User:Thijshijsijsjss/Human Parser/Amorphous Annotations Amassed: Difference between revisions

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<span style="color:red">Optional.</span>
<span style="color:red">Optional.</span>
<span style="color:green">About how a label / description of you might influence you, as a self-fulfilling prophecy. After the player's functionality score is exceeded, the 'day ends' and they are presented a report of their actions. Can be connected there (someone's narration of your life / person makes you that person).</span>
<span style="color:green">About how a label / description of you might influence you, as a self-fulfilling prophecy. After the player's functionality score is exceeded, the 'day ends' and they are presented a report of their actions. Can be connected there (someone's narration of your life / person makes you that person).</span>
==About Parsing==
<span style="color:red">Necessary.</span>
<span style="color:green">About parsers (both TA and human). ZIL, Aarseth, Montfort references? Can easily connect to e.g. action verbs in manual.</span>
<span style="color:orange"></span>
<div>
===About Parsing, 1===
The term 'text-adventure' breaks down into two parts: text, and adventure.
Adventure refers to an exciting experience, much like the quest to find a dragon's treasure and make it back alive, or the quest to buy groceries and make it back alive. <span style="color:orange">[Nice opportunity for a quote not from game studies. Adventures are...]</span> But aside from this definitional meaning, the 'adventure' in text-adventure reveals some history of the genre, referring to the 1976 game ''Adventure''<ref>Nowadays more commonly referred to by the retronym ''Colossal Cave Adventure''. (Woods, 2011)</ref>. In this game, the player explores a cavesystem through basic instructions, like 'GO NORTH'. The game then narratres the results of these actions. Seen as a pioneer of the genre and a milestone in interactive fiction, literary critics Niesz and Holland note in a 1984 review:
<blockquote>
In the development of interactive fiction, the original ''Adventure'' with its legion of imitators and successors is important because, for the first time, the game let the reader answer with words instead of numbers.
</blockquote>
The 'text' in text-adventure also carries history of the genre. Not just the extent to which interaction with the computer was possible when the first text-adventure games came to be, and not just the natural link to literature and other fictions, text has proven to be a powerful, natural and honest way of interaction.
<blockquote>
And if there were some technology which could enable you to talk straight to your imagination... well there is. It's called text. [...] And when you're typing, the output that you're tying is in words, same as the input. There's no shift. It's not that you're looking at a picture and typing in words, looking at a picture and moving the mouse around. It's the same environment, it's all words, it's all thoughts, it's all the imagination. (Richard Bartle in Get Lamp, 2010)
</blockquote>
For the 'same environment' to exist, for a player to talk with semi-natural language to the game, part of program behind the game needs to interpret the inputted words: the parser. "The parser is that part of the program that accepts natural language input from the interactor and analyzes it." (Montfort, 2005) <span style="color:red">Room to elaborate here.</span>The parser is that part of the experience that suggests an understanding between human and machine.
===About Parsing, 2===
So, putting text and adventure together, we see: text-adventure. "Such works are able to understand natural language input to some extent and, based on such input, to effect action in a systematic world that they simulate." (Montfort, 2005)
To Nick Montfort, the simulated world is very important. In Get Lamp (2010), he notes:
<blockquote>
It's like virtual reality that exists in words.
</blockquote>
If parsing plays such a big deal in these virtual realities, it begs the question of the parser's role in non-virtual realities.
[and now make a bridge to the human side of parsing]
[dimensions of difference 'not much like reading']
[back to text parsing, and how this is not much like reading, but much more performative / interprative / fantastical]
'''References'''
* ''Get Lamp'' (2010) [web]. Directed by J. Scott. USA: Bovine Ignition Systems
* Montfort, N. (2005) ''Twisty Little Passages''. Cambridge, MA: The MIT Press
* Infocom (1989) ''Learning ZIL''. [Coding documentation] (*)
* Woods, D. (2011) ''Don Woods's Home Page''. Available at: https://web.archive.org/web/20120831114211/http://www.icynic.com/~don/ (Accessed: 11 Febuari 2025)
* Niesz, A.J. and Holland, N.N. (1984) ''Interactive fiction'', Critical Inquiry, 11, pp. 110–129. Chicago, Il: The University of Chicago Press
(*) not currently referenced in text

Revision as of 14:49, 20 February 2025

This page collects annotations that are small and don't warrant their own page. It is a drafting ground for in-progress writing, and some entries might migrate to a dedicated page as they grow. Also, as the manual grows, I expect more single line annotations to emerge, some entries to be broken up, and more fun to be had with the questionable linearity of the thesis!

About Thijs

Necessary. This annotation is about introducing Thijs (me), as an attempt to situate the thesis and to give context for the personal parts of my writing. I think it could be fun to have this entry be a bunch of micro entries.

About disassociation

Necessary. This annotation is meant to give a (my) 'definition' of disassociation. Can be short. Need reference(s).

About Text-Adventures

Necessary. This annotation is about talking about text-adventures, accompanying another entry talking about interactive fiction. The latter makes a thematic connection to disassociation. This entry should be more explanatory of what TAs are. Can be shorter, and should annotate an 'early' part of the manual. Main references Get Lamp and Twisty Little Passages.

About Obsolete Media

Nice to have. Annotation acknolowedging the connection to obsolete media. It seems like this axis is not super present, which I'm okay with (there might still be some pen plotter action), but I think it's still nice to mention, and might connect to some other entries (like a potential FOMO entry). Need reference(s). Ask Joseph?

About Functionality

Good to have. Annotation about the term 'high functioning'. The game features a 'functionality score', and the player loses normal control after exceeding this number. This entry should be connected to the manual's part about the functionality score.

Functionality, 1

As the word 'spectrum' suggests, the autistic spectrum comes in a continuous, multi-axial variety of flavors. Luckily, this is much better understood these days. However, I often still see the spectrum being mostly reduced to one axis: 'functioning'. Spending any number of minutes within discourse on autism, people are quick to talk about 'low' and 'high' functioning autistic people. 'low' and 'high' meaning to indicate how seemingly well an autistic person can function in society. 'Seemingly' being the key word here: it is a measure that is not a property of the person -- it reveals little information about one's traits -- but rather a property of judgement: the degee of functionality reveals the values of an environment, and evaluates the matter in which a person is a disruption in that environment. In that sense, 'functionality' can be a nasty measurement. Of course, there's a wide variety of different challenges people face, and some are more explicit and undeniable and shaping than others. It's good to acknowledge that, but I don't know if measuring 'functionality' is the way to achieve that.

functionality, 2

Compare 'high functioning' to another term: 'high masking'. This, in my eyes, does reveal more of the person's traits: the matter of masking tells us about someone's ability to sense and adapt to an environment, to blend in and suppress their natural tendencies. Some people might be doing this much (voluntarily or not), while others less (voluntarily or not). Moreover, while this metric is often reserved for discourse on autism, it is a metric that, to me, seems more universal. Whereas 'functioning' presupposes a system of values, 'masking' doesn't: it merely states the ability or tendency to mask to blend into an environment, which is not a evaluation of the environment.

Rough draft. No references :[

About Prophetic Diagnoses

Optional. About how a label / description of you might influence you, as a self-fulfilling prophecy. After the player's functionality score is exceeded, the 'day ends' and they are presented a report of their actions. Can be connected there (someone's narration of your life / person makes you that person).

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