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[…]design strategies. Rather, it is a bottom-up expression of how the players choose to perceive, and to communicate to others, the novel power dynamic of the games they are playing. Puppet masters (PMs) are not, of course, the first or only “masters” of gaming. For decades, non-digital games have relied on Dungeon Masters (DMs) and gamemasters (GMs) to organize, host, and guide players through tabletop games such as Dungeons & Dragons, and live action role-playing (LARP) events, such as Cthulhu Live. The term “gamemaster” has even deeper historic roots, in fact. It was first applied to the overseers of multiplayer […]
[…]enthusiasm and creativity of the participants is the source of fun role-playing. To be able to commit to a role-playing situation, you need to suspend your disbelief and accept that your fellow players have good reasons for their actions. This may not always be easy: good role-playing demands knowledge of the relevant background, imagination, and quick thinking. In contemporary settings, the background may coincide with the real life of the participants, and it will need no further description. In historical, futuristic, or fantastic settings, the background may cover several books worth of information. We see this in the literature for […]
[…]humans and non-human animals on the basis of reason. According to Luhmann, for all systems, “[T]he connection with the reality of the external world is established by the blind spot of the cognitive operation.” In Luhmann’s words, “Reality is what one does not perceive when one perceives it” (in AR 204). The paradoxical logic of a system’s code (for example, the legal system, Wolfe remarks, operates on the code: “legal is legal”) can only be detected by an act of observation beyond the system, an act that cannot discern its own paradoxical system code. What Wolfe calls “the paradoxical identity […]
[…]considered, is famous for its famous ignorance of itself. That fact is that since (at the very latest) 1945, the United States of America is to be understood as the very center of the overdeveloped world, its comparatively low population density, comparatively high rates of relative poverty, and persistently voidist frontier myths notwithstanding – and that this means that nothing and no one dead or alive, in it, escapes its entanglements, howsoever such entanglements be conceived. Not only is there truly no such thing as Society, here in the capital of the capital of the world – there is nothing […]
[…]An Archaeology of Text-Generating Mechanisms,” at: http://www.whitneyannetrettien.com/thesis. [1] The present determines where, in the object from the past, that object’s fore-history and after-history diverge so as to circumscribe its nucleus. // Walter Benjamin [1.1] Consider two historical moments – nuclei, in Walter Benjamin’s sense of the word – marking both the beginning and the end of the book as a media form. The first is the publication of Stéphane Mallarmé’s poem Un coup de dés Jamais N’Abolira Le Hasard (1897), imagined as a metonym for his multivolume, combinatorial Book, Le Livre. A radical experiment in design and typography, Un coup […]
[…]communicating minds but rather layers on layers of superseded code, as if these supports to communication were among the heaped up art treasures in a gallery. They are only traces in silicon, these codes that we expend so much energy mastering, over and again with each upgrade or market failure. But unlike earlier traces in sand, in erased and reused parchments, or for that matter in the self-renewing circuits of memory in a human brain, the traces encoded in new media never disappear. This principle, which comes as a surprise to anyone who has “lost” the contents of a hard-drive, […]
[…]the script/code is authored through execution/performance. … Sorensen’s work … constitute[s] a kind of temporally compressed re-staging of the process of the composition, the programming.” Nyhoff emphasized that the liveness of livecoding was the performative and demonstrative quality of the coding, rather than whether or not the text produced was composed entirely on the spot. While something of a special case, then, livecoding raises broader issues for Critical Code Studies, especially questions related to the definition of programming and the visibility of code. As John Bell pointed out, livecoding further applies pressure to the valuation of “scripting” over “coding”: the […]
[…]emergence] out of a natural evolution, but the very character of this evolution—chaotic [and] nonteleological” (Žižek 164). VAS uses the example of a language game in which one must transform the word “APE” into the word “MAN” by changing one letter at a time, with the requirement that each intervening step must also form a viable word (85-7). The game reappears along the bottom of the pages of the climactic opera’s overture, but like the world beyond Flatland it, too, has become three-dimensional. Here, we are shown the steps of the game written on a piece of paper, which then […]
[…]as the five main examples, but are quite similar in many ways and are particularly interesting to compare in narrative terms. Given the diversity of this collection, it should come as no surprise that there are significant differences in terms of theme, tone, and even the degree to which these works mimic the appearance of a book. What is more surprising is that there is a commonality to what reordering does, and what it doesn’t do, in all five cases. Although “to shuffle the cards” has long been an idiom for manipulating situations, changing the outcome by influencing what events […]
[…]distinction and its importance for databased language in “Database as Symbolic Form”: [T]he elements of a system can be related on two dimensions: syntagmatic and paradigmatic. As defined by Barthes, “the syntagm is a combination of signs, which has space as a support.” To use the example of natural language, the speaker produces an utterance by stringing together the elements, one after another, in a linear sequence. This is the syntagmatic dimension. Now, let’s look at the paradigm. To continue with an example of a language user, each new element is chosen from a set of other related elements. For […]