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illusionary world of the video, without endangering their own physical safety.
melodrama. To the present, at the heart of this culture of distraction (which resulted from the aforementioned development of the cinema) is the human need to be in another place, to take on another identity. This urge is satisfied by a perfect illusion, which, with the help of optical effects and new picture-making technologies, causes the frames that define the image as an image by circumscribing it to disappear: As his visual field is expanded, the observer is able to imagine that he is part of what he perceives.  This sort of stimulus aesthetic first began to be investigated as early as the eighteenth century. The English country garden was an imaginative area, which one entered as if one were stepping into a living painting. It allowed the visitor to be transported to another reality, as if he were wandering through a naturally staged film set. We could consider it to be an immersion tool, whose visuality anticipated the cinematic effects of Hollywood movies. Alexander Pope’s instructions for artfully concealing fencing in parks, or alternating between rural accents and fantastically staged surprises such as classical temples, monuments, artificial ruins, illuminated waterfalls,