Abstraction is the foundation of representation.

Compound worlds also containinterfaces between microworlds, boundaries which can be placed into playful flux. Worlds in fluxand compound worlds foreground the world making process itself, and the excitement of a newmedium for making worlds.

In many instances, it seems to be psychologically necessary to mark out the boundariesbetween the world of everyday experience and a world which has special semanticsignificance. Thus in the theater the frame is expressed through such stage devicesas footlights, curtains, and so forth. ... Sometimes the borders of the conventionalartistic space may fluctuate, without, however, being entirely destroyed, as in the caseof carnival or mystery plays where theatrical conventions expand into life [81, p138].

The dominantorganization vibrates between two modes, yielding an exhilarating feeling of ongoing instabilityand dizzying reversal.

Composition & Construction. The pleasure of building things, a common trope of WillWright’s work. Wright argues that giving players the opportunity to build things, and affordingthe creation of unique solutions, generates the satisfaction of creativity and a feeling of empathyin the player:

Player action in The Legend of Zelda is scripted, in part, through a narrative syntonicity that callson our knowledge of myth and hero stories. Pac-Man scripts player action through representation.One generally runs from ghosts, and the chomping action of Pac-Man indicates that he eats things.

Players enter and exit microworlds through syntonicity. Syntonicity establishes strong bidirectionalknowledge channels between ourselves and microworlds

bstraction enables malleable, comprehensible worlds.

The senseof a complete, closed world with clearly defined boundaries helps build this sense of safety, whichMurray argues is the experiential function of the fourth wall in fiction and drama [51].

Toru Iwatani wanted Pac-Man to be a play space that invited the participation of females,and settled on cute ghosts for the game’s monsters [36, p141].

Will Wright points out that while playing games, people engage a game in their head, and whatcounts is this mental world.

An unoccupied niche in the space of interactive storyworld software is a storyworld constructionkit. Fa ̧cade reserves authorship for Mateas and Stern, and The Sims is designed to support theconstruction of houses, not stories or storyworlds. The lengths to which users go to create storieswith The Sims indicates a desire for storyworld construction software.

layers have appropriated The Simsand The Sims Exchange as a storytelling medium, a practice with a huge and active community.

“World” sits at the nexus of multiple practices and discourses.

How can we think across different practices,intelligently compare them, and appropriate relevant conceptual tools? How are we to make senseof digital media’s procedural and participatory dimensions?

Account for the original history of the recipe, from My Grandma on my Mom’s side or before…(I honestly don’t know)

e same time as the real economy in almost every nation collapsed, capacity utilisation rates were going down below 70 per cent and more in most nations and unemployment was sky-rocketing. But still the inflation an

Forcing people to compress all thinking into 280 characters is just going to make everyone stupid. Would you rather have a Twitter rage war with 280 character tweets, or would you rather listen to a Clubhouse that goes into detail, you know, for two hours into a topic for people who actually want to learn and understand and engage? There's clearly a better way.

If you look at an app like clubhouse, they’ve designed it correctly; it’s not textualists thinking “oh, let’s kind of do an audio thing”. That’s how you get podcasts. Instead, they're actually thinking like real oralists: there's a pseudo-in-person social fabric there and nobody speaks unless invited. I’m moderating the shared moment, so if someone gets out of hand I throw them out of the room just like you would at a dinner party, etc.

But with Clubhouse, for all the seeming digital sophistication, you have to be in roughly the same longitude to even listen to our show. I had people DM’ing me about certain shows saying: Damn, it's a shame because it's such a strange hour for me, I’d really like to listen.