The humans use Arecibo to look for extraterrestrial intelligence. Their desire to make a connection is so strong that they’ve created an ear capable of hearing across the universe. But I and my fellow parrots are right here. Why aren’t they interested in listening to our voices?

I got no immediate reply; Moxon was apparently intent upon the coals in the grate, touching them deftly here and there with the fire-poker till they signified a sense of his attention by a brighter glow.

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Three Camels Featuring the written / spoken work of Mandi Goodier

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it must have been when i was a boy at school that the phonograph was invented. at any rate it was at that time a chief object of public wonder; this was probably the reason why our science master, a man given to busying himself with all kinds of handiwork, encouraged us to try our skill in making one of these instruments from the material that lay nearest to hand. nothing more was needed than a piece of pliable cardboard bent to the shape of a funnel, on the narrower round orifice of which was stuck a piece of impermeable paper of the kind used to seal bottled fruit. this provided a vibrating membrane, in the middle of which we then stuck a bristle from a coarse clothes brush at right angles to its surface. with these few things one part of the mysterious machine was made, receiver and reproducer were complete. it now only remained to construct the receiving cylinder, which could be moved close to the needle marking the sounds by means of a small rotating handle.

There’s something about Jonathan Safran Foer that drives a certain breed of dyspeptic New York writer/blogger to drink—more so than usual, anyway. They chafe at the six-figure advances, the visiting professor gigs at Yale and NYU, the majestic Park Slope brownstone. There’s even a catchphrase for it—Schadenfoer!

However, those hoping for a colossal career misstep might want to pour another highball, because his latest book, Tree of Codes, is a quietly stunning work of art. The first major title by new London-based publisher Visual Editions, Tree of Codes was created by slicing out chunks of text from Foer’s favorite novel, The Street of Crocodiles by Polish author Bruno Schulz. The result is a spare, haunting story that appears to hang in negative space on the page. Pretentious? Possibly. But it is also very, very cool. VF Daily spoke with Safran Foer about his delightfully tactile new book.

Heather Wagner: Tell me about Tree of Codes: how did the idea of cutting out words from an ex

"Exposition is a dirty word," was one of Kasavin's top points. Too many developers front- or back-load games with heavy exposition to create the game world instead of smartly weaving it in the game itself. This kind of world building sets up a series of potential problems. One, if done too thickly, it can completely overwhelm a gamer – or worse, leave them with no surprises. After all, if a game drops a massive info dump on you within minutes, you might struggle to remember all of it when it finally comes time for the story to be wrapped up at the end of the final act.

Who Goes There? is a science fiction novella by John W. Campbell, Jr. under the pen name Don A. Stuart, published August 1938 in Astounding Stories. In 1973, the story was voted by the Science Fiction Writers of America as one of the finest science fiction novellas ever written, and published with the other top vote-getters in The Science Fiction Hall of Fame, Volume Two. The novella has twice been adapted as a motion picture: firstly in 1951 as The Thing from Another World and later in 1982 as The Thing.

Extract from 'Roland Barthes by Roland Barthes', page 46

by Jorge Luis Borges

I read, in past days, that the man who ordered the construction of the nearly infinite Wall of China was that First Emperor, Shih Huang Ti, who likewise ordered the burning of all the books before him. That the two gigantic operations—the five or six hundred leagues of stone to oppose the barbarians, the rigorous abolition of history, that is of the past—issued from one person and were in a certain sense his attributes, inexplicably satisfied me and, at the same time, disturbed me. The object of this note is to investigate the reasons for that emotion.

        Historically there is no mystery in the two measures. A contemporary of the wars of Hannibal, Shih Huang Ti, King of Ch’in, conquered the Six Kingdoms and eliminated the feudal system; he built the wall because walls were defenses; he burned the books because the opposition invoked them in order to extol former emperors. Burning books and building fortifications is common task to emperors; the only th

What breaks your sense of presence in a story? The culture of video game playing has developed a tolerance for the common practices and limitations in designing and producing games. We’ve stopped asking “why?” and have come to expect the typical input arrangements, the impermanence of death, and restrictions of our own free will. Although much of the work in the EIS lab is focused on investigating new practices in creating and playing games, I’ve found, in my personal “research” of popular games, that despite the predictability, certain innovations in narrative are notably novel.

If we break down a game into layers of: paidia, ludus, and narrative, an area that is quite nontrivial is the connection between paidia and narrative. Often, your paidia is constrained such that you don’t ruin the narrative layer in the game. For example, it is common that your agency sucks in order to maintain the story elements.

More relevantly, in story driven games, the paidia and narrative layers fi