Brenda Laurel Computers as Theatre – Second Edition
Side Bar page 83
At first, we thought simply to build a game […] But as we began conceptualizing the game, we realized that we were actually building a world; material in that particular game arose from construction about the environment and characters that was larger than the content of the game itself.
Laurel’s report suggests to me that world and narratives and games arise from acts of narration which are ways of constructing.
Decoupling narration from narrative (discourse still gives rise to story but it also can result in world or game) … narrativity is the potential for formulating sequences from semiotic material (it need not be verbal); narration is the production of sequences and their recombination; narrative, world and game are products of acts of narration (thought through an expansive notion of manipulating sequences). This conceptualizing of the relations build upon earlier efforts.
[Claude] Lefort [in an article about the novel 1984*] uses the name of the body to designate the two entities Merleau-Ponty tried to consider together in The Visible and the Invisible: the knot that ties the sentient to the sensible, the chiasm of sensibility, the phenomenological body; and the hidden, singular organization of space-time, the phantasm, the psychoanalytic body. The body that is joined to the world, of which it is a part, which it composes and which composes it; and the body that removes itself from the world into the darkness ow what it has lost, there to come alive.
*Lefort, Claude. “The Interposed Body.” Writing, the Political Test. Durham, NC: Duke University Press, 2000.
[…] perception is the capacity whereby there is a world it cannot be just another fact within the world. […] our perceived world is structured by a plurality of overlapping perspectives within which different aspects are somehow seen together, as aspects of just one world.
Camera in hand or not, would you consider the interplay of framing as a dance with the object of contemplation, a dance that supports remembering the object of contemplation?
I am led […] to consider the naming of plants I spot on my wanderings. In a sense a name plucks a specimen out of the unorganized background of vegetation. A name evokes a family, a season, a growth cycle. A name is an index to stored knowledge. And yet there are limitations. I can easily identify a rose but not know the variety of rose it might be. At times I enjoy inventing names for varieties: peonies have been known to receive this treatment. A name, like a framing, is the beginning of a conversation. A turn in storytelling.
You have me thinking of “composition” as a positioning with …
… to reach out and hold the world with the ghost of interlocutors in mind.