@ -16,29 +16,28 @@ Using the simulation as a writing machine we can articulate these CC with some b
1. Suspension of judgment
Within the scope of the simulation it's not necessary to label good or bad choices.
(That would be the case for a machine learning writing device, for example)
(That would have been the case for a machine learning writing device, for example)
One character could decide one morning to write their own operative system from scratch using Red Stone circuits in Minecraft, and it would be fine.
Due to the nature of the process, even the most absurd starting point it's a valid and powerful narrative device.
In this way it becomes easier to explore marginal cases, improbabilities, and non-conform situations.
2. A series of steps
A simulation does not happen all at once, instead it is a process that evolves through time.
Partecipants entangle gradually, and do not come as a monolithic block.
They can be imagined as lines: merging together and branching away, tying and loosening knots. (Ingold)
From this aspect two other important features emerges:
- Partiality, with multi-facets characters where not all the elements interacts with each other at the same time. (Haraway)
- Orientation, that is a subtle sense of direction through (simulated) chaos.
3. Avoid generalization
4. Incompletedness
(writing here now)
through a series of steps. Zooming out from the particular, we get a glimpse of a more subtle and diffuse process. The code is not confined inside the machine, but it floats around everywhere. It fills the room and clouds the windowpane.
2. Discrete temporality
A simulation does not happen all at once, instead it is a process that evolves through time.
This happens in both discrete steps and long-term iterations.
Discrete steps can be further subdivided, with the possibility of magnifying details.
Discrete steps can be joined together, that results in the ability of zooming in and out a story.
3. Partiality
Partecipants entangle gradually, and do not come as a monolithic block.
They can be imagined as lines: merging together and branching away, tying and loosening knots, preserving memories. (Ingold)
This leads to multi-facets characters, where not all the elements needs to interact with each other all the time. (Haraway)
4. Orientation
Zooming out from the particular, we get a glimpse of a more gradient and diffuse process.
A subtle sense of direction emerge through (simulated) randomness.
(By design) this simulation sees software as a mean to orientate these trajectory.
How does certain programming languages facilitate certain ways of thinking, and totally block some others?
This procedure helps us to think about software as cultural object. Something "deeply woven into contemporary life –economically, culturally, creatively, politically– in manners both obvious and nearly invisible." (Software Studies, 2009), and not just as technical tool existing in a vacuum.
@ -47,10 +46,6 @@ This procedure helps us to think about software as cultural object. Something "d
>notes:
- refactor without dwarf fortress
- elaborate on the idea of simulation: why is it useful?
- elaborate on the idea of contingencies (take from project proposal)
