motion; similar to that of a steadicam. For the benefit of the quality of mediated information, camera movements in cinematic films are heavily founded on the ideal of smooth motion, for the audience’s advantage of easy to perceive represented spatio-temporality. The space as seen through a jittery, shaky and violent interface of the camera/projector detracts from the quality and thus quantity of information that can be perceived and is thus generally discouraged, unless that is the desired effect. Additionally, a lack of information leads to uncertainty, which can provoke fear (and/or other emotions). However, for there to be any context to the smooth kinaesthesia of progression, there has to be bumps, inconsistencies, and aporia applied to the progression. This is in part provided by ecstasy, of the changing speed of progression, with each change being a significant event. It is additionally aided by the bumps and errors of the interfacial lack of buffers. It is only through context that data becomes meaningful information, and thus in the velocity of travel, chaotic violence provides the sense of a journey.

A few new racing simulators are progressing away from this trend of virtually rocket propelled vehicles and limited smooth motion. These include physics engines that are pre-modelled to simulate the travel medium which occurs in reality: the much more complex tyre-ground interface. The main result is that such games like that of Live For Speed exceed the motion quality of the vehicular trajectories of other ‘simulations’ (ie Gran Turismo 4 [Polyphony Digital, 2005]), for the main reason