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Baudry's 'transcendental subject' also signifies a similarity in the subjective experience of interaction, as well as that of spectatorship. A parallel can thus be drawn between the experience of camera operation, and driving a vehicle.
The key point here is that the study of automobility, of the experience of vehicular travel illuminates key questions and elements of media theory. It illuminates the applicability of automobility to ergodic art, that is, to the virtual environments of virtual realities and gaming simulations. It also illuminates the perspectivism of the moving camera, of a monocular point of view, of a subject's perspective and positioning. Manovich stated that the theorisation of experience is the most difficult aspect of new media (Manovich, 2001: 27). Through the elucidation of the above aspects, the study of speed ultimately aids our understanding of perhaps the biggest question of media theory: the nature of experience.
Aarseth also points out that ergodic phenomena are produced through cybernetic systems (1999: 32). Through the interactivity and spectatorship of media, the
intermediation if you will, a cybernetic feedback loop of mediated information is assembled in the activities of playing video games, and driving through space. Therefore through the concepts of automobility and ergodicity, we can see a correlation between the exploration of virtual space, and the movement of a car.
However, the vehicular experience has further parallels with media: that of camera movement. Camera movement consists of the redirection of perspective within an environmental field of view (panning, tilting, and zooming), as well as the projection through the environmental space (the movement of a dolly, crane, or 'handheld').
