amazing -- Going Around in Circles is a Good Thing

Calendar: 3/12-14: Friends of the Library Book Sale

FOR MORE INFO, CONTACT: Sonja Somerville ssomerville@cityofsalem.net

Phone: (503) 588-6083
Friends of the Library Spring Book Sale coming up March 12-14

Great deals are easy to find at the Friends of the Library Spring Book Sale, coming up soon, March 12-14. Book lovers can load arms and bags with low-cost reading and all the proceeds go to support special programs and projects at Salem Public Library.

Sponsored by the Friends of the Library and operated entirely by volunteers, the Spring Book Sale will be open from

• 10 a.m.-5:30 p.m. Friday, March 12 and Saturday, March 13.
• The best bargains of all are available from 1-4:30 p.m. Sunday, March 14, when shoppers can fill a bag to take away for just $3.
  

The sale takes place in Anderson Rooms A&B at Salem Public Library, 585 Liberty St. SE

Spring sale offerings include thousands of excellent books sorted by genre and topic to make it easy for readers to find what they're looking for. Categories include mystery, biography/autobiography, travel, cooking, fantasy, Westerns, hobbies and crafts, romance, large print, and more.

Prices are, as always, excellent, with paperbacks and children's books for 50 cents each; hardbacks for $1. A long list of AV items is available, including CDs, tapes, records, videos, posters and more, all for 25 cents each. Romance paperbacks are also 25 cents each.

Twice annually, the Friends host a major sale, offering thousands of books sorted by genre. Items available are a combination of books donated by library supporters for this purpose and items that have been withdrawn from the library shelves. All incoming books are sorted for quality and type to ensure quality offerings at the sales. Used books and other items are also sold year-round by the Friends of the Salem Public Library in the Friends Book Store, located on the main level of the Central Library, 585 Liberty St. SE.

More information about the sale, the book store and the Friends organization is available at 503-362-1755 or online at www.splfriends.org.

WORD: An apt description of our "health care" "system"

. . .

We are left, finally, with a so-called health care system so cruel and unjust that the Devil himself in consultation with the most demonic lobbyists, and perhaps a little input from historical politicians such as Caligula, Ivan the Terrible, Heinrich Himmler, and Pol Pot could not construct a worse way of deploying the fruits of modern science. It has gotten to the point for most of us where we dread a visit to the doctor more for the bureaucratic consequences than the health issues themselves. Your gall bladder may have to come out, but it's much harder to face the booby-trap clause in your health insurance that will result in you getting stuck with a $123,000 bill for surgery and attendant procedures (including the $500 tylenols). Three months later, of course, the re-po man is towing your car and the mortgage "servicer" has foreclosed on your house, and your life (even without that pesky gall bladder) has become a permanent camping trip next to a drainage ditch. . . .

Important: Corporadoes trying to steal your ownership rights in the stuff you buy

Yikes. Anyone who has an opportunity to boycott AutoCAD should grab it with both hands.

Something actually worth worrying about while you forget about dark-skinned photographers

Image by Getty Images via Daylife

Salem is right in the cross-hairs on this -- the bursting of the commercial real-estate bubble that is going to make our residential real-estate bubble collapse seem like a day in the park.

Racist nonsense from the home of the formerly brave

Salem's water supply -- obviously this photographer should be waterboarded. Image by Jason McHuff via Flickr

Or, why the FBI is too busy to pay attention to a call from the Christmas (Would-Be) Bomber's own Dad to warn us that he was up to no good.

The FBI said Saturday that agents are trying to learn the identities of nine men who were photographed taking pictures photographs of Detroit Dam on Feb. 14.

FBI spokeswoman Beth Anne Steele said the Portland office received photographs that were taken by a worker at the dam.

The worker thought that men photographing the dam appeared suspicious, and the worker's photographs of the men were turned over to local authorities before they were handed over to the FBI, according to a story originally published in the Albany Democrat-Herald.

The Democrat-Herald described the men as being of "Middle Eastern" descent.

Here's a news flash the Democrat-Herald and the Stateman-Journal might want to consider:

Taking photos of dams, power lines, airports, schools, bridges, tall buildings, courthouses, tall buildings, sewer plants, or government buildings is NOT ILLEGAL! Even if you "look" Middle Eastern!

In fact, in America, if it's visible from a public place where you have a right to be
YOU CAN TAKE ALL THE PICTURES YOU WANT.

And you don't have to give your camera to some rent-a-cop or delete them because a cop tells you to. Newspapers, in fact, back when they were more than mouthpieces for government officials, often used to rely on this important idea to fight back against the occasional small-time fascist who snagged a government job and liked to pretend that doing so gave him the power to tell the rest of us what to do, never mind that annoying "constitution" thing.

UPDATE: Where photophobia + the usual hysterias lead:

Father stopped from taking picture of his son, 4, on children's train ride 'in case he was a paedophile

To all Salemites with children or grandchildren

Read and heed. Or be damned by your progeny.

Be there, aloha

Art of Game Design

Games are probably the best instructional media there is -- naturally, they are mostly ignored or actively opposed by most "educators." In the years to come, we're going to need to totally redesign our system of edumacation, and recognizing the central role of games, especially when designed by the learners themselves, would be a good step toward making the change go well.

Games are not just "how-to-make-fun" -- games are the art of using a fun or absorbing activity as a way to teach skills and provide insights.

The Art of Game Design: A book of lenses
Jesse Schell
2008, 512 pages

Sample excerpts:

We must be absolutely clear on this point before we can proceed. The game is not the experience. The game enables the experience, but it is not the experience. This is a hard concept for some people to grasp.

*

Lens #1: The Lens of Essential Experience

To use this lens, you stop thinking about your game and start thinking about the experience of the player. Ask yourself these questions:

* What experience do I want the player to have?
* What is essential to that experience?
* How can my game capture that essence?

If there is a big difference between the experience you want to create and the one you are actually creating, your game needs to change: You need to clearly state the essential experience you desire, and find as many ways as possible to instill this essence into your game.

*

Let's review the list of game qualities we have picked out of these various definitions:

Q1. Games are entered willfully.
Q2. Games have goals.
Q3. Games have conflict.
Q4. Games have rules.
Q5. Games can be won and lost.
Q6. Games are interactive.
Q7. Games have challenge.
Q8. Games can create their own internal value.
Q9. Games engage players.
Q10. Games are closed, formal systems.

*

The thing that really seems to bother people about calling puzzles games is that they are not replayable. Once you figure out the best strategy, you can solve the puzzle every time, and it is no longer fun. Games are not usually this way. Most games have enough dynamic elements that each time you play you are confronted again with a new set of problems to solve. Sometimes this is because you have an intelligent human opponent (checkers, chess, backgammon, etc.), and sometimes it is because the game is able to generate lots of different challenges for you, either through ever-advancing goals (setting a new high score record) or
through some kind of rich challenge-generation mechanism (solitaire, Rubik's Cube, Tetris, etc.)


Specifically, that the player puts their mind inside the game world, but that game world really only exists in the mind of the player? This magical situation, which is at the heart of all we care about, is made possible by the game interface, which is where player and game come together. Interface is the infinitely thin membrane that separates white/yang/player and black/yin/game. When the interface fails, the delicate flame of experience that rises from the player/game interaction is suddenly snuffed out. For this reason, it is crucial for us to understand how our game interface works, and to make it as robust, as powerful, and as invisible as we can.

*

Experiences without feedback are frustrating and confusing. At many crosswalks in the United States, pedestrians can push a button that will make the DON'T WALK sign change to a WALK sign so they can cross the street safely. But it can't change right away, since that would cause traffic accidents. So the poor pedestrian often has to wait up to a minute to see whether pressing the button had any effect. As a result, you see all kinds of strange button-pressing behavior: some people push the button and hold it for several seconds, others push it several times in a row, just to be safe. And the whole experience is accompanied by a sense of uncertainty -- pedestrians can often be seen nervously studying the lights and DON'T WALK sign to see if it is going to change, because they might not have pushed the button correctly.

What a delight it was to visit the United Kingdom, and find that in some areas the crosswalk buttons give immediate feedback in the form of an illuminated WAIT sign that comes on when the button has been pushed, and turns off when the WALK period has ended (Figure 13.9)! The addition of some simple feedback turned an experience where a pedestrian feels frustrated into one where they can feel confident and in control.

*

For all the grand dreams of interactive storytelling, there are two methods that dominate the world of game design. The first and most dominant in videogames is commonly called the "string of pearls " or sometimes the "rivers and lakes " method. It is called this because it can be visually represented like this:



The idea is that a completely non-interactive story (the string) is presented in the form of text, a slideshow, or an animated sequence and then the player is given a period of free movement and control (the pearl) with a fixed goal in mind. When
the goal is achieved, the player travels down the string via another non-interactive sequence, to the next pearl, etc. In other words, cut scene, game level, cut scene, game level...

Many people criticize this method as "not really being interactive, " but players sure do enjoy it.

*

If 10 choices sounds kind of short, and you want to have 20 opportunities for three choices from the beginning to the end of the story, that means you'll need to write 5,230,176,601 outcomes. These large numbers make any kind of meaningful branching storytelling impossible in our short life spans. And sadly, the main way that most interactive storytellers deal with this perplexing plethora of plotlines is to start fusing outcomes together -- something like:



*

Problem #3: Multiple Endings Disappoint

One thing that interactive storytellers like to fantasize about is how wonderful it is that a story can have multiple endings. After all, this means the player will be able to play again and again with a different experience every time! And like many fantasies,
the reality tends to disappoint. Many games have experimented with having multiple endings to their game story. Almost universally, the player ends up thinking two things when they encounter their first ending in one of these.

1. "Is this the real ending? "
2. "Do I have to play this whole thing again to see another ending?"

There are exceptions, of course. Star Wars: Knights of the Old Republic featured a novel type of player choice -- did they want to play the game on the "light side " or "dark side " of the force -- that is, with good or evil goals? Depending on which of the paths you choose, you have different adventures, different quests, and ultimately a different ending. It can be argued that this isn't really a case of two different endings on the same story, but two completely different stories -- so different that they are each equally valid.

*

Problem #4: Not Enough Verbs

The things that videogame characters spend their time doing are very different than the things that characters in movies and books spend their time doing:

Videogame Verbs: run, shoot, jump, climb, throw, cast, punch, fly
Movie Verbs: talk, ask, negotiate, convince, argue, shout, plead, complain

Videogame characters are severely limited in their ability to do anything that requires something to happen above the neck. Most of what happens in stories is communication, and at the present time, videogames just can't support that. Game
designer Chris Swain has suggested that when technology advances to the point that players can have an intelligent, spoken conversation with computer-controlled game characters, it will have an effect similar to the introduction of talking pictures.
Suddenly, a medium that was mostly considered an amusing novelty will quickly become the dominant form of cultural storytelling. Until then, however, the lack of usable verbs in videogames significantly hampers our ability to use games as a storytelling medium.

*

As the character tries to overcome the obstacles, interesting conflicts tend to arise, particularly when another character has a conflicting goal. This simple pattern leads to very interesting stories because it means the character has to engage in problem-solving (which we find very interesting), because conflicts lead to unpredictable results, in other words, surprises (which we find very interesting), and because the bigger the obstacle, the bigger the potential for dramatic change (which we find very interesting).

Are these ingredients just as useful when creating videogame stories? Absolutely
and maybe even more so.

*

One focus group I witnessed was trying to determine where the average mom drew the line about what videogames were "too violent " for their kids. Virtua Fighter was okay, said the moms, Mortal Kombat was not. The difference? Blood. It wasn't the actions that were involved in the games that bothered them (both games are mostly about kicking your opponent in the face), but rather the graphic bloodshed in Mortal Kombat that is completely absent in Virtua Fighter. They seemed to feel that without bloodshed, it was just a game -- just imaginary. But the blood made the game creepily real, and to the moms in the interviews, a game that rewarded bloodshed felt perverse and dangerous.

sam smith's pocket paradigms on war and peace

WAR: SOME POCKET PARADIGMS

from UNDERNEWS by TPR

Sam Smith

War is the joint exercise of things we were trained not to do as children.

War is doing things overseas that we would go to prison for at home.

Anyone can start a war. Starting a peace is really hard. Therefore it is much harder to be a peace expert than a war expert.

The media treats war as just another professional sport.

War has rules, which means that we can change the rules.

Murder, rape and slavery still exist. But that doesn't mean we shouldn't have banned them. The same is true of war.

Telling a country we won't negotiate with it until it does what you want is like saying you won't play a game unless you are allowed to win.

There is no evidence that supporting war, or telling presidents to do so, improves your testosterone level, so Ivy League professors are better advised to stick to tennis.

There is one way to deal with guerilla warfare and that is to resolve the problems that allow it to thrive. The trick is to undermine the violence of the most bitter by dealing honestly with the problems and complaints of the most rational.

Of course, there can be peace with so-called terrorist organizations; it's just a matter of whether one waits the better part of a century, as the British did in Northern Ireland, or whether you start talking and negotiating now.

Three thousand people is, of course, far too many to die for any reason. But it is also far too weak an argument for the end of democracy.

Peace is a state of reciprocity, of trust, of empirically based confidence that no one is about to do you in. It exists not because of intrinsic goodness or rampant naivete but because of a common, implicit understanding that that it works for everyone.

Implicit in the "what about their violence?" argument is the idea that what we do wrong is excusable because it has been matched by the other side. Of course, the other side sees it the same way so you end up with a perfect stalemate of violence. When I raised a similar argument as a kid, my mother's response was, "If Johnny were to jump off a cliff, would you jump off a cliff, too?" I never could come up with good answer to that and so eventually had to concede that somebody else's stupidity was not a good excuse for my own.

From the moment we commence a moral intervention we become a part of the story, and part of the good and evil. We are no longer the innocent bystander but a full participant whose acts will either help or make things worse. Our intentions become irrelevant; they are overwhelmed by the character of our response to them. The morality of the disease is supplanted by the morality of the cure. In fact, every moral act in the face of mental or physical injury carries twin responsibilities: to mend the injury and to avoid replacing it with another

One of the reasons America is in so much trouble is because it happily makes all sorts of compromises in order to get along with large dictatorships such as Russia and China, but thinks it can handle smaller operations like Hamas, North Korea, and Iran by simple obstinacy and belligerence. In other words, it is happy to talk with big terrorists, but not little ones. In fact, most of these small entities - and those who lead them - suffer from extreme inferiority complexes. By threatening war, imposing massive embargos and so forth, America merely feeds the sense of persecution and encourages the least rational reaction. A more sensible approach would be to constantly negotiate with these leaders and edge them towards reasonable participation in world affairs.

Imagine if we had told Israel and Palestine a few years ago that if they would just make nice we would give them enough money to equal Israel's GDP for one year and Palestine's for three. Take the time off, go to the Riviera or the Catskills, forget about productivity, and just party on thanks to the American taxpayer. Or if Israel and Palestine wanted to be really sensible, they could have invested in their countries' future instead. Think how much safer we would be today. . . But where would such a large sum of money come from? Well, all we would have had to have done was to cancel the invasion of Iraq and used the money as a carrot rather than as a bludgeon. For that is just what it has cost us so far. (2007)

The people who built castles and walled cities and moats are all dead now and their efforts at security seem puny and ultimately futile as we visit their unintended monuments to the vanity of human presumption. Like the castle-dwellers behind the moat, we are now spending huge sums to put ourselves inside a prison of our own making. It is unlikely to provide either security for our bodies nor solace for our souls, for we are simply attacking ourselves before others get a chance.

Empires and cultures are not permanent and while thinking about the possibility that ours is collapsing may seem a dismal exercise it is far less so than enduring the dangerous frustrations and failures involved in having one's contrary myth constantly butt up against reality - like a boozer who insists he is not drunk attempting to drive home. Instead of defending the non-existent, we could turn our energies instead towards devising a new and saner reality.

Places like Harvard and Oxford - and their after-school programs such as the Washington think tanks - teach the few how to control the many and it is impossible to do this without various forms of abuse ranging from sophism to corporate control systems to napalm. It is no accident that a large number of advocates of war - in government and the media - are the products of elite educations where they were taught both the inevitability of their hegemony and the tools with which to enforce it. It will, therefore, be some time before places such as Harvard and the Council on Foreign Relations are seen for what they are: the White Citizens Councils of state violence.

Castro, in his early days, spoke at the UN. But the hotels of New York refused him space. The result: Malcolm X found him a hotel in Harlem and a key early step was taken in the alienation of a man who, with just a little respect and effort, might not have tormented every American president since by refusing to die or fade away. Respect is important because it is a door wide enough for peace to enter. We need to try it more often.