (which seem ubiquitous and more so, odd in what is then interchangeable), beyond replacing characters by masking and recomposing animation from another production (mentioned in the previous essay), and then fragile systems thought up by theorists...which fail even as they proliferate in diversity!

Yet they do establish a range or some metrics, these narrative theories. 
Their parameters can be related to a visual computer program that reads takes notes on where transition occur. Except, its pacing where it breaks, and then within pacing, these narrative schemes, such as the Hero by Campbell being template for Star Wars, these narrative schemes are ruled first by pacing, which it then ruled by movement and other rhythms, like cutting, actions, and also saturation of elements in a scene. The list is large.
Therein, each shot has associated with it timing, color, tone, fps, genre, spatial position of camera, emotional content, and correspondance in dialogue.
All movies that ever existed can be databased this way.

We see the manipulation, by human hands and editing interfaces, that create machinima, or crank out the same genre...in great conformity and mass.

These creates templates...more or less the same area in timing...which is then enables by changing the FPS (the scene is recreated in 3-d). Changes in camera angle, and changes in character and dialogue...
I think Steve Martin did with with the "Man who Wore Plaid", or Allen's "Zelig".
Yet, what I am talking about is more binge-watching scale. Also, a way to watch the same movie, yet with slight, or even if desired, dialed in increase in cross genre integration...more and more alterations of the narrative sequence.

Patische and collage, sure, but run by a computer with a program that sees and hears and makes more reasonable connections that mere chaotic jump cuts.

The best way to execute this freedom is by way of time traveler, insofar as that can include all genre's, rubber reality, or straight narrative.

However, we can expect the idea of the time traveler genre to break down. There is a history to it, which include Wells, to Gene Wolfe's novel There Are Doors, wherein, time travel is psychologically too exhausting.
This history is visible in Doctor Who, Hyperspace, and many other sci fi sets, but, that idea I am arguing, is going to fail as other genre's break out into the Cross indexing Festival.

For instance, Cyberpunk. Which is poorly named, but we thought we were reading a sci fi dystopian future in Neuromancer, yet, it seems more like it was contemporaneous. One has to get over the Juvenile sensibility of Gibson in these early novels, though its a consistent portrayal like Cheap Trick and Aerosmith seem to also represent Junior High, rather than High School.

Its due to a sense of subjectivity or increased "the personal", as then the world's horizon beyond which is ignorance, is closer. The flaw in individualism.
So the Juvenile sensibilities fit the deflection away from advancing future to a more JG Ballard feeling of not only what is sometimes termed Near Sci fi, wherein its "only ten years away", to another level, which is also not only another pleasure of sci-fi, in "its relevant in its insight and values", to instead feel like this is a future-now, which is just a matter of finding out where its happening in the big broad world. A compression.

That sense of things getting both smaller and larger at the same time. Dilation of time with these devices, so that I can see across the earth instantly.
For instance, in Gibson world, one who is very rich can buy access to real-time satellite footage of wherever they want.
Yet soon, (like five years) the "old real time satellite" will allow subscribers to use it for business applications...though thats done even now, but I mean to look down on the earth from any perspective in real time, to...drop down and provide a bottle of cold beer and a flyer from a drone.

Robots in Alleppo

ROBOT COPS IN ALEPPO

The conversation is actually three people per robot.
Its a game show, so each show the Robots do something different, and are shot from different angles.
The three people means live, but the other two can be looking up quotes and references...and so each side engages in arguing...perhaps its politics of today, referencing and quoting...from current events.
And, then there is a phase where the quotes are just random from some source, like quotes from the Wittgenstien, Nietzsche and Oscar Wilde from one side, the other quoting the Bible.
Something like that, wherein, the six participants just read random quotes out loud, as how the robots talks sometimes.
The robot will have three voices, and the head movement will alter with each voice as if the programming was a motion capture and the robot was adding gesture and context to the comments to the other robot.
And, last, just improve a scene...like a radio show.

The Police intervention has three robots, because there are three there is always someone to blame. So that is the libertarian robot.

Requires some rules for trios:
1. You vote for the other to speak.

Producing the voices and the actions of the face and the movement of the head, each a different track added to to the robots, you have the images of the players, which are Avatars as well.

Producing a game, you would have two people who play together who record their dialogue to cloud...thats part of the game, this other character.
Now, two actors can get on and do dialogue, yes. But one has to watch out for copyright infringement, so the company has to have that insurance  and when the gamers get the game they must sign such a disclosure.

Each production should look slightly different in the component way it is organized. More about that along....

Producing the regular dialogue you do link to databases so in the game you see the two players who are real, but in the footage to be done, they are Avatars.

As Avatar production it can be edited out, but as part of the Game dialogue, it is not up to the poster whether they post it or not, the game automatically posts on a youtube channel.
The game show is faking being live.
(But the Game which has a show of the dialogue between these robots as they invade the Smithsonian, these robots, who die and then enables the other to talk freely, or both die and the screen is silent...)

So there are three video sequences live:
The screen of the player
The player on vidcam
The main dialogue screen which self edits (google chat)
The main screen which is the game reference.

The main screen has control over the single image. So while people are moving their pieces on the board the screen sees what camera is attached to the piece...could be over the shoulder, or third person...but presets on a uniform grid. The Players pick their point of view as well, so they move their piece, and then set their camera.

The GM selects the final camera according to initiative die rolls, and then the round is set to go:

The order of the characters views are stacked, and the last player has the most time to calculate a camera POV. There are presets, so the player can just hit an interface in the 3-d set, that moves the camera to CU, MCU, MMS, MLS, LLS, and freeform, to be added to Self or POV.

The Editor then picks the order of the shots. And there is down time when making transition.
This counter team moves stuff around, to create other points of view...to include NPC's.
So, the TV camera editor works with the Google Chat Prioritizing stream, the GM, the Players and the Actors.
The actors are two, so the Director is switching between cameras, and can use multiscreen...but most of the time keeps it one single image, and that is the action of the scene, then, the Google Dialogue Prioritizing takes over...meanwhile, the die rolls for initiave predetermine, while, I think the order should continue.
Speaking out of order is okay, but, it means going backwards sometimes....to reset the digression.

Anyway, the players move pieces, the die is rolled, and the player chooses an action: again, a template for which there is a random way to execute...so, there are eight ways to leap away...eight ways to walk away, eight ways to duck, eight ways...but we don't care what order they are in...the camera is almost always going to be from a different perspective and the basic set of actions are:
Leap toward
Leap away
Jump over
Jump under
Jump between
Jump up
Jump down
in a matric...one can delay to first read the two lines, but quickly it will be second nature and even some can press button without looking away from the screen or cease dialogue.

Devices can give players access to any other camera but the device is always there to see when the Character accesses what the GM screen is showing.

Should be drawn as a circuit. With the robots view changing.
Two per robot, two robots, two NPC's, one GM, one Director.

So as the players dialogue through three robots...its not unlike the shows on YouTube...they do roll dice, and these dice rolls are converted to camera perspectives, and camera moves, and then the Camera Editor takes the Players and GM suggestions and picks one after the other.