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Ah, good old Disc Duplicator 3 - I found that if you unlatched the disk drive door on my Teac 40-track drive at just tne right time (and re-latch it a bit later) while trying to use DD3 to copy itself, DD3 wouldn't realise it was present and would copy itself perfectly!Disk copy protection schemes can always be cracked by someone disassembling the loader code and carefully patching it (either by skipping the checks or if there's actual real data to be loaded, let the loader get it, patch a return, then save that loaded data). You'd then patch in your own loader to get that data from a normal file. The Disc Doctor ROM was a very handy tool to aid in this.On the BBC Micro, sadly very few disk versions offered an "enhanced" version of the application compared to the tape versions (Elite was one of the rare exceptions) and yet charged significantly more (50% was not uncommon) than the tape version. Also, many programs were available on tape only, so the bulk of my time was spent cracking tape protection (which was much more common and varied than disk protection) and then saving the unprotected version to disk.

Etc, etc-- No problem, I didn't think you were distorting my position by extrapolation. I only meant that if the theory works as an aesthetic theory, it is even more likely to work as a biological theory. Laurence John-- You may be right, it may be true that "the basic logic of shot construction" is so consonant with our mode of perception that it will forever remain the building blocks for future film making. I claim no special insight into what (if anything) is next; I only know that in the past there has always been something next. Speaking as a rank amateur, it seems to me that over the past 100 years some types of shots seem to have been chopped up into shorter and shorter increments to intensify the movie going experience. Fred Astaire used to think it was necessary and obvious to film an entire dance from start to finish in one shot, to convey his art. Fifty years later, dance was filmed MTV style as a chopped up series of high points filmed from a wide variety of flattering angles. Twenty five years after that, the customary way of editing dances, battles, etc,. seems to be a blizzard of overlapping chop shots that create a jazzed up impression of a dance, or a fight, or some other kind of activity. (Think of the fight scenes in the Bourne Ultimatum). So an editing protocol that once seemed natural... evolved.Kev Ferrara and Benjamin De Schrijver-- it seems to me that you are making a similar point; that the Cornell study (and other scientific efforts to crack the code) are "working in the wrong direction. Editors tend to work by instinct." Kev has offered a long and credible list of factors that a director knows intuitively will attract audiences. Benjamin says that if directors are successful, "it's not because they're using a formula, but rather... because they've done their job right and have found an end for their shot that works for their audience, because it is without their knowing linked to human nature itself...."But if there turns out to be a correlation between quantifiable empirical factors (such as length of shots or brain waves) and audience response, I don't think it will matter much which was the chicken and which was the egg. What will matter is whether test results are reproducible according to some formula that will increase the likelihood of a desired response. I don't see how we can rule out the possibility that talented directors may have intuited neurological responses that can be more accurately charted with the use of information technology and distilled into reliable formulae. That doesn't mean we can get genius from a machine, but it may mean we can stack the deck for economic success (which is enough to get funding for a grant).

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