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Tag: systems

This website was archived on July 20, 2019. It is frozen in time on that date.
Exolymph creator Sonya Mann's active website is Sonya, Supposedly.

It Shouldn’t Be Easy to Understand

Mathias Lafeldt writes about complex technical systems. For example, on finding root causes when something goes wrong:

One reason we tend to look for a single, simple cause of an outcome is because the failure is too complex to keep it in our head. Thus we oversimplify without really understanding the failure’s nature and then blame particular, local forces or events for outcomes.

I think this is a fractal insight. It applies to software, it applies to individual human decisions, and it applies to collective human decisions. We look for neat stories. We want to pinpoint one factor that explains everything. But the world doesn’t work that way. Almost nothing works that way.

In another essay, Lafeldt wrote, “Our built-in pattern detector is able to simplify complexity into manageable decision rules.” Navigating life without heuristics is too hard, so we adapted. But using heuristics — or really any kind of abstraction — means losing some of the details. Or a lot of the details, depending on how far you abstract.

That said, here’s Alice Maz with an incisive explanation of why everything is imploding:

Automation is transforming bell curve to power law, hollowing out the middle class as only a minority can leverage their labor to an extreme degree. Cosmopolitan egalitarianism for the productive elite, nationalism and demagoguery for the masses. For what it’s worth, I consider this a Bad Outcome, but it is one of the least bad ones I have been able to come up with that is mid-term realistic.

Which corporation will be the first to issue passports?

Rushkoff argued that programming was the new literacy, and he was right, but the specifics of his argument get lost in the retelling. The way he saw it, this was the start of the third epoch, the preceding two ushered in by 1) the invention of writing, 2) the printing press.

Writing broke communal oral tradition and replaced it with record-keeping and authoritative narration by the literate minority to the masses. Only the few could produce texts, and the many depended on them to recite and interpret. This the frame (pre-V2 maybe) that Catholicism inhabits.

The printing press led to mass literacy. This is the frame of Protestantism: the idea is for each man to read and interpret for himself. But after a brief spate of widely-accessible press (remember Paine’s Common Sense? very dangerous!) access tightened up. Hence mass media as gatekeeper, arbiter of consensus reality.

The few report, and the many receive. Not that journalists were ever the elite, just as the Egyptian scribes. They were the priestly class, Weber’s “new middle”. (Also lawyers. Remember the backwoods lawyer? Used to be all you needed was the books and a good head. Before credentialism ate the field.)

The internet killed consensus reality. Now anyone can trivially disseminate arbitrary text. But the platforms on which those texts are seen are controlled by the new priests, line programmers, which determine how information flows. This is what critics of “the Facebook algorithm” et al are groping at. The many can create, but the few craft the landscape that hosts creation.

It’s still early. Remains to be seen if we can keep relatively open platforms (like Twitter circa 2010; open in the unimpeded sense). Or if the space narrows, new gatekeepers secure hold. But that will be determined by programmers. (Maybe lawmakers.) Rest along for the ride.

That’s all copy-pasted from Twitter and then lightly edited to be more readable in this format.

I included the opening quote about complex systems because although this neat narrative holds more truth than some others, it’s still a neat narrative. Don’t forget that. Reality is multi-textured.


Header photo by kev-shine.

Large Nonbiological Organisms

Back in late January, ReTech sent me this email. He gave me permission to distribute it.


My observations over my life have shown me that once humans create an organization it becomes a living system independent of its creators and members. To wit, it satisfies some basic rules of a living organic system. If you look at Apple or any other corporation, this becomes painfully apparent. Same goes for any government agency.

Image via al tuttle.

Image via al tuttle.

  1. collect resources / food to sustain life
  2. protect self
  3. propagate self
  4. spread / integrate into established environment
  5. create perception of need AKA mask / hide to help protect and spread

This came to light when I was reading about the March of Dimes’ original charter and how they evolved.

This is all my opinion and completely subject to the bullshit rule: everything is 99% bullshit and 1% truth. So take it for what it is.


ReTech is one of the most interesting people I’ve met through this project. He’s on Facebook as well.

Mystic Game Design

The first three of Sol Lewitt’s “Sentences on Conceptual Art”.

The first three of Sol Lewitt’s “Sentences on Conceptual Art”.

“If you’re doing something that nobody else is doing, it’s either really stupid or really smart. If it’s really stupid at least people will talk about it, but if it’s really smart you’ll have no competition.” Zach Gage on his creative process. He cited Lewitt’s “Sentences” as an influence.

So who is this guy, anyway? Zach Gage is a conceptual artist. His work encompasses “games, sculptures, websites, talks, prints, photos, videos, toys, hacks, fonts, installations, and more.” He is best-known for iOS apps like Ridiculous Fishing and SynthPond. I’m struggling to summarize Zach’s work in a way that encapsulates why I find it exciting. Maybe an example will help — my favorite of his creations is warorpeace.net:

The site can display either “WAR” or “PEACE”, depending on how many people Google each word in a given day. The most-searched of the two words will win.

The site can display either “WAR” or “PEACE”, depending on how many people Google each word in a given day. The most-searched of the two words will win. Zach explained, “On the day that more people search for peace than war, the site will say peace. As of this writing, that has never happened, but the work awaits the day it does.”

warorpeace.net is more of a pure conceptual piece, but Zach’s bread-and-butter is game design. That’s how he makes most of his money, and based on his list of complete works, interactive creations are an enduring interest. I think it’s important to talk about the paradigms and techniques employed by game designers, because they have power. As virtual reality continues to gain traction, we’ll spend larger portions of time in worlds programmed by other humans. (Not necessarily a bad thing!)

On Friday morning, Zach and I talked about designing generative systems that manage to keep surprising people — including the creators. (We agreed that Olivia Taters does a great job.) I asked why systems intrigue him, and Zach said, “I think one of the biggest things is that people just don’t understand systems. It’s kind of a complexity thing.” Therefore system design “provides kind of a good target for art and a good target for games.”

Like many artists, he wants to make people think. Most of the time, we default to a sophisticated kind of autopilot. Zach told me, “You start doing things by pattern recognition and you do a lot less sitting, thinking, and wondering.” It’s a natural reaction, because we all have to get on with our daily lives — but it’s also valuable to be snapped out of the monotony. Zach likes to observe the rules of systems that people are following by rote, and try upending one assumption. This is a way to interrogate how things work — to prompt people to question their own habits and processes.

“There are not a lot of ways you can build something that will ask people to think,” Zach said. When people puzzle through a game and solve problems, they stretch their neural muscles and often feel good about themselves, especially if the story was also beautifully immersive. However, providing this experience is extremely difficult. Zach told me, “Designing games is really hard. It’s really challenging. You’re trying to design something that you yourself could never fully understand, because that’s what’s fun about games.”

When Minecraft became a huge hit, a lot of people released copycat games. Zach contends that they imitated Minecraft aesthetically without reproducing the core magic. He explained to me, “When you deal with randomness, most of what you get is just a regression to the mean.” For example, “The longer you generate [procedural] landscapes, the more you realize that although technically every landscape is unique, they’re all the same.” Ho hum, another winding river and a few more snow-capped mountains. Even if the contours are a little different, the way we perceive the environments and interact with them is the same.

Zach thinks that Minecraft “did a really good job tying together the generative components with these actual functional components” in a way that allowed people to apply meanings that resonated with them. (I wish I had asked him to elaborate on how Minecraft does this better than others.) In his own work, Zach tries to build depth and profundity into systems that use random elements. Zach wants to “make sure that [players] are engaging in the way that the stuff is the most interesting.” This is a tricky design problem, but he seems to be tackling it well.

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