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 . . . mike ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu