The site Unglue.it, which offers books that can be made free after a certain number of purchases, also promotes born-free e-books such as the Creative Commons PDF of 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. They have featured our book today, in fact. The founder pointed out to us that there are now 11 different “editions” of 10 PRINT in WorldCat, thanks not to the hardback, paperback, and e-book editions but to variant titles and author entries.
In NOO ART, The Journal of Objectless Art, there’s a conversation between Páll Thayer and Daniel Temkin that was just posted. (Thayer recently collaborated with me to put up “Programs at an Exhibition,” the first software art show at the Boston Cyberarts Gallery.) The conversation covers Thayer’s code art, including his Perl Microcodes and antecedents, but also touches on free software, Windows, various esoteric languages by Temkin and others, painting and drawing, Christiane Paul’s CodeDOC project at the Whitney, “expert cultures,” and the future of code-based art.
It’s great reading, and objectless art might be just the thing to go with your object-oriented ontology.
A great tribute. I’m sure this company wants you to feel Mandela-like while you line their coffers and lock yourself into consumption. This company would of course have you forget that the Nelson Mandela of computing would actually smash a corporate oppressor. Apple, Inc. metaphorically incarcerates mobile phone users, which is why they need to jailbreak their phones. And free speech doesn’t exist in the Apple Store, as it still does on the Internet. Apple, Inc. chooses what you are allowed to say and what computation you are allowed to do, so if you want privacy, no – on the other hand, if you want to be cured of homosexuality, you got it. Not that I object to different and even hateful opinions in a realm where free speech is allowed – but there is no such realm in this iCorporate la-la land.
If you admire Mandela, why not use a system that was developed with the South African/Zimbabwean philosophy of “humanness” or “humanity towards others”? The name for this free/libre/open source operating system, developed for the betterment of people rather then concentration of wealth, comes from Nguni Bantu. It’s a distribution of GNU/Linux, Ubuntu.
Next Saturday (September 21, 2013) is Boston Software Freedom Day. This event, like the Boston Festival of Independent Games yesterday, is also taking place in Cambridge rather than Boston – at Cambridge College, 1000 Mass Ave, between Central and Harvard Squares.
Come by to hear about and discuss freedoms on the computer and online, privacy, and government transparency. I’ll offer one of the very quick lightning talks at the end of the day, discussing some of the history of creative computing and its relationship to software freedom.
The event is not only libre, but also no-cost. And the cake to celebrate the 30th anniversary of GNU is not a lie.
Happy Groundhog Day. Today, I’m releasing Curveship, my interactive fiction system that models not only the fictional world, but also the narrative discourse. A development version (0.5) of this Python framework is now available for download. You can find the links, along with some description and documentation of the system, at curveship.com.
(Original photos by April King and Postdlf, Wikimedia Commons; they & these modified versions are CC by-sa 3.0.)
Emerging Langauge Practices is a new journal based at SUNY Buffalo (poetic hotbed and host of the next E-Poetry) and founded by Loss Pequeño Glazier, Sarah JM Kolberg, and A. J. Patrick Liszkiewicz. Issue one is a real accomplishment.
There are eye-catching creative projects by mIEKAL aND & Liaizon Wakest and by Lawrence Upton and John Levack Drever. There are also pieces by Young-Hae Chang Heavy Industries and Molleindustria. (We can only hope for further industrialization of this sort and more of these compelling productions in future issues.) The issue also includes a piece by Abraham Parangi, Giselle Beiguelman’s mobile tagging, Sandy Baldwin’s plaintive piece “** PLEASE REPLY MY BELOVED **,” and Jorge Luis Antonio’s wide-ranging article on digital poetry.
The item that particularly caught my eye, though, was this article by Mark Marino: “The ppg256 Perl Primer: The Poetry of Techneculture.” Marino is an officer of the Electronic Literature Organization with me and a current collaborator of mine, although he completed this article before joining me on our current project. The discussion he developed for the first issue of ELP is really in-depth. Marino not only considers the workings and connotations of my ppg256 series of poetry generators, and considers related code and literary traditions from Perl Golf to the Oulipo – he also considers other programs that interest me and that I’ve discussed publicly in various contexts, sometimes with collaborators. And, he connects the coding traditions relevant to ppg256 to technical practices in boy culture and (via needlework) girl culture.
In one section near the beginning of the article, Mark relates a line of BASIC that I posted on his Critical Code Studies forum and notes (partly in jest, I think) the following:
>I cannot include the full discussion here (over 5000 words) because as Montfort told me over the phone (in jest, I think), he is planning a book-length anthology of readings about the program.
Well, that’s more or less the project Mark and I, along with several others, are now embarked upon. However, we’re writing this book in a single voice rather than collecting articles about the program. More on that before too long; for now, go and enjoy the new Emerging Language Practices.
You may have noticed a slew of posts on the Get Lamp blog, Taking Inventory, or seen the writeups on Boing Boing, PC Gamer, CNET, or other sites. But I’ll say it here too: Jason Scott’s documentary about text adventures, years in the making, is completed, has been pressed and assembled, and is now for sale and shipping. The movie is Get Lamp, and there is a trailer for it online.
Tipped off by my book Twisty Little Passages: An Approach to Interactive Fiction, Jason Scott got in touch with me way back in 2005, before he had started filming interviews for Get Lamp. He came to Philadelphia, where I was working on my Ph.D. at Penn. I ended up doing one of several interviews with him there and bringing him to Autostart, a digital literature festival I helped organize at the Kelly Writers House, where he interviewed a few of the participants – just a handful of the many dozens of interviews Scott did for the documentary. I’ve gotten to see the documentary develop. I listened to audio files of the interviews, discussed the project on ifMUD, and got to see screenings of early versions with audiences at the Penny Arcade Expo East and @party.
Get Lamp is an essential film for the interactive fiction enthusiast – as I think more or less all of us know already. It’s also going to be an important film for students of electronic literature or computing history. There are some good short YouTube videos explaining interactive fiction, such as Exploring Interactive Fiction, which I did with Talieh Rohani, and Jason McIntosh’s The Gameshelf #8: Modern Interactive Fiction. These are great for people whose interest has been piqued already and who want to know a bit more about IF history and how to play. But it’s really difficult to get contemporary, non-IF playing students to understand why they should give interactive fiction a chance. Those who put a few short games on a syllabus often return to classrooms of perplexed or disgruntled people who have made no progress. Screening at least the “non-interactive” cut of Get Lamp will be time well spent. It will provide ideas for discussion and will give students permission to appreciate interactive fiction in several new ways, allowing them to better engage with assigned games.
It’s people and their stories that are always the focus of a documentary, and that’s certainly the case with Get Lamp, which assembles quips, and the occasional longer argument or rant, from players and authors of different eras. The statements from people in the film give a great sense of the many ways in which interactive fiction was and is important. This is something you don’t get in Twisty Little Passages, because my method wasn’t to interview people about their experiences; I focused more on the printed and digital record, on describing how interactive fiction works, and on scholarly questions about the status and history of the form, for instance, as it relates to the literary riddle. While people are central to the documentary, Scott certainly doesn’t shy away from archival materials such as printouts, maps, and notes or from original early packages in the documentary, though. He uses those worth-a-thousand-words pictures to give a sense of the contexts in which interactive fiction has been played from the early days of Adventure through today. Which I guess means, as everyone’s favorite retail site says, “Buy these items together!” (Actually, though, you should go to the Get Lamp order page to buy the documentary.)
Scott has done a great deal to provide coverage of today’s “modern era” of interactive fiction development while also covering its origins in Adventure, the ties that game has to caving, and the commercial heyday from Adventure International through Infocom. The history of the IF Comp is explained by current organizer Stephen Granade and others, and the emergence of short-form IF (and its relationship to the comp) is discussed as well. But the documentary’s perspective on interactive fiction clearly gazes longingly over the “golden age” of commercial IF, when Infocom was king. There’s the sense – which several people share – that interactive fiction has managed to continue in some ways from that time, which was its finest hour.
That’s not the perspective some contemporary IF authors have, though. For some, Infocom is a happy but dim memory rather than the holy city of Byzantium. Others never even played an Infocom game before playing modern IF and writing their own IF. And of course, games are not just shorter now; they are written in a wider variety of styles on a wider variety of topics. It won’t be tough for enthusiasts to find other favorite aspects of IF which didn’t manage to fit into this full and rich documentary: the relationship to MUDs or the graphical adventure, commercial games in English outside the US, or global communities working on IF in recent years. Which is just to note that while Get Lamp relates an important and untold story, it’s not the _only_ story of interactive fiction. It’s the kind of movie that leaves me listening to my fellow IF authors and aficionados and being constantly surprised about how much I share certain people’s perspectives and how different, at other times, my view of IF is. That’s not just informative; it’s also thought-provoking.
Yes, despite the breadth and unusual textures of the topic, the film goes beyond being a great introduction to IF and the people who play and write it. There are many surprising discussions outside the main line of IF history. The academic study of IF is discussed by Mary Ann Buckles, whose 1985 dissertation on Adventure is the first study of IF and probably the first long example of work in game studies. John Romero explains the debt that computer games in general owe to text adventures. Robert Pinsky, who has served as poet laureate in addition to writing the IF Mindwheel, discusses puzzles and the pleasures of literature. Other less-than-usual suspects chime in, including fellow academics and collaborators of mine Jeremy Douglass, Ian Bogost, and Stuart Moulthrop.
One of my favorite points in the movie is when Brian Moriarty says empathetically of the Infocom catalog, “It was for literate people – it was for people who like to read!” Get Lamp is also for people who like to read, explore, and see from different perspectives. It’s not only for those who have already discovered interactive fiction, but it will delight most those who are enthusiastic about computing and what the computer can do with storytelling, language, and the modeling of words.
Jason Scott is now preparing for a “Jet Lamp” tour in September, in which he’ll show the film around the country. Perhaps you’ll get to catch it at a theater near you.
I’m here at LibrePlanet 2010. Although I’m not going to bust out with full-conference liveblogging (that’s so 2005) I do have a quick summary, and a reaction, to today’s opening talk and the ensuing discussion. The presentation was “We’re done cloning Unix, what next?” by John Gilmore, co-founder of the EFF and founder of the “alt” branch of USENET.
My notes from Gilmore’s talk: The GNU plan from the beginning (with Stallman writing Emacs) was to replace proprietary Unix with free software. Now … “We’re sort of like one of those medical charities that has succeeded in wiping polio from the face of the earth.” And it’s not only Unix – CodeWeavers has also pretty much finished reimplementing the user side of Windows, so that Wine (a free software Windows emulator) works more often than not with arbitrary Windows programs. Replacing Windows makes sense as an external goal, but “how many people in our community want to understand the guts of Windows and replicate it?” So, what is our common goal now?
Mentioned in Q&A: ReactOS … We’re not finished with free software beyond the nerdy command line; for instance, video editing; free software for hackers only as opposed to school systems, the business world? … Wine and Samba are very tactical moves to keep the majority market-share players from having control; what about Facebook? … Reverse-engineering tools to understand binary programs … Support the abandoned Windows XP platform for the users trapped there … Communications, content, and services; for an open Facebook, we need open services … free software that uses new paradigms, not the Microsoft model … Having a solid computer gaming framework would be good; the best games make you think and expand your mind … Wine should be like Vaseline, easing the transition from non-free to free; we need a better UI … What about free software in cars?
Although I am part of the FSF, I’m in no way a GNU hacker and my participation in free software isn’t nearly as great as with most people in the room. So I decided, rather than jumping in to the discussion, to offer my comment and my suggestion for a post-Unix project here:
The real thing that the group here has to offer the world is not to follow up a free Unix-like system with a free Windows-like one or with free firmware. It’s probably not even a better user interface or better video-editing software. I suggest that it’s the power to program the computer and to control computation and networking, not just to edit documents and media. Obviously computers *can* be programmed right now, but people like the ones here have a oligopoly on this sort of programming. Whether or not we’re equally skilled in all areas, we’re for the most part comfortable with the idea writing Perl to process text, setting up cron jobs, writing GUI applications, writing servers in Python, and programming games. We don’t think it’s beyond our reach.
That’s not a typical attitude. Maybe it was in 1983, when home computers ran BASIC (gasp – Microsoft BASIC! Ripped off from Dartmouth…) and people who bought these computers and brought them home learned to program them as a matter of course. But it isn’t now. Proprietary software discourages programming by “ordinary people” and encourages office-style and traditional production-style approaches. The people here who hack on GNU aren’t, generally speaking, expert video editors or UI designers, although there are surely of few of each here. The real strength that the group has is in being expert at programming. What they can offer the world, beyond free imitations of existing systems, is a computer that is more free to program, that by design (not just by license) encourages users to work and play powerfully as programmers.
GNU’s first project, Emacs, is not just a text editor; it is also a programmable environment, a major part of its appeal to many programmers. To look to more recent projects, I find Processing a particularly powerful piece of free software that allows students and artists to use visual, computational capabilities and to understand programming in an extraordinary context. What if the improved programmability of the computer, in a broad sense, for many purposes, became a major goal for free software developers? Couldn’t we do a few orders of magnitude better, and allow for people to be even more empowered by the use (and programming) of computers?
This weekend, I’m attending LibrePlanet, the Free Software Foundation’s conference and hackfest here in Cambridge. I don’t have anything to present or hack upon at this one, but I’ll be listening and learning more about free software and software freedom.
On Tuesday, I head to Grand Forks, ND for the University of North Dakota Writers Conference: Mind the Gap – Print, New Media, Art. The featured authors and artists this year are:
- Art Spiegelman
- Frank X. Walker
- Nick Montfort
- Cecelia Condit
- Saul Williams
- Mark Amerika
- Stuart Moulthrop
- Deena Larsen
- Kanser with More Than Lights
I’ll return on Friday and head straight to the Penny Arcade Expo East (PAX East) in Boston, where the confluence of about 60,000 gamers is expected. At 9:30pm on Friday is the world premiere of Jason Scott’s interactive fiction documentary Get Lamp. Afterwards is a panel with:
- Dave Lebling (Zork, Starcross, The Lurking Horror)
- Steve Meretzky (Planetfall, Hitchhiker’s, A Mind Forever Voyaging)
- Nick Montfort (included in this august group for writing a book about this stuff)
- Brian Moriarty (Wishbringer, Trinity, Beyond Zork)
- Andrew Plotkin (Spider and Web, Shade, Dual Transform)
- Don Woods (co-author with Will Crowther of the canonical first IF, Adventure)
And then, on Monday, March 29, at 5:30pm in MIT’s room 14E-310, I’ll host a reading in the Purple Blurb series. Emily Short (author of many award-winning interactive fiction pieces, including the recent Alabaster) and Jeremy Freese (winner of last year’s IF Comp for his Violet) will present and read from their work.
I hope to see some of you here in the Boston/Cambridge area or, perhaps, in Grand Forks!