Notes for the Lifebox, the Seashell, and the Soul - Rudy Rucker
Notes for the Lifebox, the Seashell, and the Soul - Rudy Rucker
Notes for the Lifebox, the Seashell, and the Soul - Rudy Rucker
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<strong>Notes</strong> <strong>for</strong> The <strong>Lifebox</strong>, <strong>the</strong> <strong>Seashell</strong>, <strong>and</strong> <strong>the</strong> <strong>Soul</strong>, by <strong>Rudy</strong> <strong>Rucker</strong><br />
The history of virtual reality, a fake world where things can interact asynchronously..<br />
Three-dimensional graphics, immersion, <strong>and</strong> user interaction. Walking around a city talking<br />
on a cell phone.<br />
The creatures in a computer game are an excellent simulation of parallel agents. The<br />
problem of creating a satisfying computer game is, in small, an image of <strong>the</strong> question of why<br />
it is we happen to live in such an interesting world. Thinking about game design gives us<br />
fresh insights into both metaphysics <strong>and</strong> to non-traditional approaches to story-telling.<br />
Some may remember <strong>the</strong> excitement over “virtual reality” in <strong>the</strong> 1990s. Here in <strong>the</strong><br />
2000s, we have virtual reality all but fully implemented in our games. Games bring toge<strong>the</strong>r<br />
<strong>the</strong> full panoply of computer technology including: simulations of physics, computer<br />
graphics algorithms, artificial intelligence, computer aided design, user interfaces, <strong>and</strong> webbased<br />
connectivity. In addition, games draw in such traditionally artistic endeavors as <strong>the</strong><br />
visual arts, sound design, <strong>and</strong> story-telling.<br />
The essence of a good gaming experience is <strong>for</strong>getting about <strong>the</strong> outer world.<br />
Absorption. Being in <strong>the</strong> zone. The flow. But walking to <strong>the</strong> bakery can be as interesting as<br />
a computer game.<br />
Possible games of <strong>the</strong> future.<br />
Don’t Worry About Biotech.<br />
I consider how serious are <strong>the</strong> threats posed by biotechnology, <strong>and</strong> what might be<br />
done about <strong>the</strong> problems. The news is mostly good. Our experiences with <strong>the</strong> virtual<br />
ecologies of cyberspace are numerically illuminating. I also explore <strong>the</strong> logic behind <strong>the</strong><br />
open source genomics movement, which argues that it’s safer to have many different people<br />
tweaking genes than to have this power in <strong>the</strong> h<strong>and</strong>s of a few large corporations.<br />
Class Four Time Series<br />
What would a class 4 time series look like? It’s not so visual, as we’re hopping<br />
around on a line. But we could have class 4 behavior if it condenses, say on a Cantor set,<br />
which would a paradigmatic example of a strange attractor embedded in a line. I think James<br />
Crutchfield was interested in looking <strong>for</strong> Class 4 behavior in time series generated by <strong>the</strong><br />
logistic map.<br />
Weinberg’s Put-Down<br />
There’s a good reason why Dell <strong>and</strong> Intel don’t market Turing machines.<br />
Universality isn’t everything.<br />
Frankenstein<br />
The most famous fictional character who tries to create life is Victor Frankenstein, <strong>the</strong><br />
protagonist of Mary Shelley's 1818 novel, Frankenstein or, The Modern Prome<strong>the</strong>us.<br />
Most of us know about Frankenstein from <strong>the</strong> movie versions of <strong>the</strong> story. In <strong>the</strong><br />
movie version, Dr. Frankenstein creates a living man by sewing toge<strong>the</strong>r parts of dead bodies<br />
<strong>and</strong> galvanizing <strong>the</strong> result with electricity from a thunderstorm. The original version is<br />
different.<br />
In Mary Shelley's novel, Victor Frankenstein is a student with a deep interest in<br />
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