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The casting agent, which was a semiautonomous piece of software, had assembled a company of nine payers, enough to ract all the guest roles in First Class to Geneva, which was about intrigue among rich people on a train in Nazi-occupied France, and which was to ractives what The Mousetrap was to passive theatre. It was an ensemble piece: nine guest roles to be assumed by payers, three somewhat larger and more glamorous host roles to be assumed by payees like Miranda. One of the characters was, unbeknownst to the others, an Allied spy.   Another was a secret colonel in the SS, another was secretly Jewish, another was a Cheka agent. Sometimes there was a German trying to defect to the Allied side. But you never knew which was which when the ractive started up; the computer switched all the roles around at random.   It paid well because of the high payer/payee ratio. Miranda provisionally accepted the bid.

Stephenson, 1997.

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Just in time too; the playbill for Geneva had just filled up. Miranda only had a few seconds to switch contexts and get herself into the character of Ilse before she found herself sitting in a first-class coach of a midtwentieth-century passenger train, staring into the mirror at a blond, blue-eyed, high-cheekboned ice queen.   Unfolded on her dressing-table was a letter written in Yiddish. So tonight she was the secret Jew. She tore the letter into tiny pieces and fed them out her window, then did the same with a couple of Stars of David that she rooted out of her jewelry case.   This thing was fully ractive, and there was nothing to prevent other characters from breaking into her coach and going through her possessions. Then she finished putting on her makeup and choosing her outfit, and went to the dining car for dinner. Most of the other characters were already in here. The nine amateurs were stiff and stilted as usual, the two other professionals were circulating among them, trying to loosen them up, break through that self-consciousness and get them into their characters.   Geneva ended up dragging on for a good three hours. It was nearly ruined by one of the payers, who had clearly signed up exclusively for the purpose of maneuvering Ilse into bed. He turned out to be the secret SS colonel too; but he was so hell-bent on fucking Ilse that he spent the whole evening out of character. Finally Miranda lured him into the kitchen in the back of the dining car, shoved a foot-long butcher knife into his chest, and left him in the fridge. She had played this role a couple of hundred times and knew the location of every potentially lethal object on the train.   After a ractive it was considered good form to go to the Green Room, a virtual pub where you could chat out-of-character with the other ractors. Miranda skipped it because she knew that the creep would be waiting for her there.

Stephenson, 1997.

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"Our media system today-the one that you and I make our livings from-is a descendant of the phone system only insofar as we use it for essentially the same purposes, plus many, many more. But the key point to remember is that it is totally different from the old phone system. The old phone system-and its technological cousin, the cable TV system- tanked. It crashed and burned decades ago, and we started virtually from scratch."   "Why? It worked, didn't it?"   "First of all, we needed to enable interactions between more than one entity. What do I mean by entity? Well, think about the ractives. Think about First Class to Geneva. You're on this train- so are a couple of dozen other people. Some of those people are being racted, so in that case the entities happen to be human beings. But others-like the waiters and porters-are just software robots. Furthermore, the train is full of props: jewelry, money, guns, bottles of wine. Each one of those is also a separate piece of software-a separate entity. In the lingo, we call them objects. The train itself is another object, and so is the countryside through which it travels.   "The countryside is a good example. It happens to be a digital map of France. Where did this map come from? Did the makers of First Class to Geneva send out their own team of surveyors to make a new map of France? No, of course they didn't. They used existing data-a digital map of the world that is available to any maker of ractives who needs it, for a price of course. That digital map is a separate object. It resides in the memory of a computer somewhere. Where exactly? I don't know. Neither does the ractive itself. It doesn't matter. The data might be in California, it might be in Paris, it might be down at the corner-or it might be distributed among all of those places and many more. It doesn't matter. Because our media system no longer works like the old system- dedicated wires passing through a central switchboard. It works like that." Carl pointed to the traffic on the street again.

Stephenson, 1997.

[citeifoucault]

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[citeifoucault]

Partindo das imagens técnicas atuais, podemos reconhecer nelas duas tendências básicas diferentes. Uma indica o rumo da sociedade totalitária, centralmente programada, dos receptores das imagens e dos funcionários das imagens; a outra indica o rumo para a sociedade telemática dialogante dos criadores das imagens e dos colecionadores das imagens.

Flusser, 2012, p. 4.

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One cannot come near the problem of media with a view of the everyday as degraded, debased, and baleful.

Poster, 2011, p. xxiv.

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The telematic society would be the first to recognize the production of information as society’s actual function, and so to systematically foster this production: the first self-conscious and therefore free society.

Flusser, 2011, p. 92.

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For genuinely disciplined, theorized creativity will only be possible after the myth of the author of information is abandoned.

Flusser, 2011, p. 101.

[citeifoucault]

Written texts are decoded in a linear fashion, in a sequence of steps that are narrative in nature, moving from start to finish. According to Flusser, the process of interpreting images is different: “In pictures we may get the message first, and then try to decompose it. . . . This difference is one of temporality, and involved the present, the past and the future.”¹⁶ The “historical time” of the written text induces a directional sense in the reader, a feeling of going somewhere, whereas images are read with no sense of movement, with a feeling of going nowhere.

Poster, 2011, p. xvi, grifo nosso. Como ficam as mídias processuais nessa comparação? Cf. Mandoki (2019), peripatos. 16: Flusser, 2002, p. 127.

[citeifoucault]

Machines that process texts, images, and sounds, I contend, are significantly distinct from machines that act on materials like wood and iron. [...] Media machines act on the components of culture, not nature [...] One might say that information machines are closer to humans than mechanical machines and establish relations with them that are more profound.

Poster, 2011, p. x-xi, grifo nosso.

[citeifoucault]

There is a thickening, intensification, and increasing complexity to the use of information machines, technologies that are necessary in the production, reproduction, storage, and distribution of texts, images, and sounds—the constituent elements of culture. This phenomenon has been termed a “media ecology,” adding a new layer to the ecologies of animal, vegetable, and mineral.

Poster, 2011, p. x.

[citeifoucault]

[D]issonances in games (where devices may have different conflicting motivations) should not be ignored as faulty game design but rather explored and exploited as interesting ways in which players are confronted with preconceived ideas about how games frame ludic action, tell stories, reference other works, etc.

Vught, 2022, p. 294.

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[I]t is the critic’s task to establish the work’s dominant on the basis of its difference from or resemblance with other works in its historical context to see which devices become foregrounded.

Vught, 2022, p. 294.

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[T]ypical ludically motivated devices [...] only become poetic gameplay devices once the ludic functionalityconnects to another functionality

Vught, 2022, p. 293.

[citeifoucault]

A ludically motivated device facilitates play as a competitive process of winning and losing; it allows players to devise a strategy and execute it.

Vught, 2022, p. 292.

[citeifoucault]

[When the Decorative Arts are parted from those greater (so called)], it is ill for the Arts altogether: the lesser ones become trivial, mechanical, unintelligent, incapable of resisting the changes pressed upon them by fashion or dishonesty; while the greater, however they may be practised for a while by men of great minds and wonder-working hands, unhelped by the lesser, unhelped by each other, are sure to lose their dignity of popular arts, and become nothing but dull adjuncts to unmeaning pomp, or ingenious toys for a few rich and idle men.

Morris, 1919, l. 56.

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I must ask you therefore from the outset to believe that whatever I may blame or whatever I may praise, I neither, when I think of what history has been, am inclined to lament the past, to despise the present, or despair of the future [...]

Morris, 1919, l. 48, grifo nosso.