... the computer as literary agent ultimately points beyond narrative and toward ergodic modes -- dialogic forms of improvisation and free play.
one must think of authoring new processes as an important element of media creation.
processes of digital media, however, are separated from non-computational media processes by their potential numerousness, repetition and complexity
one of the most challenging design tasks in creating digital media -- the form of media enabled by computational processes -- is to craft and situate interesting processes so that they produce a meaningful audience experience.
... an interactive drama then is a first person experience within a fantasy world, in which the user may create, enact and observe a character whose choices and actions affect the course of events just as they might in a play.
... to encourage readers to grasp hold of the creative potential of computing ...
and to educate procedural literacy, the politic(s) of computing.
... regardless of perspective, writings on digital media almost all ignore something crucial: the actual processes that make digital media work, the computational machine that makes digital media possible.
... almost all ... focus on what the machines of digital media look from the outside: their output.
... an inspiration of the work was the field of narrative psychology, which instead of seeing patients as sets of disconnected symptoms, attempts a re-integration through narrative(s).
similarly the expressivator attempts symptom control for schizophrenic agents by building a system focussed on narratively understandable behavior.
procedural rethoric(s) -- the art of persuasion through rule-based representations and interactions, rather than spoken words, writing, images, or moving pictures.
... games and other procedural systems can use processes to create a representation of something that happens in our world -- from the growth of cities, to the marketing of cereal, to the mechanisms of long-term debt.
playing the game involves interacting with this representation, which uses internal processes to exhibit different behavior, making it possible to explore the particular model of how things work.
[Ted Nelson]: you can and must understand computers NOW!
... it matters because we live in media, as fish live in water. But today, at this moment, we can and must design the media, design the molecules of our new water, and I believe the details of this design matters very deeply. (1974)
... coming to understand fictional worlds as systems -- and exploring their potential through play -- is also a powerful means of coming to understand our evolving society, in which (often hidden) software models structure much of how we live now.