“A man may be ignorant . . . of who he is, what he is doing, what or whom he is acting on, and sometimes also what (e.g. what instrument) he is doing it with, and to what end (e.g. he may think his act will conduce to some one’s safety), and how he is doing it (e.g. whether gently or violently).”
“[Education] is not simply a technical business of well-managed information processing, nor even simply a matter of applying ‘learning theories’ to the classroom or using the results of subject-centered ‘achievement testing’. It is a complex pursuit of fitting a culture to the needs of its members and their ways of knowing to the needs of the culture.”
“If your project has real substance, ultimately the money will follow you like a common cur in the street with its tail between its legs. There is a German proverb: “Der Teufel scheisst immer auf den grössten Haufen” [“The Devil always shits on the biggest heap”]. So start heaping and have faith. Every time you make a film you should be prepared to descend into Hell and wrestle it from the claws of the Devil himself. Prepare yourself: there is never a day without a sucker punch. At the same time, be pragmatic and learn how to develop an understanding of when to abandon an idea. Follow your dreams no matter what, but reconsider if they can’t be realized in certain situations. A project can become a cul-de-sac and your life might slip through your fingers in pursuit of something that can never be realized. Know when to walk away.”
“Brad Burnham, a partner at Union Square Ventures in New York, was one of the few panelists at the recent Share conference to dissent from the airy-fairy rhetoric there. ‘What we’re talking about is the natural tendency of capitalism to consistently find a more efficient way of delivering something,’ he says. ‘It’s information technology lowering transaction costs and revealing assets that can be utilized.’ If only the capitalists who run the companies, as opposed to the ones who finance them, were as clear-headed.”
“[There] are many games where what the player brings to the table is not “choice” of using a tiny set of verbs on a tiny set of largely irrelevant props, all aiming in the end towards the same predetermined authorial lesson. Systems can be designed for authorial imposition — Wordsworth’s or Horace’s intent to educate and illuminate — or for players to express, create, and even innovate. It is here where games like The Sims, Eve Online, Minecraft, Universalis, Dwarf Fortress, and even less “free” designs like Core Wars lie. And there is a case to be made that in that space are things that only games can do.”
“If there is but one world, it embraces a multiplicity of contrasting aspects; if there are many worlds, the collection of them all is one. The one world may be taken as many, or the many worlds taken as one; whether one or many depends on the way of taking.”
“The distinction between creative and empowering cybersituations vs. (pseudo)interactive and disempowering spectacle is . . . often difficult to make, but we believe that some such distinction is necessary in order to provide critical perspectives on and alternatives to the forms of interactive spectacle now evolving. While pseudo-interaction provides escape into an ersatz (virtual) reality, constructing cybersituations enable individuals to create and interact more productively with others in their everyday lives and to struggle to transform culture and society, generating new spaces of connection, freedom, and creativity. Constructing cybersituations thus provides potential articulations between cyberworld and the real world, while pseudo-interaction merely entangles one ever deeper in the matrices of escapism and corporate entertainment.”
“I think it’s vital to de-professionalize the public debate on matters that vitally affect the lives of ordinary people. It’s time to snatch our futures back from the ‘experts.’ Time to ask, in ordinary language, the public question and to demand, in ordinary language, the public answer.”
“In participatory situations, game structure replaces aesthetics. Instead of events being worked out beforehand, there is a “game plan,” a set of objectives, moves, and rules that are generally known or explained. The game plan is flexible, adapting to changing situations. . . [In 1969,] I formulated three rules of participation:
- The audience is in a living space and a living situation. Things may happen to and with them as well as ‘in front’ of them.
- When a performer invites participation, he must be prepared to accept and deal with the spectator’s reactions.
- Participation should not be gratuitous.”