The objective of conversation is to entertain or inform the other person while not using up all of the talking time. A big part of how you entertain another person is by listening and giving your attention. Ideally, your own enjoyment from conversation comes from the other person doing his or her job of being interesting. If you are entertaining yourself at the other person's expense, you're doing it wrong.
An academic trying to simulate a human brain has a massive super computer devoted to the task of thinking, while an AI programmer for a video game is instead working with a small percentage of processor power. The majority of the computing power in games is instead going towards depicting graphics, sound, physics, and cow bell type things. For example, technically the AI in Halo 3 is less sophisticated than in Halo 2 because most of the processor has to be devoted to graphics. A giant, open world game will inherently have stupider AI because there just isn’t enough power to go around. So the art of video game AI is in making a player think that they’re interacting with something more sophisticated than it really is.
the web was now contrary to the original utopian vision and users focused on information from a handful of wealthy countries.
"It's making us 'imaginary cosmopolitans'," he told delegates.
Social networks, he said, made the problem worse with the majority of people sharing information with folk who share their world-view.
"We think we're getting a broad view of the world, because it's possible that our television, newspapers and internet could be giving us a vastly wider picture than was available for our parents or grandparents," he said.
"When we look at what's actually happening, our world-view might actually be narrowing."
Throughout gaming's history, there have been attempts to make death seem appropriately final. Some games limit the number of deaths you are allowed, making death truly consequential but nonetheless more trivial than actual human death. Other games are even more lenient, giving the player unlimited death but imposing penalties for the failure, such as losing money or having a certain amount of in-game progress lost.Nonetheless, these penalties don't come close to addressing a problem that becomes more prominent as games become more realistic and serious. Perhaps no genre draws more attention to this dilemma as the military shooter. In games like Call of Duty and Battlefield, death is a non-issue for the player. It comes suddenly, but is usually the result of a lack of strategic and skillful maneuvering. In other words, it makes perfect sense. The player gets a maximum of five seconds to consider an alternate way around the problem, and tries again.
While research about both design-based and code-based instruction suggests that students can gain and develop numerous academic skills (critical thinking, logical organizing) and social skills that impact academic work (collaboration, working across numerous differences), few studies have yet taken up the issue of “gaming across the curriculum” in higher education or have attempted to inquire about what happens when different disciplines, with different methodological frameworks, assumptions, and questions, approach computer gaming as an object of study. What does a multi-disciplinary approach to gaming offer students, both in terms of their ability to think critically about games as games, but also in terms of their ability to reflect critically about complex contemporary communication practices and how different disciplines might use awareness of those literacy practices to build and communicate knowledge production?
When you edit for the Web, you always feel like you’re playing a frantic game of catch-up. Editors may schedule posts to publish at a certain time, and your goal is to give them a read-through before they go live. You don’t leave your desk much. Once, however, we had a company-wide meeting, and I had to let things go unfinished. A co-worker could tell I was antsy about being away and taunted me that there might be typos on the Internet. This immediately struck us as funny because of course there were typos on the Internet—I just didn’t want them on my Internet. It’s also how I got the name of my future band, Typos on the Internet, for which he bought me a T-shirt (complete with a keyboard design) as a farewell present.
We’ve known for years that the Web allows for unprecedented voyeurism, exhibitionism and inadvertent indiscretion, but we are only beginning to understand the costs of an age in which so much of what we say, and of what others say about us, goes into our permanent — and public — digital files. The fact that the Internet never seems to forget is threatening, at an almost existential level, our ability to control our identities; to preserve the option of reinventing ourselves and starting anew; to overcome our checkered pasts.
What works about Twitter? It’s not anonymous. I’ve found it to be a marvelous medium to engage critics in a low-key, non-defensive way, to say, hey, I’m listening, I’m a real person here, can you let me know a little more about what you’re thinking? I’ve turned critics into supporters and I think softened the tone of some debates over the book. (I recently had a critic who had trashed a speech of mine on Twitter DM me “You have far too many fans for me to criticize you in public!” After a little back and forth about his concerns, he went on to write a glowing review of the book.)
