in the course of discussing our perceptions
about the way a medium is employed, wlt4
observes . . .

 >>In music, for example, this displayed effort is
>>often part of the signification process . . .  even
>>the synchronized bowing of an orchestral string
>>section (I've heard it argued that this has no
>>real effect on the resulting sound).

and while this is immaterial the the question at
hand, or to film studies, i thought it worth pointing
out that it does make a difference and has a real
effect on the sound . .  we know this because in
the thirties stokowski trained the phildelphia to NOT
use synchronized bowing, because he wanted a more
seamless sound . . . and the difference in the sound
of the violins is noticeable, even emerging from
old shellac discs. . . contemporary testimony suggests
that the differences were even greater than we can
tell today . .  .


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