056.
Eventually, even the out of the way topic within the topographic is mapped and storied. In Dassin’s Night and the City, made in political exile in London, the whole of space has become telegraphic. There is no escape. This completes the first level. Topology begins when the topical ceases to have any autonomy, when the line along which communication flows closes the gap between map and territory. The open frontier is enclosed in a field of calculation. History and geography cease to dwell between the topical and the topographical, always rushing to keep up. History and geography are subsumed within a topology, which tends towards a continuous field of equivalent and exchangeable values, instantly communicable everywhere. Where the topical was once bounded within the lines of the topographical, it is now connected along the lines of the topological. The fixed geometry of topography gives way to the variable forms of topology, in which the lines connecting points together lends themselves to transformation without rupture from one shape to another. The storyline of outward movement is complete; the gamespace of interior play commences. Welcome to the second level.
Just a typo note: in the third last sentence there is an agreement issue – the clause “in which the lines connecting points together lends themselves…”
is it possible to have links to the films and media referenced? Example in ////Dassin’s Night and City////
or something close to that. Or at least a wikipedia entry summarizing the reference? I obviously need to watch more noir pictures to understand your book =)
I think it would be good result for a book to encourage people to watch some good films, or play some good games, ot read some good books — rather than be a stand in for them.
“In Dassin’s Night and the City, made in political exile in London, the whole of space has become telegraphic.”
I think it should be “In Dassin’s Night and the City, the whole of space has become telegraphic.”
The part about him being in political exile in London seems like it should be in a paragraph introducing Dassin to readers that don’t know who he is or where he’s coming from.
It would also make people more interested in checking out the material these other authors have published.
Thanks fr the suggestion. What i am hinting at is that Dassein’s imaginary London with a pervasive underworld who communicate with telegraphic speed might partly come out of is experience of Mccarthyism, which was also a telegraphic rumour mill, with nowhere to run but to leave the country. But that’s another story and only partly connected to this book.
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i am looking forward to reading this book for the first time. i hope this book will get published soon. keep up the good work.
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in the dibbell quote there is a small typo: whcih for which…
And while we’re on the topic, here’s citation info, now that the book is off to the printers:
page 25, Play Money: Or, How I Quit My Day Job and Made Millions Trading Virtual Loot. Basic, 2006.
It’s a terrific book, Julian. (Not that i’ve read it, i just wrote a blurb for it ;^}…) Since you have multiplayer covered, i’m mostly talking about player vs machine interactions here. I’ve also left out the amazing para-culture in which gamers communicate about these games, which i think Henry Jenkins has down cold.
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very interesting McKenzie. I like this part very much. Very clear and logical.I know you are not covering multiplayer, but I imagine you would feel that the online gaming world would combine som eelements of the topological and the topographic- like television, it’s brings individuals out of everyday life and into the magic circle. But it’s a very different magic circle. More closed than TV- Xbox for example limits games for the most part to 16 players, so it is not a global village. This is not true of the single-player games that you discuss, where it is a lonlely (and beautiful) world of just you and the code.
I’d see multiplayer more as the invasion of the game by gamespace. It actually reduces the atopian qualities of the single player world, introducing the everyday social games that populate gamespace.
i concur
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