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 booklet takes a unmarried line of code--the super concise easy 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 computing device courses exist in tradition.
The authors of this collaboratively written ebook deal with code no longer as in simple terms sensible yet as a text--in the case of 10 PRINT, a textual content that seemed in lots of diversified published sources--that yields a narrative approximately its making, its goal, its assumptions, and extra. they give thought to randomness and regularity in computing and artwork, the maze in tradition, the preferred uncomplicated programming language, and the hugely influential Commodore sixty four computing device.
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Extra info for 10 PRINT CHR$(205.5+RND(1)); : GOTO 10
Such maps convey a sense of mastery of the maze even though a third-person perspective on a maze does not guarantee its safety or solubility. Shannon’s Mouse in the Maze offered an early glimpse of the third- person computer maze, but this form truly erupted in the Unites States less than two years before the release of the Commodore 64, in October 1980. This is when the original Pac-Man arcade game arrived from Japan. In Japan, the genre of games inspired by Pac-Man is called “dot-eat” games (ドットイート), but in the United States such games are called maze or maze chase games.
Unlike Pac-Man, in which the player can guide Pac-Man out a warp gate on one side of the screen and see him enter on the other side, Adventure contains numerous topologically impossible warps that are always hidden from view and can only be deduced. Instead of an overview map of the total maze, each screen is a closeup of simple paths, often emphasizing discontinuous fragments of other paths that can’t easily be reached. Diagonal orientation of the sort produced by 10 PRINT did have a place in the design of early mazelike games.
An orthogonal composition, for instance), and in terms of how it plays against the contextual expectations of the historical period when it emerged (all-text BASIC programs on the one hand and graphical software, particularly videogames, on the other). To understand more about this, it’s possible not only to read the pro- gram the way one might go over a poem or other literary text, but also to modify the program and see what happens, as the Commodore 64 User’s Guide and RUN magazine explicitly invite programmers to do.