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Re: Non-linear / full-2d writing systems?

From:H. S. Teoh <hsteoh@...>
Date:Wednesday, May 11, 2005, 22:23
On Wed, May 11, 2005 at 12:13:14AM -0700, Sai Emrys wrote:
> On Wed, May 11, 2005 at 06:56:21AM +0100, Ray Brown wrote:
> > Carving in relief around the cylinder - not strictly 2d, but certainly not > > 3d in the sense Teoh was using it. We don't use the full cross section of > > the pole. > > Why not? Except for the fact that there's the limit of each side not > being allowed to be (diameter) depth simultaneously, I don't see it as > any different from a wrapped bas-relief carving. And that I would > consider to be a pretty straightforward example of a (potentially) > full-3d medium. (Of course one can still impose limits on the bounds > of allowable depth, etc.)
There is a difference between "full 3D" in the sense I'm using it, and in the sense you're using it. What you're describing is essentially 3D in the sense of a scalar field over a 2D region, whereas what I have in mind is 3D in the sense that every (x,y,z) coordinate has the potential to carry information simultaneously with every other coordinate in the 3D volume. Carving around a cylinder is isomorphic to a contour map on 2D paper (think: cut the cylinder's round surface along a vertical and unfold it into a flat piece of rectangular paper). Each point on the paper can only represent a single height at a time. Since the surface is only 2D, I consider this as 2D writing. The depth component is just information encoded on the 2D surface, much like you can superimpose two writings on top of each other and have them still be individually readable by employing different colors. What I have in mind, however, involves "ink" that is drawn into a 3D grid of voxels, in a way that every 3D point can be inked or not. Each voxel can potentially have a different color, and regions of the same color can intertwine in a fully 3D manner that is impossible to represent in 2D alone. In order to fully "see" such a writing, one would need to look at it from a 4D perspective. [...]
> *nod* I think the crux of it is that our paradigm of stories depend on > information control. With a situation where you can see the punchline > from the beginning (if such a term could apply), you'd need a very > very different way of maintaining tension, rather than just > withholding information until later on in the story. Or you'd need to > cast aside the desire for tension in your stories. :-P
[...] I think, in 2D writing, storytelling would not so much be a matter of tension-and-release, but instead a matter of visual and aesthetic beauty in the resulting layout and in the manner in which the various elements are presented. Tension and release is essentially a temporal (i.e. linear) phenomenon: when there is no temporal direction, there cannot be tension before release, simply because there is no unique "before" or "after". However, I can imagine a case where one might still have the analogue of tension and release, by organizing the 2D writing such that it presents the story piecemeal like a jigsaw puzzle, that gives the reader the exhilaration of finally piecing it together and seeing the completed "big picture". This is metaphoric speaking, of course, the idea being that rather than using sequence of presentation to produce tension, which is dependent on temporal sequence of reading, one uses the paradigm of challenge and solution: "here are the pieces to the puzzle (story), can you put them together? can you see what the result would be?" T -- Hello? No, I'm not home. Would you like to leave me a message?


Patrick Littell <puchitao@...>
Sai Emrys <saizai@...>
Ray Brown <ray.brown@...>