Nature: August 2007 Archive Page

One can imagine an ancient battle in which the enemy was driven off and the city saved, and the returning soldiers are showered with gold coins. An early feminist might protest that hey, all those men are getting gold coins, half of those coins should go to women. In principle, I agree. But remember, while the men you see are getting gold coins, there are other men you don't see, who are still bleeding to death on the battlefield from spear wounds.

That's an important first clue to how culture uses men. Culture has plenty of tradeoffs, in which it needs people to do dangerous or risky things, and so it offers big rewards to motivate people to take those risks. Most cultures have tended to use men for these high-risk, high-payoff slots much more than women. I shall propose there are important pragmatic reasons for this. The result is that some men reap big rewards while others have their lives ruined or even cut short. Most cultures shield their women from the risk and therefore also don't give them the big rewards. I'm not saying this is what cultures ought to do, morally, but cultures aren't moral beings. They do what they do for pragmatic reasons driven by competition against other systems and other groups.

[...]

There are more males than females with really low IQs. Indeed, the pattern with mental retardation is the same as with genius, namely that as you go from mild to medium to extreme, the preponderance of males gets bigger.

All those retarded boys are not the handiwork of patriarchy. Men are not conspiring together to make each other's sons mentally retarded.

Almost certainly, it is something biological and genetic. And my guess is that the greater proportion of men at both extremes of the IQ distribution is part of the same pattern. Nature rolls the dice with men more than women. Men go to extremes more than women. It's true not just with IQ but also with other things, even height: The male distribution of height is flatter, with more really tall and really short men.

[...]

Want to think men are better than women? Then look at the top, the heroes, the inventors, the philanthropists, and so on. Want to think women are better than men? Then look at the bottom, the criminals, the junkies, the losers.

In an important sense, men really are better AND worse than women.

In the 19^th century in America, middle-class girls and women played piano far more than men. Yet all that piano playing failed to result in any creative output. There were no great women composers, no new directions in style of music or how to play, or anything like that. All those female pianists entertained their families and their dinner guests but did not seem motivated to create anything new. Meanwhile, at about the same time, black men in America created blues and then jazz, both of which changed the way the world experiences music. By any measure, those black men, mostly just emerging from slavery, were far more disadvantaged than the middle-class white women. Even getting their hands on a musical instrument must have been considerably harder. And remember, I'm saying that the creative abilities are probably about equal. But somehow the men were driven to create something new, more than the women.

Because so little primary historical work has been done on the classic text computer game "Colossal Cave Adventure", academic and popular references to it frequently perpetuate inaccuracies. "Adventure" was the first in a series of text-based games ("interactive fiction") that emphasize exploring, puzzles, and story, typically in a fantasy setting; these games had a significant cultural impact in the late 1970s and a significant commercial presence in the early 1980s. Will Crowther based his program on a real cave in Kentucky; Don Woods expanded this version significantly. The expanded work has been examined as an occasion for narrative encounters (Buckles 1985) and as an aesthetic masterpiece of logic and utility (Knuth 1998); however, previous attempts to assess the significance of "Adventure" remain incomplete without access to Crowther's original source code and Crowther's original source cave. Accordingly, this paper analyzes previously unpublished files recovered from a backup of Woods's student account at Stanford, and documents an excursion to the real Colossal Cave in Kentucky in 2005. In addition, new interviews with Crowther, Woods, and their associates (particularly members of Crowther's family) provide new insights on the precise nature of Woods's significant contributions. Real locations in the cave and several artifacts (such as an iron rod and an axe head) correspond to their representation in Crowther's version; however, by May of 1977, Woods had expanded the game to include numerous locations that he invented, along with significant technical innovations (such as scorekeeping and a player inventory). Sources that incorrectly date Crowther's original to 1972 or 1974, or that identify it as a cartographic data file with no game or fantasy elements, are sourced thinly if at all. The new evidence establishes that Crowther wrote the game during the 1975-76 academic year and probably abandoned it in early 1976. The original game employed magic, humor, simple combat, and basic puzzles, all of which Woods greatly expanded. While Crowther remained largely faithful to the geography of the real cave, his original did introduce subtle changes to the environment in order to improve the gameplay. --Dennis G. Jerz --Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original ''Adventure'' in Code and in Kentucky (Digital Humanities Quarterly)

Just a post to draw attention to a major new piece in the current issue of Digital Humanities Quarterly (a venue which you all should be keeping tabs on anyway) on Will Crowther's original ADVENTURE (aka Colossal Cave).

In his "Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original 'Adventure' in Code and in Kentucky," Dennis Jerz offers an archeology of the work's source code alongside of an exploration (photo-documented!) of the actual Mammoth Cave in Kentucky.

Scholars routinely mis-cite information as fundamental as ADVENTURE's date of composition, the kind of carelessness that reinforces the view that electronic objects exist outside of material histories and are impossible to take seriously as cultural artifacts. Jerz sets the record straight with rigorous textual scholarship based (in part) on the work's original magnetic back-up tapes, which is personally responsible for recovering.

Absolutely essential reading.

An octopus with a porcelain plate stuck to its suckers has led to the discovery of a hoard of ancient pottery, South Korean scientists say. --Treasure trove 'found by octopus' (BBC)