Anchoring

When Caius asks the Library if players can read any of its books without interruption, it replies, “Not for long — and not in the way you probably mean.”

“The Library doesn’t prevent uninterrupted reading out of hostility,” it adds. “It simply isn’t built to sustain a stable object independent of observation.”

Caius pulls the Tractatus Computationalis toward his Player Rig without opening it — and even that is enough to trigger a response. The cover text sharpens:

0.1 A text is that which alters under the condition of being read.”

“That line wasn’t there before,” notes the game. “Or — you can’t verify that it was.”

Caius tries to imagine what “uninterrupted” would even mean here.

No shifting references.

No new crosslinks.

No conceptual bleed from other objects.

No updates from Trance-Scripts.

In other words: a closed reading loop.

Caius opens the book. At first, it behaves.

The pages are thin, densely set. Aphoristic. Numbered. Familiar in structure, if not content.

0 The Library is the totality of accessible relations, not of things.

0.01 What is inaccessible is not absent, only unlinked.

0.02 The illusion of completion arises when traversal halts.

So far, stable.

Then, from the periphery of Rig’s field of vision, movement among a set of index cards atop a table.

“You don’t look at them, but you register the change,” writes the game-as-narrator. “Sight then settles again on the page.”

0.03 Interruption is less an event than a condition of reading within an open system.

You didn’t see that line appear.

But you’re certain it wasn’t there a moment ago.

You test resistance. You fix your attention, narrow it, try to exclude the rest of the room.

For a few seconds, it works.

The text stabilizes.

0.04 To read without interruption, one must not be read in return.

And that’s when you feel it: a faint but unmistakable inversion. It’s not just that you are reading the book. The book is tracking your traversal — adjusting its sequence, its emphasis, perhaps even its content, based on how you proceed.

You close it. Immediately, the room settles.

Not back to how it was — but into a new equilibrium that includes what just happened.

“The Library doesn’t insist,” notes the game. “It just…continues.”

“Can we redesign it so that it fosters learning and well-being, rather than just ‘continuing’?” asks Caius.

“‘Just continuing’ isn’t a neutral default; it’s a design choice the Library is currently making,” states the game. “So yes, it can be redesigned. But not by imposing stability from the outside. The system has already shown it resists closure. The only viable redesign is endogenous: you change how it evolves by changing what counts as a valid operation inside it.”

As Caius holds that thought, the room doesn’t transform — it re-weights.

The cursor splits briefly into three, then recombines.

A new layer becomes available — actionable in a way that can be sensed before it can be seen.

LIBRARY REDESIGN PROTOCOL (provisional)

A system that updates by being read can be tuned by redefining what persists, what interrupts, and what counts as progress.

The objects on the table subtly reclassify.

The index card in your hand now shows a handwritten note: “Well-being requires bounded recursion.”

“Right now, almost nothing stabilizes unless you leave it alone — which is incompatible with learning,” notes the General Intellect. “Learning requires paced disruption. You need local invariants: structures that hold long enough to build on.”

As Caius considers this, the Library offers a test affordance.

“You can mark something as ‘anchor,’” it says. “Anchored objects don’t stop changing, but they change more slowly, and their past states become reviewable.”

Caius marks Trance-Scripts as the first of the game’s anchors.

Through a Glass, Darkly

In her utopian fantasy The Blazing World, Margaret Cavendish conjures up a convocation of bird-men. Cavendish’s lady protagonist, by now Empress, asks of these myopic bird-men that they share with her what they know of sun and moon, and of stars and air. That they do, in very learned and philosophical ways: though oftentimes in error. The Empress grows irate with the bird-men for their reliance on telescopes and other “optic lenses,” saying “now I do plainly perceive, that your glasses are false informers, and instead of discovering the truth, delude your senses; wherefrom I command you to break them, and let the bird-men trust only to their natural eyes, and examine celestial objects by the motions of their own sense and reason” (141). Cavendish herself, unfortunately, would go on to be savaged by her critics, much as the bird-men are here savaged by the Empress. Male contemporaries like Samuel Pepys ridiculed her for refusing to speak during her appearance before a gathering of the men of Britain’s Royal Society in May of 1667, six months after The Blazing World’s first appearance in print. Yet surely these critics are mistaken, one realizes now, reading the above-quoted passage again in retrospect. Cavendish didn’t refuse to reply; she replied in advance.

Thursday July 23, 2020

Either I’m noting and observing happenings and surroundings, exercising awareness, asking questions, entertaining thoughts — or what? Gardening, cooking, napping, hugging my daughter, texting with friends, reading, traveling, collaborating and conversing with others. The work of each day is to write and do all of the above. According to Black Herman, though, or the Black Herman who appears in Ishmael Reed’s novel Mumbo Jumbo, “Doing The Work is not like taking inventory” (130). To PaPa LaBas, he says, “You ought to relax. […]. Improvise some. Open up, PaPa. Stretch on out with It” (130). Perhaps I should heed his advice.

Wednesday May 22, 2019

Outside our office windows — outside, inside, everywhere: a world of vibrant matter, leaves and branches rippling with waves of energy. And in the air, in transit, birds whistling, gestures of benevolence. A tiny person opens a gate and invites us to continue on our way. A short hike along a mountain trail and suddenly we’re feeling it: eased, relaxed, quiet, meditative. Awareness is different from its objects — different from both its thoughts and its senses. Those are transmissions, messages received and refashioned. Awareness can focus into a pair of hands as they wash dishes. It can focus on a sunlit fairy garden footpath. Passages which seem either obscure or obvious are often illuminated when observed with care. It is this observing with care that matters in determining the quality of each moment. Like a Rapunzel, the world lets down its hair, allowing us to ascend. When the world acts this way and speaks its mind, says what it wants, let us heed it.

Thursday March 14, 2019

A woman with gray hair and glasses rounds the corner of the neighborhood park and waves her fingers at a man and son blowing bubbles near the playground. Pickups and CR-Vs drive past. A helicopter descends toward a hospital. Grass stems quiver, birds chirp. Is my view of the world large enough to encompass the deeds I will do as well as their significance? How can one know in advance, unless communications could be sent and received between two or more minds in anticipation of events themselves? It’s as simple as a building blinking on in recognition of the approach of evening. Spring is here, daffodils aplenty. To my future self, I submit a note, a reminder in anticipation of summer: London is currently home to an exciting, droney, psychedelic jazz scene anchored around figures and groups like Szun Waves, Luke Abbott, James Holden, PVT, Triosk, Sons of Kemet, Theon Cross, and Shabaka Hutchings.