Scalar Workbook AIQS 120Main MenuIntroduction and table of contentsSyllabus and other informationIn-Class Worksheets and Work-throughsDigital Literature Reading Lista collaboratively made list of worksKristine Kelly704347a0fb0f4b5c42bc63d040b84f065ec3a67c
Redshift and Portalmetal Liminal Spaces
12023-11-01T18:47:52+00:00Mica Murdoch1d2f2ac481d04f99b5a30f8c23d6dab3f497cb8d1502Murray Immersion Worksheet Group 4plain2023-11-01T18:48:06+00:00Mica Murdoch1d2f2ac481d04f99b5a30f8c23d6dab3f497cb8d
12023-11-01T18:44:05+00:00Suspend Disbelief & Continue Imagination10Purple Group: Mica, Reid, Elias, Amareplain2023-11-01T19:04:52+00:00Rebuking Coleridge's classic model of suspension of disbelief in storytelling, Murray writes, "When we enter a fictional world, we do not merely "suspend" a critical faculty; we also exercise a creative faculty. We do not suspend disbelief so much as we actively create belief. Because of our desire to experience immersion, we focus our attention on the enveloping world and we use our intelligence to reinforce rather than to question the reality of the experience" (110). Murray describes "suspending disbelief" as a reductive term that hides a crucial element of immersion: creativity. When we observe a fictional world, we actively add details in order to become immersed. It is something that we choose to do rather than something that happens to us. The player must actively choose to place themselves in the shoes of the traveler, crossing the threshold along with them. Like the traveler, they are leaving their home in search of new sensations and experiences. Looking across the open ocean into a distant horizon evokes in the player's mind ideas of possibility and journey.
