Year In Pixels Quotes

Home. Home was BAMA, the Sprawl, the Boston-Atlanta Metropolitan Axis. Program a map to display frequency of data exchange, every thousand megabytes a single pixel on a very large screen. Manhattan and Atlanta burn solid white. Then they start to pulse, the rate of traffic threatening to overload your simulation. Your map is about to go nova. Cool it down. Up your scale. Each pixel a million megabytes. At a hundred million megabytes per second, you begin to make out certain blocks in midtown Manhattan, outlines of hundred-year-old industrial parks ringing the old core of Atlanta...

For many years when I have heard nice people try to be respectful about describing undocumented people, I’ve heard them call us “undocumented workers” as a euphemism, as if there was something uncouth about being just an undocumented person standing with your hands clasped together or at your sides. I almost wish they’d called us something rude like “crazy fuckin’ Mexicans” because that’s acknowledging something about us beyond our usefulness—we’re crazy, we’re Mexican, we’re clearly unwanted!—but to describe all of us, men, women, children, locally Instagram-famous teens, queer puppeteers, all of us, as workers in order to make us palatable, my god. We were brown bodies made to labor, faces pixelated.

History is boring, unless you see it from the right perspective. perspective is important. Corn growing in a field appears orderless, till one turns the corner and sees the rows line up. a pixelized photo is unrecognizable, till one zooms out. All the the numbers are on a combination lock but it will not open till they are in the right sequence. So it is with history - all the names, dates and places are there, but it is not until they are seen from the right perspective that lessons become clear. history is boring, until it comes into focus.

Yes, Barone said. He was thinking he might make a game about catching bugs. I asked how long he thought it might take. “I’m trying to be a little more realistic this time around,” Barone said. “I’m hoping it takes two years.

People need foundation myths, some imprint of year zero, a bolt that secures the scaffolding that in turn holds fast the entire architecture of reality, of time: memory-chambers and oblivion-cellars, walls between eras, hallways that sweep us on towards the end-days and the coming whatever-it-is. We see things shroudedly, as through a veil, an over-pixellated screen. When the shapeless plasma takes on form and resolution, like a fish approaching us through murky waters or an image looming into view from noxious liquid in a darkroom, when it begins to coalesce into a figure that's discernible, if ciphered, we can say: This is it, stirring, looming even if it isn't really, if it's all just ink-blots.

Years ago, as he’d trudged through the wilderness half-starved, with a hundred extra pounds of gear on his back, next to other young fools in the same pixelated Army camo, he promised himself that when he got out, he would eat more and move less. Old, fat, and happy. That was the goal.

And then I. Felt. Like. The. Biggest. Jerk. I mean, I’m an artist working way too hard at a deeply uninteresting job to pay way too much in rent so I can stay in this place—so that I can remain immersed in one of the most creative and influential cultures on earth. Here in the middle of the sidewalk is a piece of art that was a massive undertaking, an installation that the artist worked on, possibly for years, to make people stop and look and consider. And here I am, hardened by big-city life and mentally drained by hours of pixel pushing, not even giving something so magnificent a second glance.

Year of the Depend Adult Undergarment: InterLace TelEntertainment, 932/1864 R.I.S.C. power-TPs w/ or w/o console, Pink2, post-Primestar D.S.S. dissemination, menus and icons, pixel-free InterNet Fax, tri- and quad-modems w/ adjustable baud, post-Web Dissemination-Grids, screens so high-def you might as well be there, cost-effective videophonic conferencing, internal Froxx CD-ROM, electronic couture, all-in-one consoles, Yushityu ceramic nanoprocessors, laser chromatography, Virtual-capable media-cards, fiber-optic pulse, digital encoding, killer apps; carpal neuralgia, phosphenic migraine, gluteal hyperadiposity, lumbar stressae.

these sources were particularly helpful to my thinking about and understanding of 1990s- and 2000s-era game culture and designers: Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made, by Jason Schreier; Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, by David Kushner; Hackers: Heroes of the Computer Revolution (specifically the section on Sierra On-Line), by Steven Levy; A Mind Forever Voyaging: A History of Storytelling in Video Games, by Dylan Holmes; Extra Lives: Why Video Games Matter, by Tom Bissell; All Your Base Are Belong to Us: How Fifty Years of Video Games Conquered Pop Culture, by Harold Goldberg;

be apart. Despite getting rejected by my top-choice school, I was starting to really believe in myself again based on all the positive feedback we continued to get on our videos. And besides, I knew I could always reapply to Emerson the following year and transfer. • • • College started out great, with the best part being my newly found freedom. I was finally on my own and able to make my own schedule. And not only was Amanda with me, I’d already made a new friend before the first day of classes from a Facebook page that was set up for incoming freshmen. I started chatting with a pretty girl named Chloe who mentioned that she was also going to do the film and video concentration. Fitchburg isn’t located in the greatest neighborhood, but the campus has lots of green lawns and old brick buildings that look like mansions. My dorm room was a forced triple—basically a double that the school added bunk beds to in order to squeeze one extra person in. I arrived first and got to call dibs on the bunk bed that had an empty space beneath it. I moved my desk under it and created a little home office for myself. I plastered the walls with Futurama posters and made up the bed with a new bright green comforter and matching pillows. My roommates were classic male college stereotypes—the football player and the stoner. Their idea of decorating was slapping a Bob Marley poster and a giant ad for Jack Daniels on the wall.

Blood, Sweat, and Pixels: The Triumphant, Turbulent Stories Behind How Video Games Are Made, by Jason Schreier; Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, by David Kushner; Hackers: Heroes of the Computer Revolution (specifically the section on Sierra On-Line), by Steven Levy; A Mind Forever Voyaging: A History of Storytelling in Video Games, by Dylan Holmes; Extra Lives: Why Video Games Matter, by Tom Bissell; All Your Base Are Belong to Us: How Fifty Years of Video Games Conquered Pop Culture, by Harold Goldberg; and the documentaries Indie Game: The Movie, directed by James Swirsky and Lisanne Pajot, and GTFO, directed by Shannon Sun-Higginson. I read Indie Games by Bounthavy Suvilay after I finished writing, and it’s a beautiful book for those looking to see how artful games can be.

Hey, Hiro," the black-and-white guy says, "you want to try some Snow Crash?" A lot of people hang around in front of The Black Sun saying weird things. You ignore them. But this gets Hiro's attention. Oddity the first: The guy knows Hiro's name. But people have ways of getting that information. It's probably nothing. The second: This sounds like an offer from a drug pusher. Which would be normal in front of a Reality bar. But this is the Metaverse. And you can't sell drugs in the Metaverse, because you can't get high by looking at something. The third: The name of the drug. Hiro's never heard of a drug called Snow Crash before. That's not unusual -- a thousand new drugs get invented each year, and each of them sells under half a dozen brand names. But a "snow crash" is computer lingo. It means a system crash -- a bug -- at such a fundamental level that it frags the part of the computer that controls the electron beam in the monitor, making it spray wildly across the screen, turning the perfect gridwork of pixels into a gyrating blizzard. Hiro has seen it happen a million times. But it's a very peculiar name for a drug. The thing that really gets Hiro's attention is his confidence. He has an utterly calm, stolid presence. It's like talking to an asteroid. Which would be okay if he were doing something that made the tiniest little bit of sense. Hiro's trying to read some clues in the guy's face, but the closer he looks, the more his shifty black-and-white avatar seems to break up into jittering, hardedged pixels. It's like putting his nose against the glass of a busted TV. It makes his teeth hurt. "Excuse me," Hiro says. "What did you say?

During those last few months, the writer Patrick Weekes would take builds of Inquisition home and let his nine-year-old son play around with the game. His son was obsessed with mounting and dismounting the horse, which Weekes found amusing. One night, Weekes’ son came up and said he’d been killed by a bunch of spiders, which seemed strange—his son’s characters were too high a level to be dying to spiders. Confused, Weekes loaded up the game, and sure enough, a group of spiders had annihilated his son’s party. After some poking around, Weekes figured out the problem: if you dismounted the horse in the wrong place, all your companions’ gear would disappear. “It was because my son liked the horse so much more than anyone else had ever or will ever like the horse,” Weekes said. “I doubt we would’ve seen it, because it takes spamming the button to figure out there’s a one-in-one-thousand chance that if you’re in the right place, it’s going to wipe out your party members.

Bungie, like many large studios, dedicated a great deal of time to what could technically be called “preproduction” but what was really just the act of figuring out what their next game was going to be. That was one of the most challenging parts of making any game—narrowing the possibilities down from infinity to one. “I think that’s one of the things that plagued Destiny’s development,” said Jaime Griesemer. “We would work for a while, spend a lot of money in one direction, and then because there was this sort of impossible ideal of, ‘We’re following up the biggest game of all time, and this has to be the new biggest game of all time,’ there were several points in development where there was a total reset. And it wasn’t a graceful, ‘We go to prototype and that direction is wrong so we’re going to backtrack a little bit and go in a different direction.’ It was, I came back in from going on vacation for a week and everything I had worked on for a year was deleted. Unrecoverably, literally deleted. If I hadn’t had a copy on my laptop, it would’ve been gone forever. With no warning, no discussion, no nothing.

Certain shapes and patterns hover over different moments in time, haunting and inspiring the individuals living through those periods. The epic clash and subsequent resolution of the dialectic animated the first half of the nineteenth century; the Darwinian and social reform movements scattered web imagery through the second half of the century. The first few decades of the twentieth century found their ultimate expression in the exuberant anarchy of the explosion, while later decades lost themselves in the faceless regimen of the grid. You can see the last ten years or so as a return to those Victorian webs, though I suspect the image that has been burned into our retinas over the past decade is more prosaic: windows piled atop one another on a screen, or perhaps a mouse clicking on an icon. These shapes are shorthand for a moment in time, a way of evoking an era and its peculiar obsessions. For individuals living within these periods, the shapes are cognitive building blocks, tools for thought: Charles Darwin and George Eliot used the web as a way of understanding biological evolution and social struggles; a half century later, the futurists embraced the explosions of machine-gun fire, while Picasso used them to re-create the horrors of war in Guernica. The shapes are a way of interpreting the world, and while no shape completely represents its epoch, they are an undeniable component of the history of thinking. When I imagine the shape that will hover above the first half of the twenty-first century, what comes to mind is not the coiled embrace of the genome, or the etched latticework of the silicon chip. It is instead the pulsing red and green pixels of Mitch Resnick’s slime mold simulation, moving erratically across the screen at first, then slowly coalescing into larger forms. The shape of those clusters—with their lifelike irregularity, and their absent pacemakers—is the shape that will define the coming decades. I see them on the screen, growing and dividing, and I think: That way lies the future.

The top surface of the computer is smooth except for a fisheye lens, a polished glass dome with a purplish optical coating. Whenever Hiro is using the machine, this lens emerges and clicks into place, its base flush with the surface of the computer. The neighborhood loglo is curved and foreshortened on its surface. Hiro finds it erotic. This is partly because he hasn't been properly laid in several weeks. But there's more to it. Hiro's father, who was stationed in Japan for many years, was obsessed with cameras. He kept bringing them back from his stints in the Far East, encased in many protective layers, so that when he took them out to show Hiro, it was like watching an exquisite striptease as they emerged from all that black leather and nylon, zippers and straps. And once the lens was finally exposed, pure geometric equation made real, so powerful and vulnerable at once, Hiro could only think it was like nuzzling through skirts and lingerie and outer labia and inner labia. . . . It made him feel naked and weak and brave. The lens can see half of the universe -- the half that is above the computer, which includes most of Hiro. In this way, it can generally keep track of where Hiro is and what direction he's looking in. Down inside the computer are three lasers -- a red one, a green one, and a blue one. They are powerful enough to make a bright light but not powerful enough to burn through the back of your eyeball and broil your brain, fry your frontals, lase your lobes. As everyone learned in elementary school, these three colors of light can be combined, with different intensities, to produce any color that Hiro's eye is capable of seeing. In this way, a narrow beam of any color can be shot out of the innards of the computer, up through that fisheye lens, in any direction. Through the use of electronic mirrors inside the computer, this beam is made to sweep back and forth across the lenses of Hiro's goggles, in much the same way as the electron beam in a television paints the inner surface of the eponymous Tube. The resulting image hangs in space in front of Hiro's view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic soundtrack. So Hiro's not actually here at all. He's in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse. It beats the shit out of the U-Stor-It.

Here’s something you may not know: every time you go to Facebook or ESPN.com or wherever, you’re unleashing a mad scramble of money, data, and pixels that involves undersea fiber-optic cables, the world’s best database technologies, and everything that is known about you by greedy strangers. Every. Single. Time. The magic of how this happens is called “real-time bidding” (RTB) exchanges, and we’ll get into the technical details before long. For now, imagine that every time you go to CNN.com, it’s as though a new sell order for one share in your brain is transmitted to a stock exchange. Picture it: individual quanta of human attention sold, bit by bit, like so many million shares of General Motors stock, billions of times a day. Remember Spear, Leeds & Kellogg, Goldman Sachs’s old-school brokerage acquisition, and its disappearing (or disappeared) traders? The company went from hundreds of traders and two programmers to twenty programmers and two traders in a few years. That same process was just starting in the media world circa 2009, and is right now, in 2016, kicking into high gear. As part of that shift, one of the final paroxysms of wasted effort at Adchemy was taking place precisely in the RTB space. An engineer named Matthew McEachen, one of Adchemy’s best, and I built an RTB bidding engine that talked to Google’s huge ad exchange, the figurative New York Stock Exchange of media, and submitted bids and ads at speeds of upwards of one hundred thousand requests per second. We had been ordered to do so only to feed some bullshit line Murthy was laying on potential partners that we were a real-time ads-buying company. Like so much at Adchemy, that technology would be a throwaway, but the knowledge I gained there, from poring over Google’s RTB technical documentation and passing Google’s merciless integration tests with our code, would set me light-years ahead of the clueless product team at Facebook years later.

Villager: "What are you doing here on my property?" Steve: "I just stopped by to take a drink from the pond." Villager: "This is my property, can't just come here without permission." Steve: "I apologize, I wasn't aware that it was private property, if you let me go, I'll be on my way." Villager: "That's some fancy armor you're wearing there." Steve: "Yeah, it was given to me by the king." Villager: "You must be someone important." Steve: "Not really, I was just hired for my combat skills." Villager: "Sorry about my hostility, I thought you were one of those raiders. They have been coming here for years and taking my stuff. I'm getting pretty tired of having my stuff stolen." Steve: "I'm sorry to hear that. If you want, I'll come back after my mission is finished to scare those raiders away for good." Villager: "That would be great, but I can't pay you, I don't have much money." Steve: "Don't worry, I'm not going to charge you." Villager: "Great! My name is Theo, by the way." Steve: "I'm Steve. Well, if you'll excuse me, I have to go, I have a long trip ahead of me. Villager: "Sure, go right ahead." Steve: "Alright, I'll come visit you on my way back."            

DNA

She’s right. And with the galaxy in the state that it’s in right now, there’s no better time to try. You need to live like there’s no tomorrow because there very well might not be. Life is too short to carry grudges. All they do is poison your spirit and destroy relationships. I’m not saying you should condone everything Luke does because breaking the law is wrong, but if you can forgive each other for how you’ve treated each other over the years, you can begin to build a relationship where your guidance would be accepted and not just turned away.

It’s a common dilemma in game development: when you’re working on the same game for years, you’ll inevitably get bored. It’s tempting to make changes just for the sake of making changes, to spice things up because you’re sick of using the same simple control scheme when you get into work every day.

The real life Bruce Lee the Scar-Faced Ninja Attack Kitty from Japan (Who Smells Like Poop) left this earth in August of 2015. He was 14 years old. We’re bummed he didn’t have real respawning

But after a while, living in the dark affects your eyesight. I had an uncle once that lived underground for twenty years. I asked my dad what happened to him. My dad said that he accidently ran into some Skeletons, who he thought were his relatives. When he wouldn’t stop talking, the Skeletons shot him with an arrow.

The Ultimate Creator has to be uncreated since it is necessary for the universe to be created in the first place. We find cause or creator for something that is created and that begins to exist at some finite point in time like the universe which came into existence 13.7 billion years ago. The Ultimate Creator did not come into existence at some finite point in time. It is ever-existing. This God is not the ‘scientific conjecture of god of the gaps’ which fits in the novel for pages that are not found in the novel. This God is the author of the whole novel and the programmer of nested loops within loops. He is not the pixel of the painting or a brush or a colour or the painting itself. It is the painter. It is not the laws of physics or theorems of mathematics alone. It is the source of these laws and theorems. Isaac Newton aptly said that gravity explains the motions of the planets, but it cannot explain who sets the planets in motion.

All the literature agreed, whether in pixels or ink, that the place had used the years to hone its talent for hiding between planes, merging with the landscape, as if it were made of mirrors rather than timbers, stone and glass.

I wish I could remember if the lead paint chips that I ate as a child were satisfying enough to my curious, bored one-and-a-half-year-old self. Maybe they tasted so good that swallowing them was worth the torture they caused all the way through high school. Somehow I doubt it.

During those last few months, the writer Patrick Weekes would take builds of Inquisition home and let his nine-year-old son play around with the game. His son was obsessed with mounting and dismounting the horse, which Weekes found amusing. One night, Weekes’ son came up and said he’d been killed by a bunch of spiders, which seemed strange—his son’s characters were too high a level to be dying to spiders. Confused, Weekes loaded up the game, and sure enough, a group of spiders had annihilated his son’s party.

There are many ways to measure innovation, but perhaps the most elemental yardstick, at least where technology is concerned, revolves around the job that the technology in question lets you do. All other things being equal, a breakthrough that lets you execute two jobs that were impossible before is twice as innovative as a breakthrough that lets you do only one new thing. By that measure, YouTube was significantly more innovative than HDTV, despite the fact that HDTV was a more complicated technical problem. YouTube let you publish, share, rate, discuss, and watch video more efficiently than ever before. HDTV let you watch more pixels than ever before. But even with all those extra layers of innovation, YouTube went from idea to mass adoption in less than two years. Something about the Web environment had enabled Hurley, Chen, and Karim to unleash a good idea on the world with astonishing speed. They took the 10/ 10 rule and made it 1/ 1.

Moore's Law states that the number of transistors you can place on an integrated circuit doubles every two years or so, each time at a reduced cost. And so far this has held true, for more than 50 years. This means the power of everything is exponentially climbing: processing speed, memory capacity, the number of pixels in your Canon.

generally, when you do something for an audience, they repay you. The Grateful Dead made plenty of money. Tom Peters makes many millions of dollars a year giving speeches, while books are a tiny fraction of that. Barack Obama used ideas to get elected, book royalties are just a nice side effect.

like a seven-year-old that was given a cup of coffee and a unicorn.

Rather than show contrition and resolve to finally address racism in their ranks, those appointed to serve and protect our communities engaged in further violence against Black Americans over the ensuing months, as well as nightly displays of unapologetic—indeed deliberate, performatively cruel—brutality against Black Lives Matter protesters. Cruelty and injustice are nothing new. It has always been easy to export violence and suffering to the rest of the world when we don’t imagine that the victims are real people leading real lives that matter. Weirdly, the very technologies that made the world a smaller place, that were supposed to create a global village, have only made it easier to dehumanize—to unmatter—poor people in the more remote corners of that village. Soldiers launch drone assassinations halfway around the globe from the comfort and safety of video-game consoles on American military bases.*55 Pixelated videos of innocents blown to bits in mistaken air strikes elicit yawns by those who pull the trigger and tough-minded excuses by the generals who consider such collateral murders necessary sacrifices in the ever-more-nebulous War on Terror. There’s a common theme in all this. The unmattering of Black, or brown, or transgender, or Muslim lives reveals an ever-more-defiant and deliberate refusal to imagine or care. It is a cancerous empathy deficit that could destroy our species if it is not confronted with some antidote, and a vaccine to halt its further spread. This empathy deficit may be as urgent an existential threat as the climate crisis, even if it is harder to perceive and define. I think it is what really lies at the root of that ecological catastrophe. I see the Long Self Revolution as a revolution of imagination and care, of empathy and anti-cruelty. When you directly experience your own self as a vast and sublime and unique four-dimensional formation in the block universe, you realize that every fellow traveler on this planet is similarly vast and sublime and unique—like threads in a tapestry, both irreducibly individual and completely interdependent. Precognitive dreamwork (and lifework) makes it impossible to ignore or deny the worth, value, and real reality of other, embodied lives—including lives very distant and different from ours.*56 Our planet is a splendid, multicolored tapestry woven from the intertwining of Long Selves. (Probably our universe is too, in ways we will discover in a few thousand years.) Caring for the future of the earth first requires imagining that each of its inhabitants has a future. That’s what a Long Self is: someone with a future. Thus the Long Self Revolution is incompatible both with cruelty and with the resentful apocalypticism of those who deny that our planet and our species are going somewhere, and going somewhere better.6 In a way, it recruits the future to save the present.

We’re in year two of school. This is the year we get into the real nitty-gritty of Pordeaux-style hatchamob