To be honest, prior to the video editing phase of my project I did not feel as if I was making something that generates what Ulmer (via Roland Barthes) has referred to all semester long as the "punctum." Perhaps I had spent so much time with the various overlay images while working on them in Gimp and Aurasma Studio that I had become numb to their affective potential. However, once I sequenced my images with a soundtrack in Windows Live Movie Maker and added some memorable scenes from the movie, the images began to generate affect despite my lack of intentionality. I think the thing that I learned most from this part of the project is the importance of timing. The frames that really resonate with me in some way are the ones where the overlay image appears at the moment just before I have visually registered the trigger image, virtually enacting the kind of temporal dissonance I discussed in my poetics.
The editing software was enjoyable to work with it partly because it was so easy to tinker with the effects. The frame transition were particularly useful for my project because certain types of transitions affect the overlay images differently, sometimes even making the overlay appear in an alternate trigger image or video clip for a few milliseconds. And sometimes the same transition creates a different effect on the overlay image depending on the viewing parameters such as distance from the screen or lighting conditions.