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10 PRINT CHR$(205.5+RND(1)); : GOTO 10 by Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost and Jeremy Douglass
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By Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost and Jeremy Douglass

By Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost and Jeremy Douglass

By Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost and Jeremy Douglass

By Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost and Jeremy Douglass

Best Seller

Part of Software Studies

Part of Software Studies

Paperback $35.00

Aug 29, 2014 | ISBN 9780262526746

Ebook $25.99

Nov 23, 2012 | ISBN 9780262304573

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    10 PRINT CHR$(205.5+RND(1)); : GOTO 10 by Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost and Jeremy Douglass
    Paperback $35.00
    Aug 29, 2014 | ISBN 9780262526746

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    • $35.00

      Aug 29, 2014 | ISBN 9780262526746

      Buy from Other Retailers:

    • Nov 23, 2012 | ISBN 9780262304573

      Buy from Other Retailers:

    Buy the Ebook:

    About 10 PRINT CHR$(205.5+RND(1)); : GOTO 10

    A single line of code offers a way to understand the cultural context of computing.

    This book takes a single line of code—the extremely concise BASIC program for the Commodore 64 inscribed in the title—and uses it as a lens through which to consider the phenomenon of creative computing and the way computer programs exist in culture. The authors of this collaboratively written book treat code not as merely functional but as a text—in the case of 10 PRINT, a text that appeared in many different printed sources—that yields a story about its making, its purpose, its assumptions, and more. They consider randomness and regularity in computing and art, the maze in culture, the popular BASIC programming language, and the highly influential Commodore 64 computer.

    About 10 PRINT CHR$(205.5+RND(1)); : GOTO 10

    A single line of code offers a way to understand the cultural context of computing.

    This book takes a single line of code—the extremely concise BASIC program for the Commodore 64 inscribed in the title—and uses it as a lens through which to consider the phenomenon of creative computing and the way computer programs exist in culture. The authors of this collaboratively written book treat code not as merely functional but as a text—in the case of 10 PRINT, a text that appeared in many different printed sources—that yields a story about its making, its purpose, its assumptions, and more. They consider randomness and regularity in computing and art, the maze in culture, the popular BASIC programming language, and the highly influential Commodore 64 computer.

    Also by Nick Montfort, Ian Bogost

    Exploratory Programming for the Arts and Humanities, second edition
    Racing the Beam
    The Future
    Newsgames
    Persuasive Games
    See all books by Nick Montfort, Ian Bogost

    Also by Nick Montfort, Ian Bogost

    Exploratory Programming for the Arts and Humanities, second edition
    Racing the Beam
    The Future
    Newsgames
    Persuasive Games
    See all books by Nick Montfort, Ian Bogost

    Product Details

    Category: Science & Technology

    Paperback | $35.00
    Published by The MIT Press
    Aug 29, 2014 | 328 Pages | 6 x 9 | ISBN 9780262526746

    Category: Science & Technology

    Ebook | $25.99
    Published by The MIT Press
    Nov 23, 2012 | 328 Pages | 6 x 9 | ISBN 9780262304573

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    Praise

    10 PRINT CHR$ (205.5 + RND (1)); : GOTO 10, a new book collaboratively written by 10 authors, takes a single line of code—inscribed in the book’s mouthful of a title—and explodes it. That one line, a seemingly clumsy scrap of BASIC, generates a fascinatingly complicated maze on a Commodore 64…. Though 10 PRINT CHR$ (205.5 + RND (1)); : GOTO 10 is occasionally whiplash-inducing in its headlong rush through history, the connections it makes over 294 pages are inspired. One of the most compelling sections of the book discusses the cultural history of mazes, relating 10 PRINT’s maze back to the labyrinth of Knossos, where, according to the great Greek myth, Theseus waged battle with the terrifying Minotaur.—Geeta Dayal, Slate—

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