Cultural History of Mazes

The Magic of Mazes, from the Greeks to the Geeks.

The Magic of Mazes, from the Greeks to the Geeks.

10-Print produces a pattern that the manual calls a maze. Of course, it does not have to use the word maze. It could call it the randomly alternating pattern of diagonal lines. Although that description does capture the output of the program, it does not capture the magical power of the program to create out of a simple alternation a visual pattern recognizable as a maze. The amazing turn of this program is the clever and concise turn by which it produces a maze seemingly by the flip of a coin.

10-Print produces a pattern that the manual calls a maze. Of course, it does not have to use the word maze. It could call it the randomly alternating pattern of diagonal lines. Although that description does capture the output of the program, it does not capture the magical power of the program to create out of a simple alternation a visual pattern recognizable as a maze. The amazing turn of this program is the clever and concise turn by which it produces a maze seemingly by the flip of a coin.

Mazes have an iconic place in the world of early computers and, of course, a much longer place in cultures around the world. They are heavily charged symbols that appear to call the viewer into entering their pathways either physically or visually.

Mazes have an iconic place in the world of early computers and, of course, a much longer place in cultures around the world. They are heavily charged symbols that appear to call the viewer into entering their pathways either physically or visually.

History of Mazes: [This is a little dull and probably way to long and fragmented]

History of Mazes: [This is a little dull and probably way to long and fragmented]

[Scholars of mazes distinguish the labyrinth as unicursal, offering no choices to one traversing it.] Hermann Kern has written the book on labyrinths in his Labyrinthe, Erscheinungsformen und Deutungen 5000 Jahre Gegenwart eines Urbilds, later published in English as Through the Labyrinth: Designs and Meaning over 5,000 Years. However, unlike the more general category of mazes, a labyrinth is “almost completely enclosed by an outerline” and their paths “are not intersected by other paths” (23). Nonetheless, the history of labyrinths is an essential part of the overall mythos of the maze.

[Scholars of mazes distinguish the labyrinth as unicursal, offering no choices to one traversing it.] Hermann Kern has written the book on labyrinths in his Labyrinthe, Erscheinungsformen und Deutungen 5000 Jahre Gegenwart eines Urbilds, later published in English as Through the Labyrinth: Designs and Meaning over 5,000 Years. However, unlike the more general category of mazes, a labyrinth is “almost completely enclosed by an outerline” and their paths “are not intersected by other paths” (23). Nonetheless, the history of labyrinths is an essential part of the overall mythos of the maze.

The Cretan Labyrinth in which Theseus encounters the Minotaur offers perhaps the most famous ancient maze, through which the Ancient Greek hero found his way only with the help of Ariadne’s thread. While such necessity suggests that the structure was a maze, having multiple decision points, early depictions of the structure were labyrinthine, in other words, monocursal. Regardless of the depictions, the myth portrays a space of twisting paths that is difficult to navigate, and it establishes the challenge of path-finding puzzle in Western culture.

The Cretan Labyrinth in which Theseus encounters the Minotaur offers perhaps the most famous ancient maze, through which the Ancient Greek hero found his way only with the help of Ariadne’s thread. While such necessity suggests that the structure was a maze, having multiple decision points, early depictions of the structure were labyrinthine, in other words, monocursal. Regardless of the depictions, the myth portrays a space of twisting paths that is difficult to navigate, and it establishes the challenge of path-finding puzzle in Western culture.

The Cretan maze may have its origins in Egypt, where Herodotus describes a labyrinthine building: [I won’t be using all of this]

The Cretan maze may have its origins in Egypt, where Herodotus describes a labyrinthine building: [I won’t be using all of this]

It has twelve covered courts - six in a row facing north, six south - the gates of the one range exactly fronting the gates of the other. Inside, the building is of two stories and contains three thousand rooms, of which half are underground, and the other half directly above them. I was taken through the rooms in the upper storey, so what I shall say of them is from my own observation, but the underground ones I can speak of only from report, because the Egyptians in charge refused to let me see them, as they contain the tombs of the kings who built the labyrinth, and also the tombs of the sacred crocodiles. The upper rooms, on the contrary, I did actually see, and it is hard to believe that they are the work of men; the baffling and intricate passages from room to room and from court to court were an endless wonder to me, as we passed from a courtyard into rooms, from rooms into galleries, from galleries into more rooms and thence into yet more courtyards. The roof of every chamber, courtyard, and gallery is, like the walls, of stone. The walls are covered with carved figures, and each court is exquisitely built of white marble and surrounded by a colonnade.

It has twelve covered courts - six in a row facing north, six south - the gates of the one range exactly fronting the gates of the other. Inside, the building is of two stories and contains three thousand rooms, of which half are underground, and the other half directly above them. I was taken through the rooms in the upper storey, so what I shall say of them is from my own observation, but the underground ones I can speak of only from report, because the Egyptians in charge refused to let me see them, as they contain the tombs of the kings who built the labyrinth, and also the tombs of the sacred crocodiles. The upper rooms, on the contrary, I did actually see, and it is hard to believe that they are the work of men; the baffling and intricate passages from room to room and from court to court were an endless wonder to me, as we passed from a courtyard into rooms, from rooms into galleries, from galleries into more rooms and thence into yet more courtyards. The roof of every chamber, courtyard, and gallery is, like the walls, of stone. The walls are covered with carved figures, and each court is exquisitely built of white marble and surrounded by a colonnade.

Other Egyptian Labyrinths date back to 3400 BCE and a labyrinth in the tomb fo King Perabsen of the Second Dynasty.

Other Egyptian Labyrinths date back to 3400 BCE and a labyrinth in the tomb fo King Perabsen of the Second Dynasty.

In her book, Mazes and Labyrinths of the World, Janet Bord examines appearances of maze in other parts of the globe. For example, she mentions the “long barrows, megalyths, camps and henges of Britain and north-west Europe” as signs that these sorts of patterns, labyrinthine or mazelike, were “not in the first instance diffuse outward from an original birthplace, but developed independently in more than one area” (10).

In her book, Mazes and Labyrinths of the World, Janet Bord examines appearances of maze in other parts of the globe. For example, she mentions the “long barrows, megalyths, camps and henges of Britain and north-west Europe” as signs that these sorts of patterns, labyrinthine or mazelike, were “not in the first instance diffuse outward from an original birthplace, but developed independently in more than one area” (10).

The search for the antecedent to the physical mazes perhaps is the wrong path to pursue. Jeremy Douglass argues that the history of mazes should not start with the earliest mention or depiction of mazes but with the formulation of walled architecture or social spaces with intersecting passages… Furthermore cave structures, for example, the paths modeled in Adventure, offer naturally occurring mazes (more on that in a moment)

The search for the antecedent to the physical mazes perhaps is the wrong path to pursue. Jeremy Douglass argues that the history of mazes should not start with the earliest mention or depiction of mazes but with the formulation of walled architecture or social spaces with intersecting passages… Furthermore cave structures, for example, the paths modeled in Adventure, offer naturally occurring mazes (more on that in a moment)

Mazes and Labyrinths, however, are not associated only with their physical structures or two-dimensional forms; They can also be patterns of physical movements. In other words, pathways.

Mazes and Labyrinths, however, are not associated only with their physical structures or two-dimensional forms; They can also be patterns of physical movements. In other words, pathways.

Italy, Corfu, Munich, Upper Bavaria.

Italy, Corfu, Munich, Upper Bavaria.

Geranos (Crane) dance performed by Theseus performed on Delos.

Geranos (Crane) dance performed by Theseus performed on Delos.

One commemorating the killing of Hainuwele (divine maiden) on one of the Molucca Islands.

One commemorating the killing of Hainuwele (divine maiden) on one of the Molucca Islands.

When a labyrinth or maze is the visual representation of a dance, it becomes a kind of score or perhaps even a script or program. However, the movements themselves could be said to be the labyrinth enacted in space over time.

When a labyrinth or maze is the visual representation of a dance, it becomes a kind of score or perhaps even a script or program. However, the movements themselves could be said to be the labyrinth enacted in space over time.

Labyrinths can thus be the boundaries of the space to be navigated or the path that is followed. In the latter sense, the labyrinth may be not just the plan of the path but the path in motion across time. In the case of a solvable maze, the solution path is obfuscated by choice points. The pattern presents not the predetermined path but the challenge toward finding that path. However, once that path is known, the maze becomes changed into the solvable path encompassed by wrong turns. Like the labyrinth, it now has one path to its solution and it can no longer be a maze.

Labyrinths can thus be the boundaries of the space to be navigated or the path that is followed. In the latter sense, the labyrinth may be not just the plan of the path but the path in motion across time. In the case of a solvable maze, the solution path is obfuscated by choice points. The pattern presents not the predetermined path but the challenge toward finding that path. However, once that path is known, the maze becomes changed into the solvable path encompassed by wrong turns. Like the labyrinth, it now has one path to its solution and it can no longer be a maze.

This has important implications for how the notion is abstracted and how 10-Print becomes a maze and a labyrinth. Typing in the program, the beginning programmer engages in the ritual. At the same time, the program begins as a maze to the initiated. Unless the programmer is already fluent in C64 Basic and has memorized the PETSCII tables, she is unlikely to recognize the effects of the program. Once the code has been typed in and executed and the programmer sees the maze, there is no returning to the previous status of the line. This is similar to the process of becoming literate, but not exactly. Nonetheless, these are not mazes that have single solutions. When the programmer is encouraged to make changes to the code, new corridors appear, and the maze itself proves to be endless.

This has important implications for how the notion is abstracted and how 10-Print becomes a maze and a labyrinth. Typing in the program, the beginning programmer engages in the ritual. At the same time, the program begins as a maze to the initiated. Unless the programmer is already fluent in C64 Basic and has memorized the PETSCII tables, she is unlikely to recognize the effects of the program. Once the code has been typed in and executed and the programmer sees the maze, there is no returning to the previous status of the line. This is similar to the process of becoming literate, but not exactly. Nonetheless, these are not mazes that have single solutions. When the programmer is encouraged to make changes to the code, new corridors appear, and the maze itself proves to be endless.

Meaning of Ancient mazes and labyriths.

Meaning of Ancient mazes and labyriths.

Bord turns from the origins of the form to the meaning its creators associated with the drawing.

Bord turns from the origins of the form to the meaning its creators associated with the drawing.