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Grant Tavinor, Videogames and Interactive Fiction , p. 33. using none toaccess none in asp.net web,windows applicationqr code dll c# A Philosophy of Cinematic Art iPhone OS which the audience also par tly determines) and its relations to other visual images, all of the work-instance s other properties supervene. So the subvenient base of all other properties consists of shapes, sizes, colours and sounds. Shapes and sizes are primary qualities i.

e., qualities that exist independently of our experience of the world: they can be described without implying the actual or possible presence of a subject experiencing them. Colours are secondary qualities, which on a standard conception exist only by virtue of the actual or possible presence of a subject to experience them: were the world devoid of conscious beings, it would lack colours (as well as sounds).

So the denotation of features in the de nition of interactivity includes both primary and secondary qualities. Let features in the de nition pick out only these kinds of properties; and call this sort of constructivism feature construction. There are several important points to note about feature construction.

First, as we saw, it applies only to instances, not to works. Second, it is indirect in respect of meaning determination: the audience of interactive works partly determines the primary and secondary qualities of workinstances: they specify the image, both visual and auditory. By so doing, they do not directly specify the meaning of the work-instance, but they do this indirectly, by specifying its features.

If I produce an image on screen and a sound sequence, then it may well have a di erent meaning (a di erent correct interpretation) than the di erent image and sequence that you produce on screen, playing the same game. Third, not all features are experience independent, since some are secondary qualities: but they are in one sense of the term objective, since they are all publicly accessible and the objects of perception: both you and I can see the same shapes and colours. Fourth, since the audience member partly determines the instances, feature construction places him in a similar position to the performer of a non-interactive performing work, and he is also part-author (as artist) of that instance, if the instance is itself an artwork so feature construction ts neatly with the discussion of authorship and performance in Section 3.

9. So there is a genuine kind of construction that is distinctive of interactive cinema: it is entailed by the basic de nition of interactivity; but it is partial in the sense that it applies to instances of cinematic works, not to the works themselves (other than instance-works). How does feature construction relate to the discretionary construction for which we argued earlier Recall that discretionary construction occurs when the audience of a work has discretion about what it properly imagines about what is ctional that is, it has a degree of choice within certain limits over what it imagines and this is legitimate, given the features of the work.

. Understanding cinema For instance, it can proper ly imagine that the expression of Mona Lisa has a hint of sadness, or that it is one of quiet happiness. The audience does not believe that either of these expressions is determinately present, at least if it understands the work, for it knows that the smile is elusive and indeterminate because of the sfumato technique: but to interpret the work correctly it must see it as one expression or another, or as both sequentially. There are some basic di erences between the two types of construction.

First, discretionary construction is wider in scope than feature construction. As the example shows, discretionary construction can apply to works, not only to their instances, if they have any (the Mona Lisa, being a painting and therefore a particular, has no instances). Also, feature construction applies only in the interactive arena, but discretionary construction can also apply to non-interactive works.

Second, feature construction involves determining the primary and secondary qualities of instances; these are publicly accessible objects of perception and when we perceive them we can (and standardly do) have true beliefs that the work has these features. But discretionary construction involves an act of imagination: we do not believe that the work objectively has these properties; what we believe is that the work properly sustains certain imaginative experiences. And we may not just imagine, but also see the object as having these features, in a sense that does not require us to believe that these features are really possessed, in the same way that we can see clouds, if suitably shaped, as whales or hills.

The kinds of properties that are ascribed in this way through imagination conditioning experience are sometimes called tertiary qualities: we have an experience as of objects possessing these properties. The experience is not arbitrary or unconstrained, since we properly imagine these things the work is correctly interpreted as sustaining these imaginative engagements. Third, feature construction is a public process, which can be observed by others (for example, you can watch me playing a videogame) and which yields a publicly perceptible object (the changing videogame image); but discretionary construction, being an exercise of imagination, yields only a privately accessible object: you cannot see my act of imagining something; nor can you observe the particular sad smile I experience the Mona Lisa as having, though I can try to get you to have a similar experience.

Finally, feature construction is more basic than discretionary construction, in the sense that one can feature construct something and then perform discretionary construction on it, but not vice versa. Suppose in a videogame version of Kind Hearts and Coronets that you happen to play in such a way that the events in the game exactly correspond to those in the.
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