RE: [-empyre-] digital baroque

[troy@iconica.org]

Hi all,

In terms of split vision, recursion and digital baroque - perhaps the situation
that occurs in networked gaming experiences may be considered.

Often, the interface will combine multiple points of view ? first person
perspective, game stats/HUD, map overlay, chat channels, and so on. All
of these points of view are linked so moving the avatar in one view will
cause all the others to also update their displays. This, of course, all
happens in realtime so that there is a sense of flow through multiple perspectives
/ views of the simulation.

Simultaneously the bots and other players are roaming about each with their
own individual view of the world. The simulation (world) factors all of
these elements into one another and generates a new iteration of the world
in response to the ?performance? of all the agents.

Troy.

>
>hi Eugenie, Tim et al
>
>Tim writes...
>
>> The digital user now almost literally incorporates
>> the interface of
>> anamorphosis itself to become the site of
>> spit-vision.
>
>
> Such an intriguing idea, that the user becomes the
>site of split-vision.. having taken some shots at
>trying to describe this sensation of user  = site as a
>Mobius strip in "Net Baroque" at
><http://www.naxsmash.net/public_html/texts/netbaroqueMcPhee.htm>
>.  For if user and machine interface as a split vision
>and split subject that makes a kind of dynamic
>architecture that seems to have baroque
>features....the extremes, the recursions.....the
>doublesided...
>perhaps Eugenie can comment a bit more on the Lacan
>connection within all of this.  I am sure you have
>read Lacan tossing around the Mobius form somewhere in
>connection with this problem of the subject within the
>visualized space (in Ecrits ?) but  doesn't he
>neglect, or even deny,  the environmental, or embodied
>sense that you (Eugenie) insist on as a key dynamic of
>the gamespace as subjective presence?  Surely you go
>further.  Is this anamorphism, that delivers a
>both/and  place that is, or in which, the subject
>(user) can be/not be simultaneously, like an
>Orlan-like self as the site of the game as Tim
>implies? and as Eugenie writes.......
>
>It foregrounds the subject in its
>> environmental sense: a mobile, embodied agent that
>acts in the real world of
>> objects. As a concept of transformation, then,
>anamorphosis allows us to
>> understand subjectivity as a ?dynamic? condition, a
>matter of a constantly
>> changing body schema rather than a fixed body image.
>
>an anamorphic performance architecture...
>
>-Christina
>
>
>
>=====
><http://www.naxsmash.net>
>
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>>> Troy Innocent : troy@iconica.org : iconica.org