10 PRINT CHR$(205.5+RND(1)); : GOTO 10 by Casey Reas, Nick Montfort, Ian Bogost, John Bell, Patsy

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 bargains how to comprehend the cultural context of computing.

This ebook takes a unmarried line of code--the super concise simple application for the Commodore sixty four inscribed within the title--and makes use of it aa a lens wherein to think about the phenomenon of artistic computing and how desktop courses exist in tradition.

The authors of this collaboratively written publication deal with code now not as only practical yet as a text--in the case of 10 PRINT, a textual content that seemed in lots of diverse revealed sources--that yields a narrative approximately its making, its objective, 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 machine.

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Thanks to Ariadne’s thread, Theseus successfully makes his way through the maze, slays the Minotaur, and escapes. The allegory here invokes the danger of illicit desire; it also shows that those who hold tight to a predetermined path can succeed. The Knossos maze is best understood in terms of Theseus’s narrative path through it, not as the space of the labyrinth itself. 1 The central labyrinth and maze patterns of Amiens Cathedral were built in the thirteenth century. Courtesy of Stephen Murray.

As Matthews explains, “On the island of Delos they performed a peculiar dance called the Geranos, or ‘Crane Dane,’ in which they went through the motions of threading the Labyrinth, and . . this dance was perpetuated by the natives of that island until fairly recently” (1922, 19). These dances have continued to be performed elsewhere, and numerous other labyrinthine dances are known, some with military purposes and some tied to rites of spring. Martha Graham adapted the motifs of the Cretan maze story in “Errand into a Maze” (1949), where it is Ariadne who is trapped by the Minotaur.

Its usability? Its gameplay? Its aesthetic design? The underlying algorithm? The effects of the constraints of the original? And should the programmer try to improve the original? The ethos of adaptation will vary from project to project and programmer to programmer; what a programmer chooses to prioritize will help to determine the qualities of the final port and its relationship to the original program. In this remark, a number of ports—translations—are presented. These are ports from Commodore 64 BASIC to other platforms and languages, developed specifically for this book.

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