A digital studio provides both a technology-equipped space and technological/rhetorical support to students (commonly at a university) working individually or in groups on a variety of digital projects, such as designing a website, developing an electronic portfolio for a class, creating a blog, making edits, selecting images for a visual essay, or writing a script for a podcast. == History/theory == === Overview === Digital Studios are places with different names but similar objectives. They have risen in response to the need for resources dedicated to improving students' interactions with digital technologies for rhetorical ends. Digital Studios have often been theoretically and administratively linked to writing centers, which are sites where students can seek assistance with their text-based projects. The academic term that has been used for this kind of site (i.e. a writing center with a focus on digital and new media) is multiliteracy center. Besides having a multimodal focus, Digital Studios also make a departure from writing center model in allowing students the freedom to work in the Studio without one-on-one interaction with a writing tutor. === The rise of technology === ==== Computer literacy in popular culture ==== As early as 1983, computer literacy was being hailed in The New York Times as the "new goal in schools." As computer technology became more ubiquitous, and the World Wide Web became more popular and accessible, and as the teaching of computer skills became official US policy with the enactment of the "Technology Literacy Challenge" by the Clinton Administration in 1996, educators across disciplines began to investigate with renewed vigor the role of computer technology in curriculum as both a means and an end. ==== Scholarly interest in 'multiliteracies' ==== The same year that President Clinton initiated the "Technology Literacy Challenge", the New London Group (NLG) issued a call for scholars of literacy pedagogy to account for the burgeoning variety of text forms associated with information and multimedia technologies. This includes understanding and competent control of representational forms that are becoming increasingly significant in the overall communications environment, such as visual images and their relationship to the written word – for instance, visual design in desktop publishing or the interface of visual and linguistic meaning in multimedia. This account for new text forms, combined with a similar account for "increasingly globalized societies," is called 'multiliteracies' by the NLG. ==== Technological literacy in rhetoric and composition ==== Two years later, during the 1998 CCCC Chair's Address, Cynthia Selfe (who founded the peer-reviewed journal Computers and Composition in 1983) addressed professionals in the field of Rhetoric and Composition with an objective similar to that of the NLG, arguing that as a field, composition scholars had "paid technology issues precious little focused attention over the years." She called this lack of attention "dangerously shortsighted." What was needed, Selfe claimed, was for teachers to "pay attention" to "how technology is now inextricably linked with literacy and literacy education in this country." In a way, Selfe's call marked the beginning of a new scholarly interest in what Selfe called "critical technological literacy": Composition teachers, language arts teachers, and other literacy specialists need to recognize that the relevance of technology in the English studies disciplines is not simply a matter of helping students work effectively with communication software and hardware, but, rather, also a matter of helping them to understand and to be able to assess – to pay attention to – the social, economic, and pedagogical implications of new communication technologies and technological initiatives that affect their lives. Scholars who took up this call included Barbara Blakely Duffelmeyer, who conducted studies involving the incorporation of "critical computer literacy" (an adaptation of Selfe's term) into first-year composition. ==== Communications across media, inside and outside school ==== The years following Selfe's address saw more rapid advancements in mobile technologies, social media, and Web 2.0, creating even more new venues of composing for teachers to pay attention to. In her own CCCC Chair's Address in 2004, Kathleen Blake Yancey cited these new venues in her argument as a "new curriculum for the 21st century," one that would bring "together the writing outside of school and that of inside." Such a curriculum, she said: is located in a new vocabulary, a new set of practices, and a new set of outcomes; it will focus our research in new and provocative ways; it has as its goal the creation of thoughtful, informed, technologically adept writing publics. A professor at Clemson at the time of her speech, Yancey also argued for the creation of an undergraduate major in composition and rhetoric. She soon moved to Florida State University, where she helped to establish a new major in line with the one she argued for at CCCC called Editing, Writing, and Media (EWM). As teachers and administrators across the country looked to incorporate more digital technology into their curriculum, the need for spaces for digital composition and for support with the innumerable digital composing platforms became apparent. A Digital Studio is one such space. === Link with writing centers === With the need for support for students who would engage with digital writing and multimedia projects, professionals involved with work in writing centers began to draw comparisons between their traditional work — assisting students with alphabetic texts on the page — and a new kind of work: assisting students with their multimedia projects on the screen. John Trimbur predicted in 2000: My guess is that writing centers will more and more define themselves as multiliteracy centers. Many are already doing so – tutoring oral presentations, adding online tutorials, offering workshops in evaluating web sources, and being more conscious of document design. To my mind, new digital literacies will increasingly be incorporated into writing centers not just as sources of information or delivery systems for tutoring but as productive arts in their own right, and writing center work will, if anything, become more rhetorical in paying attention to the practices and effects of design in written and visual communication — more product-oriented and perhaps less like the composing conferences of the process movement. Later, just months before Yancey delivered her CCCC Chair's Address, Michael Pemberton, writing in the Writing Center Journal, asked: As we enter an era when electronic publishing and computer-mediated discourse are the norm, an era when new literary genres and new forms of communication emerge on, seemingly, a weekly basis, we must ask ourselves whether writing centers should continue to dwell exclusively in the linear, non-linked world of the printed page or whether they should plan to redefine themselves – and retrain themselves – to take residence in the emerging world of multimedia, hyperlinked, digital documents. To put it plainly, should we be preparing tutors to conference with students about hypertexts? Pemberton also surveyed (by his account) the forty-year history of how "writing centers [have] viewed new technologies," observing that "the relationship between writing centers and computer technology has been, overall, only a cordial one." Pemberton's article is evidence of the continuing discussion among writing center professionals about the need for support for students' digital creations, support which they saw as analogous to work in writing centers. In 2010, a collection edited by David Sheridan and James Inman, Multiliteracy Centers: Writing Center Work, New Media, and Multimodal Rhetoric, was published. Many of the chapters therein cite the above Trimbur and Pemberton quotes as they work to explain the exigence for the collection, the instances in which multiliteracy centers have been established (the founding of the Clemson Class of 1941 Studio for Student Communication is the subject of two chapters), and both theoretical and practical analyses of potential futures of such work. === 'Studio' vs. 'Center:' A break from the model === The conflation of digital studios and writing centers into multiliteracy centers is helpful in some respects, for example, administratively the two may be managed in similar ways and staffed by the same people. In other respects, it has been said that it is better to separate them into two distinct kinds of facilities. The very choice of naming a "writing center" or "digital studio" by either (or another) title, for instance, ought (according to some) to be informed by what kinds of student-activities are expected to take place there. A writing center is a place for individual students to seek help from individual writing
Graphics processing unit
A graphics processing unit (GPU) is a specialized electronic circuit designed for digital image processing and to accelerate computer graphics, being present either as a component on a discrete graphics card or embedded on motherboards, mobile phones, personal computers, workstations, and game consoles. GPUs are increasingly being used for artificial intelligence (AI) processing due to linear algebra acceleration, which is also used extensively in graphics processing. Although there is no single definition of the term, and it may be used to describe any video display system, in modern use a GPU includes the ability to internally perform the calculations needed for various graphics tasks, like rotating and scaling 3D images, and often the additional ability to run custom programs known as shaders. This contrasts with earlier graphics controllers known as video display controllers which had no internal calculation capabilities, or blitters, which performed only basic memory movement operations. The modern GPU emerged during the 1990s, adding the ability to perform operations like drawing lines and text without CPU help, and later adding 3D functionality. Graphics functions are generally independent and this lends these tasks to being implemented on separate calculation engines. Modern GPUs include hundreds, or thousands, of calculation units. This made them useful for non-graphic calculations involving embarrassingly parallel problems due to their parallel structure. The ability of GPUs to rapidly perform vast numbers of calculations has led to their adoption in diverse fields including artificial intelligence (AI) where they excel at handling data-intensive and computationally demanding tasks. Other non-graphical uses include the training of neural networks and cryptocurrency mining. == History == === 1960s === Dedicated 3D graphics hardware dates back to graphic terminals such as the Adage AGT-30 from 1967 with analog matrix processors. In 1969 Evans & Sutherland (E&S) introduced the Line Drawing System-1 (LDS-1), which was the first all-digital system to provide matrix multiplication. Also in 1969, the low-cost graphics terminal IMLAC PDS-1 was introduced. It later saw use as an early 3D gaming machine with the likes of Maze War. === 1970s === In professional hardware, in 1972 PLATO IV system becomes operational at the University of Illinois Urbana-Champaign. Between around 1973 and 1978, several networked multiplayer wireframe 3D games are implemented and popularized by users of the system. Also in 1972, the E&S Continuous Tone 1 (CT1) "Watkins box" system (consisting of an E&S LDS-2 and Shaded Picture System) is delivered to Case Western Reserve University. It offered the first real-time Gouraud shading. In 1975, a joint effort between Evans & Sutherland Computer Corporation and the University of Utah's computer graphics department results in the first ever MOSFET video framebuffer, capable of color and smooth shading. E&S Continuous Tone 3 (CT3) system was delivered in 1977 to Lufthansa for pilot training using computer simulation. It was the first graphics system capable of real-time texture mapping. Ikonas made graphics systems with 8- and 24-bit graphics and 3D acceleration in the late 70s. Arcade system boards have used specialized 2D graphics circuits since the 1970s. In early video game hardware, RAM for frame buffers was expensive, so video chips composited data together as the display was being scanned out on the monitor. A specialized barrel shifter circuit helped the CPU animate the framebuffer graphics for various 1970s arcade video games from Midway and Taito, such as Gun Fight (1975), Sea Wolf (1976), and Space Invaders (1978). The Namco Galaxian arcade system in 1979 used specialized graphics hardware that supported RGB color, multi-colored sprites, and tilemap backgrounds. The Galaxian hardware was widely used during the golden age of arcade video games, by game companies such as Namco, Centuri, Gremlin, Irem, Konami, Midway, Nichibutsu, Sega, and Taito. The Atari 2600 in 1977 used a video shifter called the Television Interface Adaptor. Atari 8-bit computers (1979) had ANTIC, a video processor which interpreted instructions describing a "display list"—the way the scan lines map to specific bitmapped or character modes and where the memory is stored (so there did not need to be a contiguous frame buffer). 6502 machine code subroutines could be triggered on scan lines by setting a bit on a display list instruction. ANTIC also supported smooth vertical and horizontal scrolling independent of the CPU. === 1980s === In the 1980s significant advancements were made in professional 3D graphics hardware. Perhaps most impactful was the 1981 development of the Geometry Engine, a VLSI vector processor ASIC designed by Jim Clark and Marc Hannah at Stanford University. This processor is the forerunner of modern tensor cores and other similar processors marketed for graphics and AI. The Geometry Engine went on to be used in Silicon Graphics workstations for many years. Silicon Graphics's first product, shipped in November 1983, was the IRIS 1000, a terminal with hardware-accelerated 3D graphics based on the Geometry Engine. The Geometry Engine was capable of approximately 6 million operations per second. The 1981 NEC μPD7220 was the first implementation of a personal computer graphics display processor as a single large-scale integration (LSI) integrated circuit chip. This enabled the design of low-cost, high-performance video graphics cards such as those from Number Nine Visual Technology. It became the best-known GPU until the mid-1980s. It was the first fully integrated VLSI (very large-scale integration) metal–oxide–semiconductor (NMOS) graphics display processor for PCs, supported up to 1024×1024 resolution, and laid the foundations for the PC graphics market. It was used in a number of graphics cards and was licensed for clones such as the Intel 82720, the first of Intel's graphics processing units. The Williams Electronics arcade games Robotron: 2084, Joust, Sinistar, and Bubbles, all released in 1982, contain custom blitter chips for operating on 16-color bitmaps. In 1984, Hitachi released the ARTC HD63484, the first major CMOS graphics processor for personal computers. The ARTC could display up to 4K resolution when in monochrome mode. It was used in a number of graphics cards and terminals during the late 1980s. In 1985, the Amiga was released with a custom graphics chip called Agnus including a blitter for bitmap manipulation, line drawing, and area fill. It also included a coprocessor with its own simple instruction set, that was capable of manipulating graphics hardware registers in sync with the video beam (e.g. for per-scanline palette switches, sprite multiplexing, and hardware windowing), or driving the blitter. Also in 1985, IBM released the Professional Graphics Controller, designed by later to be Nvidia co-founder Curtis Priem, which was a rudimentary 3D card with 640 × 480 256-color graphics which used a dedicated CPU to draw graphics independently of the main system. It was used as the basis of cards by a number of makers (including Matrox) and its analog RGB signaling led directly to the VGA video standard. Priem later in the 80s worked on the influential Sun Microsystems GX (also known as cgsix) accelerated 2D graphics card. In 1986, Texas Instruments released the TMS34010, the first fully programmable graphics processor. It could run general-purpose code but also had a graphics-oriented instruction set. During 1990–1992, this chip became the basis of the Texas Instruments Graphics Architecture ("TIGA") Windows accelerator cards. Following in 1987, the IBM 8514 graphics system was released. It was one of the first video cards for IBM PC compatibles that implemented fixed-function 2D primitives in electronic hardware. Sharp's X68000, released in 1987, used a custom graphics chipset with a 65,536 color palette and hardware support for sprites, scrolling, and multiple playfields. It served as a development machine for Capcom's CP System arcade board. Fujitsu's FM Towns computer, released in 1989, had support for a 16,777,216 color palette. For context, IBM also introduced its Video Graphics Array (VGA) display system in 1987, with a maximum resolution of 640 × 480 pixels. Unlike 8514/A, VGA had no hardware acceleration features. In November 1988, NEC Home Electronics announced its creation of the Video Electronics Standards Association (VESA) to develop and promote a Super VGA (SVGA) computer display standard as a successor to VGA. Super VGA enabled graphics display resolutions up to 800 × 600 pixels, a 56% increase. In 1988 SGI sold IRIS workstation graphics with 10-12 Geometry Engines and introduced the IrisVision add-in board for IBM MicroChannel bus (RS/6000) based on the Geometry Engine as well. In 1988 as well, the first dedicated polygonal 3D graphics boards in arcade machines were introduced wit
Science Fiction Thinking Machines
Science Fiction Thinking Machines: Robots, Androids, Computers is an anthology of science fiction short stories edited by American anthologist Groff Conklin. It was first published in hardcover by Vanguard Press in May 1954. An abridged paperback edition titled, Selections from Science Fiction Thinking Machines was later published by Bantam Books in August 1955 and was reprinted in September 1964. The book consists of twenty-two novelettes and short stories by various science fiction authors, together with an introduction and bibliography by the editor. The stories were previously published from 1899-1954, in various science fiction and other magazines. == Contents == Note: stories also appearing in the abridged edition annotated A. "Introduction" (Groff Conklin) "Automata: I" (S. Fowler Wright) "Moxon's Master" (Ambrose Bierce) "Robbie" (Isaac Asimov) A "The Scarab" (Raymond Z. Gallun) "The Mechanical Bride" (Fritz Leiber) "Virtuoso" (Herbert Goldstone) A "Automata: II" (S. Fowler Wright) "Boomerang" (Eric Frank Russell) A "The Jester" (William Tenn) A "R. U. R." (Karel Čapek) "Skirmish" (Clifford D. Simak) A "Soldier Boy" (Michael Shaara) "Automata: III" (S. Fowler Wright) "Men Are Different" (Alan Bloch) A "Letter to Ellen" (Chan Davis) A "Sculptors of Life" (Wallace West) "The Golden Egg" (Theodore Sturgeon) A "Dead End" (Wallace Macfarlane) A "Answer" (Hal Clement) "Sam Hall" (Poul Anderson) A "Dumb Waiter" (Walter M. Miller Jr.) A "Problem for Emmy" (Robert Sherman Townes) A "Selected List of Tales About Robots, Androids, and Computers" (Groff Conklin)
Digital organism
A digital organism is a self-replicating computer program that mutates and evolves. Digital organisms are used as a tool to study the dynamics of Darwinian evolution, and to test or verify specific hypotheses or mathematical models of evolution. The study of digital organisms is closely related to the area of artificial life. == History == Digital organisms can be traced back to the game Darwin, developed in 1961 at Bell Labs, in which computer programs had to compete with each other by trying to stop others from executing . A similar implementation that followed this was the game Core War. In Core War, it turned out that one of the winning strategies was to replicate as fast as possible, which deprived the opponent of all computational resources. Programs in the Core War game were also able to mutate themselves and each other by overwriting instructions in the simulated "memory" in which the game took place. This allowed competing programs to embed damaging instructions in each other that caused errors (terminating the process that read it), "enslaved processes" (making an enemy program work for you), or even change strategies mid-game and heal themselves. Steen Rasmussen at Los Alamos National Laboratory took the idea from Core War one step further in his core world system by introducing a genetic algorithm that automatically wrote programs. However, Rasmussen did not observe the evolution of complex and stable programs. It turned out that the programming language in which core world programs were written was very brittle, and more often than not mutations would completely destroy the functionality of a program. The first to solve the issue of program brittleness was Thomas S. Ray with his Tierra system, which was similar to core world. Ray made some key changes to the programming language such that mutations were much less likely to destroy a program. With these modifications, he observed for the first time computer programs that did indeed evolve in a meaningful and complex way. Later, Chris Adami, Titus Brown, and Charles Ofria started developing their Avida system, which was inspired by Tierra but again had some crucial differences. In Tierra, all programs lived in the same address space and could potentially execute or otherwise interfere with each other's code. In Avida, on the other hand, each program lives in its own address space. Because of this modification, experiments with Avida became much cleaner and easier to interpret than those with Tierra. With Avida, digital organism research has begun to be accepted as a valid contribution to evolutionary biology by a growing number of evolutionary biologists. Evolutionary biologist Richard Lenski of Michigan State University has used Avida extensively in his work. Lenski, Adami, and their colleagues have published in journals such as Nature and the Proceedings of the National Academy of Sciences (USA). In 1996, Andy Pargellis created a Tierra-like system called Amoeba that evolved self-replication from a randomly seeded initial condition. More recently REvoSim - a software package based around binary digital organisms - has allowed evolutionary simulations of large populations that can be run for geological timescales.
Eclipse Phase
Eclipse Phase is a science fiction horror role-playing game with transhumanist themes. It was originally published by Catalyst Game Labs, and is now published by the game's creators, Posthuman Studios, and is released under a Creative Commons license. == Setting == Eclipse Phase is a science fiction horror role-playing game with transhumanist, post-apocalyptic, and conspiracy themes. The game is set after a World War III project to create artificial intelligence known as TITANs has gone rogue, resulting in the deaths of over 90% of the inhabitants of Earth. Earth is subsequently abandoned, and existing colonies throughout the Solar System are expanded to accommodate the refugees. The setting explores a spectrum of socioeconomic systems in each of these colonies: A capitalist / republican system exists in the Inner System (Mars, the Moon, and Mercury), under the Planetary Consortium, a corporate body which allows the election of representatives but whose shareholders are nominally most powerful. An Extropian/Propertarian system is established in the Asteroid Belt. The Extropians are split into two subfactions, an anarcho-capitalist group, more closely related to the Hypercapitalists, and a mutualist group, related closely to the Anarchists. A military oligarchy rules the moons around Jupiter. An alliance of Scandinavia-style social democracy and Collectivist anarchism are dominant in the Outer System. From there, the setting explores various scientific advances, extrapolated far into the future. Nanotechnology, terraforming, Zero-G living, upgrading animal sapience, and reputation systems are all used as plot points and background. With all of this, the game encourages players to confront existential threats like aliens, weapons of mass destruction, Exsurgent Virus outbreaks, and political unrest. == Mechanics == Eclipse Phase uses a simple roll-under percentile die system for task resolution. Unlike most percentile systems, a roll of 00 does not count as a 100. In addition, any roll of a double (11, 22, 33 etc.) is a critical. If the double is under the target number it is a critical success, while being over the target number constitutes a critical failure. For damage resolution (whether physical damage caused by injury or mental stress caused by traumatic events), players roll a designated number of ten-sided dice and add the values together, along with any modifiers. == Books == === Publications === Eclipse Phase (Core Rulebook) (2009) ISBN 978-0-9845835-0-8 GM Screen (2010) Sunward, Boyle, Rob; Knevitt, James (2010). Sunward : the inner system, a location sourcebook for Eclipse Phase. UK: Cubicle 7. ISBN 978-0984583522. Gatecrashing Boyle, Rob; Graham, Jack; Rosenberg, Aaron (2011). Gatecrashing. UK: Cubicle 7. ISBN 978-0984583539. Panopticon Volume 1: Habitats, Surveillance, Uplifts (2011) (2011) Rimward (2012) Transhuman: The Eclipse Phase Player’s Guide (2013) Firewall (2015) X-Risks (2016) Eclipse Phase (Core Rulebook, Second Edition) (2019) === Nano Ops === Nano Op: Grinder Nano Op: All That Glitters Nano Op: Better on the Inside Nano Op: Binge Nano Op: Body Count == Creative Commons License == The Eclipse Phase roleplaying game was released under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 license, and newer printings have updated to the Creative Commons Attribution-Noncommercial-Share Alike 4.0 license; the text found on the Eclipse Phase website is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. As stated on their website, the publishers encourage players and gamemasters to recreate, alter, and "remix" the material for non-commercial purposes as long as Posthuman Studios is attributed, and any derivatives are licensed under the same Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Further, copying and sharing the game's electronic versions non-commercially is legal. == Reception == In 2010, it won the 36th Annual Origins award for Best Roleplaying Game of 2009. It also won three 2010 ENnie awards: Gold for Best Writing, Silver for Best Cover Art, and Silver for Product of the Year.
Yahoo Groups
Yahoo! Groups was a free-to-use system of electronic mailing lists offered by Yahoo!. Prior to February 2020, Yahoo! Groups was one of the world's largest collections of online discussion boards. It allowed members to subscribe to various groups, read subscribed discussions online, view and share photos, files and bookmarks within a group, access a group calendar, create polls for group members, and receive email notifications of new discussion topics. Some groups were simply announcement boards, to which only the group moderators could post, while others were discussion forums. Depending on each group's settings, membership could be open to everyone or only to invited or approved people. On February 1, 2020, Yahoo! removed online access to discussions and all other features except simple membership management, essentially turning all groups into mailing lists, and on October 13, 2020, it announced that Yahoo Groups would shut down completely on December 15, 2020. == History == In 1998 Yahoo! Clubs was launched as an extension of services developed by Yahoo! Messenger. In August 2000 Yahoo acquired eGroups.com. Yahoo! Groups was launched in early 2001 as an integration of technology from eGroups.com and community groups from both eGroups.com and Yahoo! Clubs. In 2001 Yahoo! deleted adult groups from its search directory, making it very difficult to locate Yahoo! groups with adult content. The Groups Updates Email feature was introduced in 2010. It summarized, in a single email, all the updates that occurred every twenty-four hours in all groups. In September 2010, a major facelift was rolled out, making Yahoo! Groups look very similar to Facebook. In December, Yahoo! Groups Japan emailed its users and posted a notice on its homepage, to announce that its service, which commenced in February 2004, would be closing on May 28, 2014. In October 2019, Yahoo! announced that all content that had been posted to Yahoo! Groups will be deleted on December 14, 2019; that date was later amended to January 31, 2020. Yahoo! announced that adding new content would be blocked on October 28, 2019. Once the content was deleted, users of Yahoo! Groups were only able to browse the group directory, request invitations and, if members of a group, send messages to that group. On October 13, 2020, Yahoo! announced they would be shutting down Yahoo! Groups on December 15, 2020. The site was closed down a few days after the advertised date, displaying a message that the service was officially shut down. This message stopped appearing at the end of January 2021 and the Yahoo! Groups web address began redirecting to the main Yahoo! page. === Criticism and controversy === On August 31, 2010, Yahoo! Groups started rolling out a major software change, which was denounced by a large number of users. The re-model was completely abandoned on January 12, 2011. == Site statistics == In August 2008, Yahoo! Group staff reported that there were 113 million users, and nine million Groups using 22 languages. In July 2010, the web analytics website Quantcast reported around 915 thousand unique visitors daily to the Yahoo! Groups website (US). In January 2011, that number had increased to 933 thousand unique visitors daily. The number did not include Yahoo! Group members who accessed the Groups site via email. In September 2010, at its "Product Runway" event, Yahoo! told reporters that Yahoo! Groups had 115 million group members and that there were 10 million Yahoo! groups. == Archives ==
Galatea (video game)
Galatea is an interactive fiction video game by Emily Short featuring a modern rendition of the Greek myth of Galatea, the sculpture of a woman that gained life. It took "Best of Show" in the 2000 IF Art Show and won a XYZZY Award for Best non-player character. The game displays an unusually rich approach to non-player character dialogue and diverts from the typical puzzle-solving in interactive fiction: gameplay consists entirely of interacting with a single character in a single room. Galatea is licensed under the Creative Commons BY-NC-ND 3.0 US license. == Gameplay == Galatea alters the typical interactive fiction game mechanics by concentrating instead on the player's interactions with a single non-player character (NPC), the eponymous Galatea. Much of the interest of the piece derives from the ambiguous nature of the player–NPC dialogue: the form of the conversation and, indeed, the nature of Galatea herself shift depending on the focus the player places on certain aspects of the character's personality. Numerous endings are possible. Gameplay centers around the developing dialogue between Galatea and the player when asking about topics in the previous conversation. Two commands, "think about" and "recap", are provided to keep track of what has already been said; the former is also used to advance the storyline, as the player character draws conclusions about the story as it has unfolded to that point. The game also encourages using sensory commands ("touch", "listen to", "look at"), adding immersion to the experience. == Plot == Galatea is loosely based on the myth of Pygmalion, who carved the sculpture of a woman. In the myth, he falls in love with the statue, named Galatea or Elise in different versions, and the goddess Venus brings her to life. The story begins at the opening of an exhibition of artificial intelligences. The player, alone, discovers Galatea displayed on a pedestal with a small information placard. She is illuminated by a spotlight and wears an emerald dress. Seeing the player about to turn away, Galatea says, "They told me you were coming." From this point, the story may proceed in a number of ways depending on the player's words and actions. === Multilinear interactive fiction === Short describes this as "multilinear interactive fiction": while interactive fiction in general allows the player to find their own way through the story, this leads in most cases to a single ending (or at least a single desired 'correct' ending). With Galatea, Short presents a story with around 70 different endings and hundreds of possible ways of reaching them. The plot is thus designed to appear open-ended with the development of the story entirely dependent on what the player decides to talk or ask about or what actions they choose to perform. Thus the original author and the player share in the creation of a work of fiction. == Development == In interviews, Emily Short has explained that Galatea arose out of her efforts to develop advanced dialog coding for interactive fiction engines. Although code for simple conversational programs like ELIZA have existed since the 1960s, and limited dialog options have existed in interactive fiction since the 1970s, Short's efforts to develop chatterbot-like dialog required her to produce a simple test case scenario to test NPC interaction. Thus the single-room, single-occupant Galatea was a natural result. Development of the game progressed organically with Short engaging in test runs and drafting new dialog options for every conversational dead-end that arose. The game's multiple endings also arose in a similar fashion although Short had intended that there be multiple endings from the start. Although the nature of the game's development as well as its minimalist final form has led to questions regarding whether it is really a game and not just an experimental conversational program, Short has suggested that to her the definition of interactive fiction requires nothing more than a world model and a parser, and "anything you can cook up with those features counts as IF." Short has acknowledged the helpful influence of the close-knit IF community and the "atmosphere in which experimentation is valued" as leading to the success of her works like Galatea. == Reception == Galatea was well received, achieving critical acclaim from interactive fiction reviewers and literary scholars. The game is considered to aspire to a new level of art in interactive fiction, and thereby to have revolutionized the genre, establishing its author, Emily Short, as one of the key figures in the modern interactive fiction scene. Fellow award-winning IF author, Adam Cadre has called Galatea "the best NPC ever"—a view that was echoed by Joystiq's John Bardinelli. Cadre also describes the game as an example of an alternative kind of puzzle where "interactivity comes in deciding where to go, what to see, what to say. Rather than having to open gates along a path, you discover that they're all open at first, but stepping through one causes others to close." Galatea was described in 2007 by Indiegames.com as a "fascinating journey." In a 2009 article, Rock, Paper, Shotgun praised the depth and detail of the game, the complexities of the character design and its "masterful balance between intricacy and simplicity", and "Galatea's emotional turmoil" that is "encoded sweetly into the subtext of what's going on. By simply interacting in a logical manner, you learn more about this character than any cut-scene or info-dump could ever hope to convey." This was reiterated in a 2010 1UP.com article that listed Galatea as #2 in its "Top 5 Introductory Interactive Fiction Games" feature, describing it as intriguingly replayable, and as a "surprisingly rich game for its apparent minimalism". In 2011, PC Gamer highlighted Galatea as an example of the artistic and literary aspects of the interactive fiction genre. The titular character, Galatea, has been compared to the 2007 Portal character GLaDOS due to similarities in the personalities of the characters.