Received: by alpheratz.cpm.aca.mmu.ac.uk id RAA20289 (8.6.9/5.3[ref pg@gmsl.co.uk] for cpm.aca.mmu.ac.uk from fmb-majordomo@mmu.ac.uk); Mon, 2 Apr 2001 17:26:41 +0100 Subject: RE: taboos Date: Mon, 2 Apr 2001 12:22:21 -0400 x-sender: wsmith1@camail2.harvard.edu x-mailer: Claris Emailer 2.0v3, Claritas Est Veritas From: "Wade T.Smith" <wade_smith@harvard.edu> To: "memetics list" <memetics@mmu.ac.uk> Content-Type: text/plain; charset="US-ASCII" Message-ID: <20010402162223.AAA3212@camailp.harvard.edu@[128.103.125.215]> Sender: fmb-majordomo@mmu.ac.uk Precedence: bulk Reply-To: memetics@mmu.ac.uk
On 04/02/01 11:49, Vincent Campbell said this-
>A far better example, might be something like product placement, where the
>object is clearly and persistently in view, but isn't an explicit part of
>the narrative of the advert/film etc. But of course there's nothing
>'hidden' about product placement (hence it's allowed) yet I think this is
>more the effect that people mean when talking about subliminal effects.
If only it were... then perhaps we'd be more aware of it, and a little
more attuned to what we notice.
There is, of course, the idea of 'montage' in film, and the aesthetics of
'composition' in the visual arts, and the constraints and techniques of
sonata form and the aristotelian elements in music and drama, that try to
make some sense of how and why and when and where and what we actually
sense and process, but, there again, much is unknown, although it feels
comfortable.
Product placement, body language, tone of voice- all these and more.
- Wade
===============================================================
This was distributed via the memetics list associated with the
Journal of Memetics - Evolutionary Models of Information Transmission
For information about the journal and the list (e.g. unsubscribing)
see: http://www.cpm.mmu.ac.uk/jom-emit
This archive was generated by hypermail 2b29 : Mon Apr 02 2001 - 17:29:23 BST