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For me, this scene is one of the most perfectly designed scenes in cinema history. Every creative contribution perfectly creates the whole. Without the use dialogue, the film provides the viewer the most important plot device, the protagonist's complete flip in belief (fatal flaw), the story turning point and the overall theme of the film all whilst emotionally manipulating the audience at a masterful level. We feel the scene, we get the message and we emotionally change just like Schindler does.

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The Girl in Red - Schindler's List (3/9) Movie CLIP (1993) HD

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For me the ending of this scene makes me so emotional, he is made to be a sympathetic character. You can see the sadness in his eyes, a bit bias because I love this character despite being a villain.

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The Candyman's Congregation | Candyman (1992)

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From a super cosy movie that I love, the beginning reminds me of the Corpse Bride soundtrack. This song is the perfect opening to the film and gives me the ultimate feeling of serenity.

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Rachel Portman - Main Title | Chocolat (Original Motion Picture Soundtrack)

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I recently watched Aftersun by Charlotte Wells (twice) and it absolutely destroyed me. I find media that makes me feel "big" feelings like grief incredible and worth watching multiple times, because once you get past the initial feeling of grief, and revisit that same piece of media, its like you're watching it for the first time and you notice a whole new array of things you missed the first time round. In this case, I was in awe. Less heartbroken the second time, but perhaps more distraught because I could see many more moments leading up to the conclusion. SPOILERS!!!!! DONT WATCH THIS IF YOU HAVENT SEEN THE MOVIE. I BEG YOU ALL TO GO WATCH IT AS SOON AS POSSIBLE.

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"I don't dance" Ending sequence | Aftersun Script to Screen

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In the film Fight Club, you can feel the emotive elements of boredom, frustration and anger. The is scene really makes you think about the capitalist world we live in.
Tyler Durden says, “We’re the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our Great War’s a spiritual war… our Great Depression is our lives. We’ve all been raised on television to believe that one day we’d all be millionaires, and movie gods, and rock stars.”....

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Fight Club Best Scenes - Speech About Modern Life

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https://www.youtube.com/watch?v=UyW_acegSVc

Admiration -

Rick Rubin - How to stop Overthinking

“Art doesn’t come in a quarterly way” 4:35

The ideas that Rick talks about here and in the extended podcast with Lex Friedman I have so much admiration for. As one of the most influential producers of the past several decades, Rick's open mind and zen mastery is really something to admire. His take on art  stemming from belief that if you get out of your own way and listen that great ideas and art will eventuate, adjacent to this is his constant statement that If you put your best into everything that even if it fails or is possibly not your best work that it is the best it could possibly be at that time and that there is no benefit or loss to dwelling on this as long as “on this quest for greatness you’re living up to you’re ability.” 5:50

The idea that as an artist you are not one to judge art but create it and consistently be trying to do the best work you have.

Modell 5

Fear

https://granularsynthesis.info/MODELL-5

The general manipulation of sound and video in Modell-5 create a very offsetting audio and visual experience. "Sound is what accounts for the highest degree of nervousness." with the origin of the sounds being notably human the manipulation certainly creates an audible uncanny valley with the manipulations often sounding very unhuman with a tinge of familiarity. The same stands with the video.

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I'm cheating here and have linked to a film I made in 2020. During COVID lockdowns in Melbourne I made a number of little films with my three cats. This is one of many but one of the last with all 3. The long-haired Tabby (Princess Willow Rose) died at the end of October 2020 and the Torty (white, ginger and black) 'old girl', 'Queen Olivia', died July 2021. It is just me and the 'old man' (Mr. Angel Harris) now so when I look back at this film, I smile to remember my girls! I feel 'serene' (calm, peaceful and untroubled as per the definition).

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18 Behind the Scenes ~ The Paparazzi's Perspective

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"The Green, Green Grass of Home" was the first song played as the funeral began, yesterday, for a 35-year-old woman I knew. I have always liked this song but played in the context of the funeral just sent me into a bubbling mess.

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Green, Green Grass of Home Green Green Grass of Home - Bing video

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A marriage proposal turned theft in this roller coaster moment. Feelings of love and admiration, even anticipation, swiftly give way to shock, surprise, then contempt, disgust and loathing.

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Disgust - There are a few scenes from the film ‘The Cook, the Thief, his wife & her lover’ that I find real gross and disgusting because it constantly involves food with other things.

Fear - That film ‘Split’ really freaked me out. Horror films are scary but we know its not real. Split however tells the story of someone with dissociative identity disorder who kidnaps girls and then some weird, crazy stuff happens. All those things could legit happen in real life.

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The Cook, the Thief, His Wife & Her Lover - Trailer

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Kokiri's Apothecary fills me with feelings of peacefulness. Her cheerful tone against the backdrop of inside plants evoke a sense of calm for me.

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Kikis Delivery Service Explode GIF - Kikis Delivery Service Explode Experiment - Discover & Share GIFs

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The perfect Kikis Delivery Service Explode Experiment Animated GIF for your conversation. Discover and Share the best GIFs on Tenor.

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This has got to be the biggest nightmare that I've ever had... but it never stops me from re-watching the film.

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The Exorcism Of Emily Rose (2005) - Trailer

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I am angry and disgusted with the electric car debate because I think it is missing the point about resistance to these vehicles in countries outside US, Asia and Europe: it's about distance and infrastructure and noone seems to get it.

https://www.smh.com.au/politics/federal/the-great-electric-vehicles-debate-how-much-has-the-tech-changed-in-three-years-20211112-p598cm.html

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As the Glasgow summit draws to an end, Australia's climate policies are under the microscope more than ever. One of the biggest challenges for governments is to decrease transport emissions, which are rising faster than those in any other sector. In Australia, the transport sector is the second-biggest source of greenhouse gas emissions, after the energy sector.

This week, electric vehicles (EVs) found themselves at the centre of a heated debate between Labor and the Coalition, as the two parties try to make inroads ahead of the official election campaign.

This week, EVs found themselves at the centre of a heated debate between Labor and the Coalition, as the two parties try to make inroads ahead of any official election campaign. Credit: Getty

The federal government also unveiled its $178 million strategy to increase electric vehicle charging infrastructure in a bid to cater for an anticipated 1.7 million EVs. Prime Minister Scott Morrison said the strategy was about decreasing the cost of low and zero-emissions vehicles and improving consumer choice, but for many, the announcement echoed Labor's 2019 election promises. At the time Mr Morrison said Labor's plan would "end the weekend", claiming electric vehicles would not be able to tow boats, caravans or get people to their favourite camping spot.

What happened in 2019?

Three years ago, Labor promised a target of 50 per cent of all new cars being electric by 2030 and said it would work with industry to lift car emissions standards in a bid to cut pollution and spur innovation. In comparison, the government released modelling the same year that showed 27 per cent of new cars sold in Australia by 2030 would be EVs, a considerably lower amount than what Labor promised.

Fast forward to this week, Mr Morrison was questioned about his choice of words three years ago. He said he didn't have a problem with electric vehicles, rather he had an issue with "governments telling people what to do about what vehicles they should drive and where they can drive them, which is what Bill Shorten's plan was."

He added that technology had undergone "massive" changes in the past three years, which meant that Australians would have more choice when it came to buying EVs.

But Electric Vehicle Council chief executive Behyad Jafari said there hasn't been any significant change to the EV industry in the past three years. There have been some small advancements, such as cheaper battery prices and greater availability of vehicles, but those were completely expected as the market developed.

"I've got no idea what they are talking about," Mr Jafari said of Mr Morrison's "massive changes".

"As far as I am concerned, [this week's] announcement is not an EV policy, this was one tiny element for a bit of funding. It's not a policy nor does it embrace new technology."

Mr Jafari added that state governments were currently doing more than their fair share of the EV transition, but their powers were limited, with issues like fuel-efficiency standards or short-term rebates outside their control.

For example, Victoria has set a sales target of 50 per cent of new vehicles to be zero emissions by 2030 and a controversial levy that would charge electric vehicle drivers between 2 and 2.5 cents for every kilometre they drive. Meanwhile, NSW has announced a strategy to increase sales to 53 per cent by 2030-31. Both states have introduced financial rebates of up to $3000 for electric vehicle purchases, while some jurisdictions waive stamp duty and registration fees.

"EVs aren't a political issue, but they're a politicised issue," Mr Jafari said.

The cost argument

Mr Morrison also argued that Labor intended to increase the price of fuel and "force people to switch over" to EVs in 2019.

"That's not how we do things. We're not a government that goes around trying to tell people what to do," Mr Morrison told Sunrise on Wednesday.

However, Labor never said they'd legislate their 2019 election proposal, nor that they intended to increase the price of fuel. Shadow Minister for Climate Change Chris Bowen posted on social media to say that Mr Morrison was "desperately trying to justify his sledging of EVs".

"Not even in the 2019 election campaign did the LNP claim Labor policy would put up petrol prices. But Morrison is dishonestly saying it now."

Opposition leader Anthony Albanese said this week his party recognised global automotive makers were moving away from petrol vehicles and would act to stop Australia from becoming the dumping ground for old models as the rest of the world moved towards electric vehicles.

"Let's not have people sucked into this nonsense argument about choice and mandates. It's complete nonsense. The fact is ... for people who are born today, they won't have a choice of buying a petrol vehicle because no one will be making them," he said.

Earlier this year, Labor promised to cut import tariffs on EVs worth less than $77,565 and exempt them from fringe benefits tax in an effort to reduce retail prices. Climate Works sustainable economies expert Rupert Posner said EVs would not increase fuel costs, and the cost of running this type of car was cheaper than running an internal combustible vehicle.

Australia still lags behind the rest of the world

Domestic sales of electric cars have risen at record levels in the past six months amid state government incentives, but these figures come off a very low base. Car sales data released this year show that 4029 battery EVs were sold, with only 112 sold in 2010. In comparison, more than 824,000 cars (excluding EVs and hybrid cars) were sold this year.

Britain, Japan, France and Germany have pledged to ban sales of combustion engines between 2025 and 2030, while Norway leads the world in electric vehicle ownership, driven by a range of incentives such as waiving import tariffs and sales tax as well as registration fees. In 2020, it became the first country where EV sales outstripped petrol, diesel and hybrid vehicle sales combined.

Mr Posner said there was nothing stopping Australia from following in the footsteps of other countries if it implemented strong policies which supported the rapid transition to EVs as well as better emissions standards for car manufacturers.

"It's important we transition vehicles to zero emissions but also that we recognise and encourage other modes of alternative transport, such as walking and cycling and public transport. Shifting to other forms of transport can reduce emissions immediately," Mr Posner said.
Get weekday updates on the climate summit that will shape our future. Sign up to our COP26 newsletter here.

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The great electric vehicles debate: how much has the tech changed in three years?

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In Australia, the transport sector is the second-biggest source of greenhouse gas emissions after the energy industry.

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I played this game around 2018, and to date it's one of the most engaging narratives I've ever seen. It always intrigued me how it managed to give me a sense of unease, anxiety, and at some points outright terror, while also making me feel calm and entranced. I think it's the overall presentation of the tone and mood in each setting/scene, how it manages to convey the contradictory nature of real life.

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Night In The Woods Trailer - NEW DATE: FEBRUARY 21st

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I always feel a dichotomy between "the call of the void" and logic when watching these kinds of videos - Tim

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A big push for Magenta and Purple for expressing the emotion of disgust in this movie. In both theories presented above, Magenta is associated with fear and disgust.
Contrary to several non-media associated colour theorists.
I find this quite interesting.(Paula)

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COLOR OUT OF SPACE  Official Trailer (2020) Nicolas Cage Movie

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This song captures the experience that having community/a good friend make a situation or place better, no matter what else is going around there is hope and excitement in your friends. - Travis

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This art work is by Ai Weiwei. It is a snake made up of 9000 children's backpacks. It represents the 9000 children that died in the Sichuan earthquake because of poor building construction and the cover up. I saw it in Melbourne a few years ago. It filled me with horror, anger and sadness. It was also very beautiful.

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This song always breaks my heart because it feels like it is from the point of view of a person who knows that everything is falling apart but can't do anything about it. Lyrical imagery
is strong and the looping nature of the guitar part emphasises the sense of being stuck - Travis

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Seaspiracy was an eye opening glimpse of the awful practices of the industrial fishing world and how grossly destructive and immoral a lot of their methods are.

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This is one of the memorable scenes where the characters go through a wave of emotion from happy to sad. On one hand they killed the big bad evil guy but Frodo died.

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The Lord of the Rings: The Return of the King (8/9) Movie CLIP - The Fall of Sauron (2003) HD

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Sadness, like you've been up all night and the world has already ended

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Sadness, like you've been up all night and the world has already ended

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https://www.youtube.com/watch?v=nxg4C365LbQ
Lorn - Acid Rain
The nostalgic synth sounds, the sadness it conveys of someone not realising that whatever matters has already ended. - Omid

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The John Wick series seems to promote the anticipation and amazement of its viewers with the smooth motion of the filming in such a chaotic setting, following the view of John, and the anticipation that we all share for him hunting the killer of his dog.

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John Wick Official Trailer #1 (2014) - Keanu Reeves, Willem Dafoe Movie HD

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A Quite Place was one of the few movies that made me squirm in my seat from the relentless stress the movie put on me. I new something bad would happen but the sound design amped up the feeling of dread almost the whole time someone made a sound.

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A Quiet Place (2018) - Official Trailer - Paramount Pictures

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Yes Your Grace is a game that fluctuates between Trepidation and Desperation. Throughout the player is put in a position where they must make decisions without fully understanding the consequences of
them.

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This scene from Full Metal Alchemist always illicit's a sense of despair that leads into compassion for me, usually being expressed in joyful tears. This is done through both the beauty shown by Ed's compassion and the solemn reflection of the moment itself.

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Edward Elric and Winry, Gun Scene (English)

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Sadness/grief

From the moment I heard this song as a very little girl, it made me feel sad. I thought of my grandparents, with the knowing that they were old and had limited time with us. Whenever I hear this song it makes me cry, just as I did when I was four years old and heard it for the first time.

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Sensory pleasure/Peace

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Trepidation/Dread

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Gothic II -- OST 10 'The Halls of Isdorath'

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Trepidation

I chose this video because personally I feel that it uses a lot of conventions found in horror settings, designed to insight fear; flashing lights, people trying to get into the room, erratic movements, etc, however I wasn’t scared. Based upon the atlas of emotions, I felts a mix of trepidation and maybe a bit of relief (which is classified in the enjoyment area), most likely to do with the 90s nostalgia I get from the song.

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Hopelessness

I find this video makes me feel a mix of hopelessness and dread. The quote before the dancing begins really sets the tone of the piece, and the empty setting juxtapositioned with the frequent movements and the combination of the strings and the vocals adds to the anxiety. It does change it’s vibe towards the end, trying to end on a more hopeful and freeing point with the change in choreography dynamics.

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BTS (방탄소년단) 'Black Swan' Art Film performed by MN Dance Company

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One of my favorite quotes of all time by Bill Paxton, from the movie "Aliens" ©1986 20th Century Fox Home Entertainment. All Rights Reserved.

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Loneliness

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Foreigner - I Want To Know What Love Is (Official Music Video)

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Wanting to get out of the rat race and social norms

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Queen - I Want To Break Free (Official Video)

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The feeling of longing

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Seal  -  Kiss From A Rose (Official Music Video 720p HD) + Lyrics

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The Last of Us is a grim game exploring the dark depths of survival. This brief scene offers a joyful respite in an otherwise arduous and gruelling journey.

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As an anxiety inducing scene that makes you feel uncomfortable is from Whiplash (2014). The abuse from the whole film feels like it's at its height in the moments when Andrew attends rehearsal after being in a car accident.

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The scene in Buffy builds sadness by initially opening to Dawn concerned about trivial things. Then her denial as we see other people realise the seriousness. Followed by the silent cutaway of Buffy telling her their mother died.

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Buffy Tells Dawn Their Mom Died - BTVS HD

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Alice's response to Dan admitting he has been cheating on her in this scene in Closer is heartbreaking. It is one of the culminating scenes from the emotional tension built throughout the film. It truly expresses the pain, fear and disgust that dynamically shares itself with the love we experience in a relationship for and with another human.

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Milton's excitement is picturesque as he rolls away from his formidable Kickflip at Sunset Car Wash in Los Angeles. This location is known for being one of the most notorious spots in Skateboarding history. His initial leg break, recovery, comeback attempts and ultimate execution paint the beautiful idea of determination, will and patience to succeed. You can feel how much he savours the emotions he's experiencing at 9:16.

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Patrick's anger (presented as simmering and brooding - anger through sulking) is great in this scene. Especially if you know what happens to Paul Allen in later scenes.

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American Psycho - Business Card scene [HD - 720p]

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What defines 'loss' for sadness? I didn't know Van Gogh, and this is a fictional depiction of him, but this scene makes me feel sadness and perhaps it's the loss of his life and how he was never able to see the fruits of his efforts

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Vincent Van Gogh Visits the Gallery | Vincent and the Doctor | Doctor Who

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Nine Inch Nail's Closer illicits a contrasting affect (Disgust) to the music's seeming intent (Enjoyment)

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Nine Inch Nails - Closer (Director's Cut)

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Johnny Cash's cover of Hurt emphasizes tired old Sadness, transforming what used to be a song about self-loathing Anger and Disgust

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For Anger, I'm going to use the very topical speech of Mr Nancy's entrance from American Gods

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Mr. Nancy: His Grand Entrance | American Gods

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Sadness - Hopelessness, frustration, emptiness https://www.youtube.com/watch?v=0UUeqvquXZI

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Brett Favre interception by Saints Tracy Porter NFC Championship. Paul Allen's Call

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Ace Ventura @ Boom Festival 2018 [full set movie]

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The music of this definitely makes me feel "enjoyment" both because of the familiarity of the elements of a genre I am passionate about, and the novelty of the unique composition elements.

The graphic visual elements initially elicit disgust. But also enjoyment - again because horror movies are genre I enjoy.

https://www.youtube.com/watch?v=482tDopNzoc

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Cannibal Corpse - Evisceration Plague (OFFICIAL VIDEO)

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The song 'Make you Feel My Love' illicit both sadness and enjoyment. The enjoyment comes through the cathartic nature of the lyric and the tone of the song which resonates with my emotional state.

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Bob Dylan - Make You Feel My Love (Official Audio)

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My affective response of this video using the ‘Atlas of Emotions’ core emotions are a combination of Disgust and Enjoyment.  The content is so wrong that it is engaging.  The attached article review is hilarious and sums up how I feel about this 80’s video clip. Lilith
https://grantland.com/hollywood-prospectus/rembert-explains-the-eighties-lionel-richies-hello-video/

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Makes me feel sad, joyful and romantic. These two created a connection and a bond however, their relationship was shunned upon in that time period of society. And everyone knows the story of the Titanic, very sad. Jake dies. Leaving Rose behind.

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I watched this film way to young at my friends place. It made it more scary because I was in an unfamiliar environment. When I was searching for this film, I did still get chills because of the childhood fear however, when looking at the demon, he looks very fake. In my opinion now, the demon looks like Animal from the Muppets.

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Haptic storytelling. Check it out!

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The rise of haptic storytelling

After the explosion, I hear voices calling for help.

I feel my way forward, hand over hand, touching a pile of tires, a rusty barrel, a doorframe, kicking the rubble that demarcates the barricade behind which I've watched a peaceful street scene descend into panic.

Stepping through the doorframe, I reel back, throat in mouth, as I find myself edging along a jagged precipice. Intellectually, I know I'm on solid ground, inside a building, no danger of falling. Still, I sidle along with the rough wall as my guide, heading for the voices: a man and a girl. I reach through what looks like a gap in the rubble, encountering a pipe the man begs me to shift-and then a warm, real human arm.

It's too much. I rip off the VR headset and briefly find myself surrounded by concerned faces. They put the headset back on and lead me out of the experience, to a hallway bench, where I dab tears and catch my ragged breath.

The HERO installation is designed to expose untested civilians to how they might respond during a wartime crisis. Will they step up to help, freeze, hang back? At Sundance's New Frontier exhibition, participants relinquish their nametags at the door, exchanging them for a role card that they feel best expresses their sense of self. This approach mirrors one that director Frank Oz and magician Derek DelGaudio utilized for Off Broadway show In & Of Itself. My card says, "I am a partner." As I leave, my name badge is returned to me with a small strip of cloth resembling camouflage tied to it - both a tactile reminder and a symbol to others who have gone through it.

Still a bit shaken, I sit down with Vassiliki Khonsari, the co-founder of iNK Stories, which produced the experience in partnership with Starbreeze Studios. The cards serve as a priming device, she explains, to help shape participants' mindsets. For example, my impulse was to help-but people who choose the "I am an observer" card might hang back. This helps to make each person's experience a bit different.

"Once people walk into the HERO space we wanted them to strip themselves of all of the identifiers they're associated with," Khonsari says. "We want that to set the tone for how you enter the experience and become receptive to this moment in time. And after you have the experience it offers you the opportunity to reflect on yourself."

In addition to the StarVR headset, which offers a wide field of view, HERO is enhanced by a haptic backpack that transmits vibrations from the explosion, real-feeling props that mirror the objects shown in the street scene, and ambient sounds rather than those piped through earphones. The combination of analog and digital inputs is unnervingly convincing-the producers call it "Vérite VR."

"We were fortunate to push on technology, on artistry, on theatrics," she says. "We wanted to see what VR is capable of, what mixed reality is capable of. We're bringing together technologies that aren't used together."

This variety and level of sensory input is unusual and expensive - but suggests how powerful the sense of touch can be in making an immersive experience seem real.

What another demo in the same exhibition lacked in tactile immediacy, it made up for in gee whiz factor.

Billed as a "cinematic VR platform," the Voyager chair moves a full 360 degrees and pitches 35 degrees both forward and backward. It also offers haptic feedback and spatial audio.

I strap in to experience Space Explorers, directed by Felix & Paul Studios. The chair allows the viewer to be embedded in a variety of scenes where astronauts are training for the harsh conditions of space travel: side-by-side with the driver of a rover through a snowy tundra, in the cockpit of a tiny plane, floating in a swimming pool next to trainees manipulating massive equipment in conditions that mirror zero-G.

Beautifully filmed, and full of aspirational interviews about humanity's future in space, the piece is tweaked for maximum awe. I find that the chair requires some suspension of disbelief, which I momentarily achieve during the experience of underwater weightlessness.

A bit dazed from all this-plus an earlier room-size VR installation that had me dancing with a mix of virtual giants, lilliputians, and actual humans represented by digital avatars-I wander through driving snow to the next exhibit space. The real world feels unreal, I explain to my faraway husband through my earbuds. I feel the chilly flakes landing on my face, the slush beneath my boot treads, but for a moment it seems distant, manufactured.

Snow shaken off, I wander around the next venue and settle down at a table, where I'm prompted to put my hand palm up into a rubber tube connected to a metal box, topped by a screen. Created by a company called HaptX, the device is designed to transmit not just touch, but sensations of hot and cold. Using a wand, I direct a spider to prance around, and then a tiny deer to stomp on my palm. A few moments later, a virtual dragon fries it to a crisp, and I'm tempted to pull away and shake my hand as heat washes over it.

"Touch is a very visceral sense," says Jake Rubin, HaptX CEO and founder. "So if you're trying to tell a story being able to touch or drag something can bring more emotional engagement or more realism."

He explains that the effect is achieved through a "smart textile," infused with channels and air pockets that change shape to create various sensations. Piping hot or cold fluids through conveys temperature shifts. Like pixels, the points of contact need to be smaller to create a higher-resolution tactile experience.

HaptX is not currently geared towards a consumer market-the company's customers are industrial, medical, and military. They need high-fidelity simulators for training purposes. Photogrammetry can help in mapping the detailed surfaces of an environment such as a fighter jet cockpit, he says, which in turn can help to convey the feeling of complex physical interactions such as buttons, dials, or switches.

Rubin suggests that theme parks or arcades might be the first places users will experience this type of technology in an entertainment setting, probably within three to five years. "The price should come down with volume," he says, which will make the technology more available to media makers.

What's coming next down the pike for haptic experiences? Some we've already grown used to-such as Apple's " taptic engine," which mimics the feel of buttons, taps, and simulated heartbeats that lovers can share across distance. Apple's Taptic API now allows developers to create apps with their own haptic features. Here's an interesting breakdown of the different types of feedback that are available, and an X-ray of the engine in action.

Select arcade games have featured haptic feedback for many years, such as racing simulators. For the masochist, newer haptic game accessories can simulate the pain of a kick in the ribs, a punch in the face or a "yelp-inducing pinch," reports Zara Stone in Wired.

So-called "teledildonics" have also been a focal point in the development of haptic technology. David Parisi, an associate professor of emerging media at the College of Charleston, offers a capsule history in his new book, Archaeologies of Touch: Interfacing with Haptics from Electricity to Computing.

He details the rise and fall of the RealTouch system, which synched up the action in pornographic films to a USB-enabled sheath. Somewhat surreally, Parisi explains, "adding haptics to the videos required the coders to move scene-by-scene through the library, imagining what the scene would feel like on their own genitals, and then assigning that complex of sensations a string of numerical values to control the operation of the motors, the release of the lubricant, and the temperature of the device's interior."

By 2012, the RealTouch allowed for remote manipulation of the device, shifting it from a media-driven experience to one managed by a human operator. This continued what Parisi describes as an ongoing effort to naturalize such devices and sensations. This new configuration aimed to "erase the distance between the desiring male body and the females and males captured in [the Adult Entertainment Broadcast Network's] vast archive." While the RealTouch eventually failed due to patent disputes, its evolution suggests the trajectory of touch technology-towards the ever-more authentic and multi-dimensional.

Through the looking glass, what happens when devices designed initially for touch begin telling stories of their own? Parisi notes that more recent improvements in sex toys have been aimed at women. The latest wrinkle is making them more networked.

"White hat hackers have already exposed a number of adult companies - Lovense, WeVibe - as unstable repositories for the surprisingly detailed stores of intimate user data they've been collecting, mostly unbeknownst to their customers," reports Claire Lampen for Gizmodo. On the plus side, after your wired vibrator's been hacked, perhaps it can order you a pizza to help you eat your feelings.

"2018 is shaping up to be the year of haptic feedback," reports Kyle Melnick for VR Scout. Microsoft's new CLAW allows users to grasp, touch, and feel objects by simulating the tension of squeezing something hard or soft and allowing the user to feel its contours and surfaces. Of course, it also allows users to pull a trigger, offering the simulated feel of gun recoil.

But no single gadget will suffice to move the field forward, Parisi suggests. "For a high-fidelity haptics system to enjoy widespread adoption akin to radio or television, it will have to function properly in its stated goal of delivering convincing touch sensations, no easy task in and of itself. But in order to justify the development of a shared cross-platform programming language, it will also have to thrive in the competitive marketplace of consumer electronics. Haptics will need to find a killer app - that one activity that robust, high-fidelity haptics would prove indispensable to."

Can such devices ever deliver the shock of recognition I experienced during HERO- of undeniable human connection? Even if so, can they effectively advance a storyline? That remains to be felt. But, for now, the boundaries between the real and the simulated just keep on shrinking.

Immerse is an initiative of Tribeca Film Institute, MIT Open DocLab and The Fledgling Fund. Learn more about our vision for the project here.

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The rise of haptic storytelling After the explosion, I hear voices calling for help. I feel my way forward, hand over hand, touching a pile of tires, a rusty barrel, a doorframe, kicking the rubble that demarcates the barricade behind which I've watched a peaceful street scene descend into panic.

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Watching Inland Empire is the most frightened I've ever been watching a film.

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Inland Empire (2006) Jump Scare - Susan Running

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This clip makes me feel sad, in a romantic way; heartbroken.

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Before Sunset (8/10) Movie CLIP - I Have These Dreams... (2004) HD

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This track make me feel hopeless. I think it's a kind of postmodern hopelessness though, because it's entertaining nihilism.

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Bastille - Of The Night (Official Music Video)

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Check this out if you're interested. It's a really cool affective media project.

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Empathy Museum is a series of participatory art projects dedicated to improving empathy by looking at the world through other people’s eyes.