A cabbalistic riddle

Radical constructivism may find an aesthetic counterpart in beautifully crafted educational narratives used for example in cabbalistic teaching and Zen-buddhism. These short stories are often recursive, layered, or self-denying because of their complex topics (e.g. existence, epistemes, agency), but nonetheless beautiful to behold.

One fine example, though quite concrete, is this cabbalistic riddle:


A young student once asked a renowned teacher about the nature of knowledge. The teacher drew a circle in the sand and explained: Within this circle is that, what we know, and on the outside is that, what we do not know.
We may build our lives on what is within the circle, getting proficient and skilled in the application of what we know. We may also strive to learn what is on the outside, on what we will know one day or may never know at all, becoming proficient and skilled in widening the circle. Or we may think about the thin line of the circle itself, of how it is created, and what its nature and purpose may be.

In a similar three-step-approach, though maybe less accessible and with a different goal, we encounter a short koan from Hui-Neng, taken from „The Gateless Gate“:

Two monks were watching a flag flapping in the wind.
One said to the other, „The flag is moving.“
The other replied, „The wind is moving.“
Huineng overheard this.
He said, „Not the flag, not the wind; mind is moving.“

Games and the „best way“ to tell stories

Torsten Meyer (thanks!) just sent me a link to a recent interview with game designer Peter Molyneux, published in the „Tageszeitung“, the title translates as „Fable-Gamedesigner Peter Molyneux: A visionary and charlatan“

Molyneux is quite enthusiastic about interactive-adaptive stories as games, but omits other aspects of the relation of „story“ and „game“ resp. „play“ which I think are quite important.
If there’s the question „How can stories in games ever compete with books and movies?“, one may have fallen to an error of categorisation. Stories in games have to deal with similar problems as texts in the digital medium: They are easily seen as simple transfers from previous technical media, but basically the same as before, a linear progression of meaningful – or dramatically arranged – information.