Wednesday, 22 October 2008

MUDs turn 30

Today marks the 30th birthday of MMORPGs. No, EverQuest isn't that old.

Richard Bartle, of the infamous Bartle test, comments on it briefly.

If you've never played a MUD or a MOO, I highly recommend it. My first exposure to one was in grade 8, when some politician gave a 'speech' to a bunch of educators and students in one, and I was building (M**-speak for writing the code and descriptions that provide rooms, characters, objects, actions, etc. that populate a text-based virtual world) that week, if not the very next day. The good ones are strange, fascinating places populated by wild people who act in-character the whole time (and the best ones have some extraordinarily strange characters). The worst are mere hack-and-slash, with no room for expression amongst the players (vs. participants). There's a middle ground, where direction is provided by challenges and advancement but where you're not stuck fighting orc 1, orc 2, orc 3...

Anyways. Happy birthday, MUD1.

Wednesday, 8 October 2008

Elections stock market!

In a wonderful example of synchronicity, I was pointed at the UBC Elections Stock Market today. This is an amazing little thing - when I was a kid I worked this market hard for three or four elections, back on that monochrome computer in the basement, and then on my 386 when I got my first computer. I never lost money; once I only barely broke even, and once I roughly doubled my initial investment, and the rest varied. They used to have a $100 investment cap unless some conditions were met, iirc.

The method is straightforward: a stock for a given party in the MP market will be worth, after the election, the %age of the seats that that party got. A stock in the majority market is worth $1 if that guess is correct (eg. if it's a minority, then all majority stocks are worth nothing except for the 'no majority' option). This means that you can always buy a block of all parties or of all possible majority outcomes.

Unfortunately, my best former strategy - buy loads of blocks of majority stocks, sell the ones that are very unlikely whenever they spike, then in the last day or two as that gambler's choice becomes more and more certainly false, buying them back at fractions of the price (and cashing whole blocks back in before the actual election, not that it matters either way once a set is held) - doesn't work very well when the majority options are reduced to liberal, cpc, and neither. C'mon, if people will give me 4% odds that the NDP will take a majority, let me take those people's money!

In any case, there isn't much time left, but if you've always fancied yourself a good political analyst and you'd like to give day-trading a shot, I used to have a *lot* of fun with this, and I highly recommend it.

Monday, 6 October 2008

ATDT 1992

Imagine it's 1992, more or less. It's five AM, and it's a wet Canadian winter; it's pitch black outside, but a thirteen year old boy sits in a desk chair, not feeling the chill of the drafty house, mesmerized. Folders, sheafs and scraps are stacked monstrously high in a miniature cityscape; skyscrapers brush the bottom of the desk, tottering dangerously in the breeze from his unconsciously swinging legs, and the valuable real estate surrounding the chair has been parcelled off. There is a screen, glowing amber, and letters and glyphs stream across it at roughly reading speed.

This morning, like every morning, the boy made sure to silence the modem's squeals and squelches, and he dials out to dozens of other homes, trying them in rapid sequence until he finds one that doesn't ring busy, and the machines connect. Information! This is no library; this is raw, chaotic information. Libraries don't have sections for some of these topics. Opinion and fact mix, chemistry and politics and ad hominems swirling crazily from across the globe, and he swims in it, no more aware of time or the dusty-smelling room than he is of the colour of the letters on the screen. He's a curiousity junkie who's found a never-ending hit.

Even the games enthrall him: he is a space trader, surviving like a mouse that darts from hungry owls; he is a brute who fights magical creatures daily in the forest, looting their corpses for coins to pay healers and to buy tougher leather to protect him, sharper weapons to let him slaughter faster; he is a survivor in a fallout-stricken world, where desolate outposts of sanity wall themselves from expanses of radioactive wasteland populated by humans driven violently mad and by dangerous and unpredictable mutants.

Before this, he used to write programs for a computer that saved software with a tape deck onto cassettes, often transcribing line from line from books, but those games held nothing to vivid depictions of mothers gone insane, clutching rolling pins like clubs, of inns where a bard and a wench flirt, but not with each other, or of the creation of a new world in an empty solar system. How could making a car dodge other cars compare to the desperate hope that no pirates or ransackers would stumble across your new home planet, fertile and green? How could copying lines from books compare to recipes for pyrotechnics, descriptions of how to distill banana peels, and stories of secret government organizations?

But eventually he'd be startled as grey light brightened outside. He'd snap up, turn everything off in a hurry, and run to get dressed for school in a rainy world that somehow had less colour than those monochrome words.

(Two points to anyone who understands the post title. Yes, this is obviously a story about me, but I doubt first-person would've worked at all. No, I don't think it's all that good, but I do need to write more to get back into the swing of it.)

Wednesday, 1 October 2008

Atwood on the Arts

Sometimes one of the mailing lists I'm on sends a gem my way. This is one such item:


From the Globe and Mail, September 24, 2008

What sort of country do we want to live in? What sort of country do we already live in? What do we like? Who are we?

At present, we are a very creative country. For decades, we've been punching above our weight on the world stage - in writing, in popular music and in many other fields. Canada was once a cultural void on the world map, now it's a force. In addition, the arts are a large segment of our economy: The Conference Board estimates Canada's cultural sector generated $46-billion, or 3.8 per cent of Canada's GDP, in 2007. And, according to the Canada Council, in 2003-2004, the sector accounted for an "estimated 600,000 jobs (roughly the same as agriculture, forestry, fishing, mining, oil & gas and utilities combined)."

But we've just been sent a signal by Prime Minister Stephen Harper that he gives not a toss for these facts. Tuesday, he told us that some group called "ordinary people" didn't care about something called "the arts." His idea of "the arts" is a bunch of rich people gathering at galas whining about their grants. Well, I can count the number of moderately rich writers who live in Canada on the fingers of one hand: I'm one of them, and I'm no Warren Buffett. I don't whine about my grants because I don't get any grants. I whine about other grants - grants for young people, that may help them to turn into me, and thus pay to the federal and provincial governments the kinds of taxes I pay, and cover off the salaries of such as Mr. Harper. In fact, less than 10 per cent of writers actually make a living by their writing, however modest that living may be. They have other jobs. But people write, and want to write, and pack into creative writing classes, because they love this activity – not because they think they'll be millionaires.

Every single one of those people is an "ordinary person." Mr. Harper's idea of an ordinary person is that of an envious hater without a scrap of artistic talent or creativity or curiosity, and no appreciation for anything that's attractive or beautiful. My idea of an ordinary person is quite different. Human beings are creative by nature. For millenniums we have been putting our creativity into our cultures - cultures with unique languages, architecture, religious ceremonies, dances, music, furnishings, textiles, clothing and special cuisines. "Ordinary people" pack into the cheap seats at concerts and fill theatres where operas are brought to them live. The total attendance for "the arts" in Canada in fact exceeds that for sports events. "The arts" are not a "niche interest." They are part of being human.

Moreover, "ordinary people" are participants. They form book clubs and join classes of all kinds - painting, dancing, drawing, pottery, photography - for the sheer joy of it. They sing in choirs, church and other, and play in marching bands. Kids start garage bands and make their own videos and web art, and put their music on the Net, and draw their own graphic novels. "Ordinary people" have other outlets for their creativity, as well: Knitting and quilting have made comebacks; gardening is taken very seriously; the home woodworking shop is active. Add origami, costume design, egg decorating, flower arranging, and on and on ... Canadians, it seems, like making things, and they like appreciating things that are made.

They show their appreciation by contributing. Canadians of all ages volunteer in vast numbers for local and city museums, for their art galleries and for countless cultural festivals - I think immediately of the Chinese New Year and the Caribana festival in Toronto, but there are so many others. Literary festivals have sprung up all over the country - volunteers set them up and provide the food, and "ordinary people" will drag their lawn chairs into a field - as in Nova Scotia's Read by the Sea - in order to listen to writers both local and national read and discuss their work. Mr. Harper has signalled that as far as he is concerned, those millions of hours of volunteer activity are a waste of time. He holds them in contempt.

I suggest that considering the huge amount of energy we spend on creative activity, to be creative is "ordinary." It is an age-long and normal human characteristic: All children are born creative. It's the lack of any appreciation of these activities that is not ordinary. Mr. Harper has demonstrated that he has no knowledge of, or respect for, the capacities and interests of "ordinary people." He's the "niche interest." Not us.

It's been suggested that Mr. Harper's disdain for the arts is not merely a result of ignorance or a tin ear - that it is "ideologically motivated." Now, I wonder what could be meant by that? Mr. Harper has said quite rightly that people understand we ought to keep within a budget. But his own contribution to that budget has been to heave the Liberal-generated surplus overboard so we have nothing left for a rainy day, and now, in addition, he wants to jeopardize those 600,000 arts jobs and those billions of dollars they generate for Canadians. What's the idea here? That arts jobs should not exist because artists are naughty and might not vote for Mr. Harper? That Canadians ought not to make money from the wicked arts, but only from virtuous oil? That artists don't all live in one constituency, so who cares? Or is it that the majority of those arts jobs are located in Ontario and Quebec, and Mr. Harper is peeved at those provinces, and wants to increase his ongoing gutting of Ontario - $20-billion a year of Ontario taxpayers' money going out, a dribble grudgingly allowed back in - and spank Quebec for being so disobedient as not to appreciate his magnificence? He likes punishing, so maybe the arts-squashing is part of that: Whack the Heartland.

Or is it even worse? Every budding dictatorship begins by muzzling the artists, because they're a mouthy lot and they don't line up and salute very easily. Of course, you can always get some tame artists to design the uniforms and flags and the documentary about you, and so forth - the only kind of art you might need - but individual voices must be silenced, because there shall be only One Voice: Our Master's Voice. Maybe that's why Mr. Harper began by shutting down funding for our artists abroad. He didn't like the competition for media space.

The Conservative caucus has already learned that lesson. Rumour has it that Mr. Harper's idea of what sort of art you should hang on your wall was signalled by his removal of all pictures of previous Conservative prime ministers from their lobby room - including John A. and Dief the Chief - and their replacement by pictures of none other than Mr. Harper himself. History, it seems, is to begin with him. In communist countries, this used to be called the Cult of Personality. Mr. Harper is a guy who - rumour has it, again - tried to disband the student union in high school and then tried the same thing in college. Destiny is calling him, the way it called Qin Shi Huang, the Chinese emperor who burnt all records of the rulers before himself. It's an impulse that's been repeated many times since, the list is very long. Tear it down and level it flat, is the common motto. Then build a big statue of yourself. Now that would be Art!

Adapted from the 2008 Hurtig Lecture, to be delivered in Edmonton on Oct. 1