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Graph-types 1: sample graphs and boards

Tuesday, February 9th, 2016

[ by Charles Cameron — background reading for the post which follows ]
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This is a quick look at node and edge graphs and some of the boards used in HipBone, DoubleQuote, and Sembl Games — a refresher for those who already know, and a quick intro for those who may not…

graphs

Above, you’ll see two graphs — one very simple and one far more complex. What they have in common is points (known as nodes) and lines connecting them (known as edges). Graphs of this kind are instances of the basic pattern on which much of contemporary understanding of the world rests, as it mostly rested on linear thinking in previous centuries. They are everywhere.

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In the next image, however, we see some medieval and renaissance instances of graphs in which concepts and their relations have been assigned to the nodes and their edges — these are also commonly found today, but the early versions here have a beauty all their own..

3-ancient-bds2

Left to right: the Sephirotic Tree of classical Jewish Kabbalah; Oronce Fine‘s diagram of the four elements; and a medieval respresentation of the Christian Trinity. It was the Reformation & Counter-Reformation that really put a stop to this kind of graphical thinking, as Ioan Couliano teaches us.

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Finally, my HipBone Games and the Museum Game that Cath Styles designed for the National Museum of Australia use graphs as their boards, and the players assign concepts to the various nodes, establishing conceptual links between them:

Game boards

Upper left, th4 standard WaterBird board for HipBone play; upper right, one of Cath’s boards for the Museum Game; lower left, the DoubleQuotes board, and lower right, a beautiful graph on which I hoped gto play a symphonic Bead Game.

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That’s the essential background you need to proceed to the next post, Graph-types 2: towards a universal graphical mapping language, where I lay out my hopeful, hopeless scheme for a Grand Unified Map. Onwards.

Two ways a resemblance can be unwelcome

Monday, November 23rd, 2015

[ by Charles Cameron — NSFW, I repeat, NSFW , maybe ]
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You can be photoshopped from Canada to France, Sikh to Muslim, &c —

The fake (on the left), photoshopped from the authentic selfie (on the right), was apparently created and posted because of the guy’s support of women in the games industry, cf Gamergate.

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Alternatively, your name might sound suspiciously NSFW to non-Vietnamese=speaking ears:

Details at the link Cath at Sembl provides.

The process of associative memory

Wednesday, November 18th, 2015

[ by Charles Cameron — it seems — to me at least — that associative memory is at the root of creativity, and that the process, preconscious pattern-recognition, is basically aesthetic in nature ]
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There’s the present moment — in this case, today’s tweet from the RNLI above.

And there’s the memory it elicits — in this case, Hokusai‘s Great Wave at Kanagawa, with its three little boats, tiny Mt Fuji, and towering, breaking wave, from A Series of Thirty-Six Views of Mount Fuji:

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That’s the same process, from perception to memory, that I was thinking of when I wrote DoubleQuoting the French Revolution, and quoted Robert Frost:

The artist must value himself as he snatches a thing from some previous order in time and space into a new order with not so much as a ligature clinging to it of the old place where it was organic.

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Come to which, and moving by the same process from what’s in front of me to what I remember, here’s a DQ of Hokusai (~1760-1849) — before me now as I write this — and an image deriving from the work of Benoit Mandelbrot (1924-2010) on fractals” — which looking at the Hokusai quickly reminds me of:

SPEC DQ Hokusai fractal

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And as I look at that DoubleQuote, here at the time of writing this post, it reminds me strongly of my earlier DoubleQuote of Van Gogh and Von Kármán:

In each of these two cases, art precedes science.

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In each case, too, the associative process is the same, with some item perceived in the present calling up a past memory that is related to it — in a manner that can generally be articulated and annotated.

Such is the mechanism of a typical “move” in a DoubleQuote or HipBone game.

On the felicities of graph-based game-board design: five

Tuesday, October 20th, 2015

[ by Charles Cameron — Hofstadter Langdon Kim — for Gabi Nasemann, & in recognition of Gödel Escher Bach ]
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My friend the photographer Gabi Nasemann recently inquired whether I knew John Langdon‘s book, Wordplay, and I responded, DoubleQuote-style, with Scott Kim‘s Inversions:

SPEC kim langdon

I had the pleasure of meeting Scott Kim lo these many years past at the Computer Game Developers Conference, and he was kind enough to say of my HipBone Games:

Your game does seem to really call to mind the Bead Game. Almost a divination system, much more metaphorical than most games.

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Scott Kim and his friend Doug Hofstadter both have a keen interest in Bach, so I thought it might be neat to see Scott’s treatment of the name — an ambigram, lower panel below — and how John Langdon might treat it — upper panel:

SPEC bach

Langdon’s Bach I assembled from his own typeface, Biform, which apparently seeped from his grasp into the wider world under the entirely irrelevant name Lampoon.

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Of all Langdon’s ambigrams, the one that’s no doubt best known — since Dan Brown used it in one of his execrable books — is his square of the four elements, upper panel, below:

SPEC langdon oronce

It was a nice touch, though, that Brown offered Langdon an hommage by naming his professor of symbiology after him. No doubt the fictional Robert Langdon would be familiar with the glorious diagram of the elements created by Oronce Fine, which he’d have run across in a 1549 Harvard Houghton Library volume, Le Sphere du Monde, and which I have elsewhere compared with Jewish and Christian diagrams:

Sembl and HipBone gameboards are in the same genre.. being games of linkage that you play with your mind:

games you play in your mind

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Sources and further readings:

  • John Langdon, Ambigrams
  • Scott Kim, Ambigrams on Google Search

  • Scientific American, Remembering Martin Gardner, with Douglas Hofstadter
  • Slate, Can You Really Be a Professor of Symbology?
  • The New Yorker, Harvard_ No Symbology Here
  • Wikipedia, Robert Langdon
  • Random House, The Official Website of Harvard Symbologist Robert Langdon

  • John Langdon, Biform
  • John Langdon, Lampoon

  • Triple Canopy, This is your brain on paper
  • On the felicities of graph-based game-board design: four

    Tuesday, September 8th, 2015

    [ by Charles Cameron — cross-posted from Sembl — following parts 1, 2 and 3 with a fourth ]
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    Back in my student days, I used to have a three dimensional tic-tac-toe board, 4 x 4 x 4, made of plexiglas sheets with holes drilled in them, and using colored golf-tees for markers. I could play pretty well on that board, but these ones would drive me nuts — whether for tic-tac-toe or for HipBone / Sembl.

    with a chaser:

    And that’s what I call a DoubleTweet.


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