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.
Antonella Anedda Pindar Says the Poet Must Guard the Apples of the Muses translated by Patrizio Ceccagnoli & Susan Stewart
Let’s get to work, I say to myself.
I throw the fish in the oil
and watching them fry I think of what the poet must do
as guardian of apples, about those Muses.
Clearly, the dragon is irrelevant,
if anything, we need a hen,
the creature that hatches the egg of verses:
white for the void, yellow for the words.
Leo Bersani “Representation and Its Discontents” in Allegory and Representation ed. Stephen Greenblatt (150-151).
Sexuality would be that which is intolerable to the structured self.
[… commentary on Jean Laplanche Life and Death in Psychoanalysis … ]
Sexuality would be desire satisfied as a disruption or destabilization of the self. It would therefore not be originally an exchange of intensities between individuals, but rather a condition of broken negotiations with the world.
An imitative sympathy is crucial to our ability to learn, and in the context of a more general epistemological investigation, one might speculate about the effects on our presumed knowledge of the world of a learning process that destabilizes the relations between subject and object and transforms the world into an excessive, sexualizing psychic expenditure.
David Rakoff Love, Dishonor, Marry, Die, Cherish, Perish with illustrations by Seth
Accomplished on many fronts: a novel in verse.
A novel weaving the delicate impingement of characters across plot lines, little tricks of narration fostering in the reader a knowingness about connections…
One of the stories tells of the making of a picture, the picture then is found years later by a character in an unrelated plot line. Aside from the provenance, there is the illustration of said picture: you turn the page and you are in the position of the character viewing the picture. The mimicry works as a majestic if subdued finale. It is the book’s magic that the reader experiences both a reckoning with time’s passage and a moment lifted out of time.
There was just so much Now that the picture encapsed In the shot, this despite more than six-decades elapsed.