@ -62,17 +62,12 @@ Where to decide and define the elements involved in the simulation.
Where we join these actors together in small combinations.
These will be the starting worlds of the simulation.
To keep things simple, each world will be a closed ecosystem, and there won't be explicit interaction between different ones.
3. Worlds simulation
At this point each world will be really dry and synthetic, defined just by some labels that state that an actor is a musician, the name of a programming language, etc.
The structure of the simulation resembles a nested loop: for each world visit each participant, and ask for updates. Actually, we can save resources simulating just the combinations we want to explore, and not all the worlds of the initial dataset.
The more iterations, the deeper the simulation becomes.
```
0 do loop
1 for each world
@ -80,6 +75,10 @@ The more iterations, the deeper the simulation becomes.
3 ask for updates
```
The structure of the simulation resembles a nested loop: for each world visit each participant, and ask for updates.
Actually, we can save resources simulating just the combinations we want to explore, and not all the worlds of the initial dataset.
The more iterations, the deeper the simulation gets.
Being a writing machine more than a piece of software, the process could be thought as a slow simulation. One that benefits the understanding of such a device and the quality of the different stages, instead of the quantity of iterations and generated data. A way to witness code and non-code entities (Mackenzie, 2006) coming together and shaping each other.
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.
