[ by Charles Cameron -- on the aesthetic element in DoubleQuotes, and peacemaking as making connections; together with Renaissance phrasing of the same ideas ]
There’s a fair amount of gaming leaking into the blogging I read these days.
Col. Pat Lang at Sic Semper Tyrannis is hosting an IS/Coalition War Game [1, 2, 3], while over at PAXsims, Rex Brynen is hosting the “game developer’s diary” of Alex Langer, a McGill undergraduate who is “designing a wargame of the current Syrian civil war as a course project” [1, 2].
Both efforts are of interest, but what the PAXsims venture makes clear to me is that I have been using my Zenpundit blogging as, among other things, a “game developer’s diary” for my own game thinking, and in particular for my thoughts about the DoubleQuotes format as a playful / serious analytic tool.
Both playful and serious, because all fresh thinking requires the application of a playful spirit to serious ends — an approach illustrated by the image of Palestinian and Israeli kids on the White House basketball court at the head of this post, by the West-Eastern Divan Orchestra put together by Edward Said and Daniel Barenboim — and enshrined in the Florentine Renaissance motto “iocari serio et studiosissime” — which Marsilio Ficino, the genius behind the Florentine Renaissance, named as the core practice of Pythagoras, Socrates and Plato – “joking seriously and playing assiduously” in Edgar Wind‘s translation.
Which would among other things be the Renaissance Platonist’s answer to Scott Shipman‘s question posed here the other day, What tools do you use to boost your creativity?
Ficino also said, “the task of Magic consists in comparing things to one another”, as quoted by Mircea Eliade in his Foreword to Ioan Couliano‘s great book, Eros and Magic in the Renaissance.
That’s precisely what my own games do, expressed in Renaissance terms, and my DoubleQuotes in particular.
In terms of theorizing about them, one point I may not have emphasized enough is that the quality of a given DoubleQuote (or move in a HipBone or Sembl game) is dependent on the aesthetics of the juxtaposition.
Let me give you a simple example, not taken from my own work but from a “DoubleQuote in the Wild” — the header illustration to a recent FP post, The Activists Assad Hates Most Are Now Obama’s Problem. FP could have used any two photos of Obama and Assad, photos of Obama on the phone in the Oval Office, say, or Assad against the background of the Syrian flag — but they chose two images that showed the two men in near-identical poses, and it’s that near-identity which gives force to the juxtaposition:
Likewise, I could have chosen any one of a flock of quotes to illustrate British and American forces entering Baghdad in 1917 and 2003 respectively — but the most effective way to make the point was via two quotes that very closely paralleled each other:
That too is fundamentally an aesthetic choice — a choice that favors the simple elegance of the tightest available symmetry.
The image at the head of this post show Ambassador Rice on the Court with the Peace Players Yesterday
Peacemaking, too, is often a matter of bringing out the similarities between otherwise opposing forces.
As Nicholas of Cusa, Cardinal of the Roman Church, said in his De ludo globi / Of the Game of Spheres, a distant forefather to Hesse’s Glass Bead Game and thence to my own various games:
This game is played, not in a childish way, but as the Holy Wisdom played it for God at the beginning of the world.
Luditur hic ludus; sed non pueriliter, at sic / Lusit ut orbe nova Sancta Sophia Deo.