By Casey Reas, Nick Montfort, Ian Bogost, John Bell, Patsy Baudoin, Jeremy Douglass, Mark C. Marino, Michael Mateas, Mark Sample, Noah Vawter
A unmarried line of code deals the way to comprehend the cultural context of computing.
This publication takes a unmarried line of code--the super concise easy software for the Commodore sixty four inscribed within the title--and makes use of it aa a lens in which to contemplate the phenomenon of artistic computing and how machine courses exist in tradition.
The authors of this collaboratively written e-book deal with code no longer as in basic terms sensible yet as a text--in the case of 10 PRINT, a textual content that seemed in lots of various published sources--that yields a narrative approximately its making, its function, its assumptions, and extra. they think about randomness and regularity in computing and paintings, the maze in tradition, the preferred uncomplicated programming language, and the hugely influential Commodore sixty four desktop.
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It is useful to group these computer mazes by the point of view they offer to their interactors. There are first-person mazes, partially represented on a screen, which show the wall or passageway directly in front of the maze walker. There are also second-person mazes, textually represented, in which the maze walker is the “you” to whom the traversal of the maze is narrated. And, there are third-person mazes, sometimes fully represented mazes, in which the maze walker maintains a large-scale or omniscient view.
Suffice it to say that POKE is being used to set the sound chip’s registers, causing the Commodore 64 to emit musical sounds in a strightforward way—the standard way one would produce music in BASIC. The invocations of POKE are not simply storing values in memory for later use, nor are they placing values in screen memory, as in the previous example— yet all of this is necessary to move from a randomized generator of block graphics to a randomized generator of tones. This program shows how much easier it is for Commodore 64 BASIC to work on graphic, rather than musical, elements.
But no discussion of the cultural touchstones of mazes (and their resonances for maze creators) would be complete without that humbler maze walker, or crawler, the laboratory rat. In the context of psychological testing, the rat’s encounter with the maze does not prove bravery, piety, or ingenuity so much as it reduces human agency and learning to behavioral conditioning. The first maze constructed for rats by researchers was built in the late 1890s—but it was not originally used for testing the creatures.