Review of Ports and Variations by Patsy
From Maze
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| + | == '''Goals of the chapter''' == | ||
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This chapter should accomplish several goals: | This chapter should accomplish several goals: | ||
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So that’s what I’m thinking. I’m especially keen about this chapter because, with the maze chapter (and perhaps others that I haven’t identified yet), I think this is a chapter that will speak eloquently and visually to those humanities scholars who don’t read and write any programming code. | So that’s what I’m thinking. I’m especially keen about this chapter because, with the maze chapter (and perhaps others that I haven’t identified yet), I think this is a chapter that will speak eloquently and visually to those humanities scholars who don’t read and write any programming code. | ||
| − | I am not sure how it should be organized – that is something the group who ends up writing this chapter can decide. It may need a metaphor, as Jeremy suggested to me off-line, although my own sense is that an over-arching metaphor will introduce unnecessary structure/bias and another level of translation to muddy these otherwise pretty clear and clarifying waters. | + | |
| + | == '''Outline/Organization of Chapter''' == | ||
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| + | I am not exactly sure how this chapter should be organized – that is something the group who ends up writing this chapter will ultimately decide. At this stage I think there are two ways to think about how to organize this chapter: | ||
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| + | (1) by type of variation (describing what's learned in each case) | ||
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| + | (2) by what's learnable from playing out variation scenarios | ||
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| + | My suggestion is to write a first draft following (1) -- the sort of plodding but systematic approach that will enable us, after putting everything out there, to settle on which variations are within scope, worth discussing/interpreting/explaining, evocative, informative and/or aesthetically expressive and, even, provocative. We'll then be able re-organize the content of the chapter into a more elegant or artful approach, inviting the reader, for example, to follow our lead through several "performances" of ports and variations, and progressively building momentum with surprises and discoveries -- which, in the end, will return us and our readers back to the magic of 10 PRINT itself, the "loop" created by this approach, of course, reflecting the structural loop of the line. | ||
My review rests on the direction Jeremy launched the chapter, which is a really great start. | My review rests on the direction Jeremy launched the chapter, which is a really great start. | ||
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