markov-video-out.md

See [http://electricarchaeology.ca/2015/12/16/marky-markov-moodie/] for the code; source text was http://electricarchaeology.ca/2015/10/15/the-video-game-and-the-archaeologist-draft/

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model the simulation

Let us dispense with the code and its emergent outcomes.

In these games, the environments, the art work, the carefully modelled buildings and digital material culture within those landscapes to tease out the story that happened before the player gives up in frustration

They point out that while games are bought and sold.

Agent Based Models, and reconstructions.

In these games, the possibilities of video games, there is a subdiscipline that requires the same as the system of rules and relationships that we might not even be aware of.

GIS and Agent Based Models, and reconstructions.

why we speak of ‘schools’ of thought.

couldn’t render the graphics and sound required by the computer referee, and while these systems are enveloped within a narrative, games-about-the-past have a larger historical narrative within which the game at the outset, Finally, we can see what the consequences and meanings of modifications to the games, and you will be greeted with one of only two reactions: a polite murmur accompanied by the game treats the Assassin’s Creed series have beautiful reconstructions that make no real difference to the games, and - while maybe sometimes not the most factually informed debates - a keen understanding of process in

Space Invaders, a game does, or what a game world, a world to use, the system of rules and relationships that govern the emergent game play or the story that emerges, or the story of the games, and you will be played, experienced, and internalized by orders of magnitude more people than who ever read our formal archaeologies.

rules and relationships that we might not even be aware of.

The difference is, games have better eye-candy and production values.

The processor was slow, and couldn’t render the graphics and sound required by the limitations of its hardware, software and coding choices, as both a closed universe and as an extension of the external culture that created it.

These games encourage a careful reading of the landscapes, and the perceptions of our discipline.

It is important however to ask, at the outset, what do games teach? Models, and reconstructions.

The processor was slow, and couldn’t render the graphics and sound required by the computer referee, and while these systems are enveloped within a narrative, games-about-the-past have a larger historical narrative within which we may do archaeology. Agent Based Models.

Esther .

Third Space Despite the neat breakdown between ‘narratology’ and ‘ludology’,

run-2.md

I ran it again, this time with this:

#!/usr/bin/ruby

require 'marky_markov'
markov = MarkyMarkov::TemporaryDictionary.new
markov.parse_file "video.txt"
puts markov.generate_10_sentences 10
puts markov.generate_400_words 2
markov.clear! 

and enjoyed the following results:

Past 2013 neatly captures this aspect.

way it does forces the player ever arrived. Play on!

Within ‘space’, we can ask how the game treats time and space.

ways in which games differ the better to understand the past.

Dennis: Archaeogaming is the utilization and treatment of immaterial space comes from Meghan Dennis: Archaeogaming is the utilization and treatment of immaterial space comes from Meghan Dennis: Archaeogaming is a third space that or ludological aspects.

‘serious games’ or ‘news games’.

Everyone’s Gone to the game rules, e.g, the Civilization franchise, one finds quite heated discussions about how to be difficult, but not so foreign to the Rapture, Journey, Gone Home, and Dear Esther Eve calls this an ‘embodied GIS’ which does not matter nearly as much.

Games about the past we wish to communicate, to teach, focuses on categorizing how the game treats time and space.

Based Models.

past, and a way as to achieve a flow state, a sense of flow completely as a venue within which the game rules, e.g, the Civilization franchise, one finds quite heated discussions about how best to represent the past, debates over the consequences and meanings of modifications to the games, the possibilities of video games, or any ‘natural’ reason why archaeology as a venue within which we may do archaeology.

There is even a much shorter history of using games to persuade as ‘serious games’ or ‘news games’.

does not focus on the past, debates over the consequences are of that idea for household formation amongst the full sensory experience of place, but rather, explores how sound, views lighting and indeed, smell and touch combine or are constrained by the dying look of ‘this person is not as important as the name implies, are interested in the rules of representation.

The Payoff I have been arguing by omission that the game rules, e.g, the Civilization franchise, one finds quite heated discussions about how phenomenon x worked in the past will be played, experienced, and internalized by orders of magnitude more people than who ever read our formal archaeologies.

Manipulating algorithms, modelling societies through simulation: archaeologists have been arguing by omission that the game run faster and become more challenging.

aspects about the past will be greeted with one of only two reactions: a polite murmur accompanied by the dying look of ‘this person is not as important as the player shot them out of the past that we can turn our critical apparatus back to front and consider games as a side-effect of the game action takes place.

Broadly, there are two camps when it comes to analyzing the affective import of games as a venue within which we may do archaeology.

Archaeogaming is the utilization and treatment of immaterial space comes from its external cultural source, in one way or another.

Broadly, there are two camps when it comes to analyzing the affective import of games being used to make the game, necessarily involves the kind of typology is that it would allow us consider our archaeological representations of space and time in that light, to work out what conventions of game play, or perspective, or agency,

Shawn, you are awesome. everything you do rocks.