a 'means or point by which to enter' (Houghton Mifflin Company, 2000: entrance). This follows the objective perception of an interface: through it, one can perceive another 'world'. The second and most interesting definition comes in its verb form, 'to put into a trance' (ibid: entrance). In the definition of entrance, we can see that an interface is not just a point of entry, but is a medium for entrancement.

Thus the use of an interface signifies an entry into a trance; that the use of the interface will alter the consciousness of the subject.

An interesting development is occurring within the modern car, in which media technologies are increasingly featuring in the dashboards, sun-visors, and head-rests of the interior space. What is even more so intriguing and complex, is that video game consoles, including Microsoft Xboxs and Sony Playstation 2s are being modified by car enthusiasts into their cars. These media within vehicles create a multitude of different spatio-temporalities, creating for the kinematic subject a confusion of spatio-temporality prioritisation of focus.

To sum up this section, the relationship between vehicular experiences of speed and the experience of media is that they share a common interface: the vehicle. Engulfment takes priority over narrative for its illusion of mastery. Additionally, the very concepts of a vehicle point to the idea that vehicular structures alter a person's consciousness. Is there more to this than meets the eye?

This contention indicates that the experience of speed is a phenomenon which can alter a subject's ordinary experience of reality, through reality substitution. The power of the subject is of particular importance, as it is the vehicle that is the enabler and disabler (hence 'augment') of subject power, through the possibilities of automobility and interaction.

The other aspect of an interface is that it is a point where two different representations – or mediations – dynamically coexist. Three dimensional virtual media spaces, as appearing on the screens of nearly every contemporary commercial video game, creates for every player a different spatio-temporal experience that is removed from their local environment. Media space is a place in objective spatio-temporal reality that mixes to an extent, defined by the immersiveness of the interface, with the subjective spatio-temporal realities created by media technologies. A vehicle is then broadly an assemblage of an environmental projection system with an interface for subject experience. The interface is metaphorically an entrance to a different spatio-temporality. There are two main definitions of an entrance. The first is