The passage above was rewritten after I had experienced VR. It literally sets the stage. The next paragraphs introduce the actors. If this were the cinematography/storyboard for a VR movie, the basement market scene would be dynamic in all dimensions before settling down and allowing most of the action to take place in front of the viewer's 180 degree field of vision. I am very interested in the relationship between VR and the way our eyes perceive the light reflected from objects (reality). In Bali Wave Ghost, I have sometimes used my ideas on these topics to create "stages of text" that allow for drama and a distinctive reading experience.Hopefully the results are more emotional than theoretical. Here is a link to a good explanation about how the eye perceives what is in front of it, as well as a comparison of the field of view(FOV) of different VR headgears.
The bottom level of the market is where I now find myself, in a dark corner lit by dim bulbs. I slow down to watch a woman move her hand in circles before she positions red flowers in a yellow wooden shrine the size of a cereal box. The front of one stall is lined with cones of brown waxed paper containing rice, chicken and cooked green leaves. Behind them, an old woman rhythmically scoops and wraps and makes more cones. Beside her is a column, topped by a shrine draped with faded yellow cloth. The shrine holds burning incense, and next to the cloth is a spectacular, perfectly circular spider web. The web and the fluttery incense smoke are precisely defined by shafts of sunlight. The spider web reminds me of Seashore’s flat, where dreamcatchers hang in every room.
In front of me, a small rickety table is covered with bowls of food and surrounded by Balinese housewives. Without knowing exactly what is being served, I join the queue. Soon I’m seated, looking over a plate of nasi campur, a dish of rice and various kinds of meat. A woman grills satay right behind me. When she fans the flames, smoke moves over the table.
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