jack: (Default)
Poohsoc is proposing a 20th anniversary dinner, mainly for alumni. There was a really low response, though, and Ed was a bit depressed organising it if he wasn't sure if anyone would want to come, so for any old members of poohsoc who aren't on the alumni mailing list, if you want to express an interest you should email committee@poohsoc.org.uk

CUSFS and CTS were also organising a big anniversary dinner of some sort in 2013, but I don't have those email addresses handy, but if you're interested you should be able to find a committee email list on the websites.
jack: (Default)
At poohsoc last week I got to examine the songbook I mentioned before.

* I think it's The Pooh Song Book, comprising "The Hums of Pooh", "The King's Breakfast", and fourteen songs from "When We Were Very Young".

* IIRC, the music was written to Milne's words by H. Simon-Fraser, but I might have got that completely wrong.

* However, the essay in question was, IIRC, my Milne himself, and the professors in it (IIUC) were fictional. However, what I'd missed in the hurly-burly of the first meeting was the conclusion, which states the authorial intent, being that (a) certain artistic liberties were taken, however, (b) the cow was sent to bed in the morning because she has frolicked irresponsibly on the King's Buttercups.

* Authorial intent isn't always definitive. There's still questions you can consider (like, how much weight do you put in these people's behaviour, who, if anyone, acts reasonably, and is this a good model to present to children -- probably so, but if so, why?)

* But in this case, I'm willing to accept it. It's certainly consistent, and it also explains why the cow is suspiciously sulky at being asked for milk. So I think this knowledge isn't necessary -- simply trusting that the events can be taken at face value is fine, but I think this interpretation (likely retroactive it may be) adds to rather than detracts from your understanding, in that it resolves questions comfortably, consistent with both the facts and the tone of the poem, without raising any more.
jack: (lom)
The King asked
The Queen, and
The Queen asked
The Dairymaid:
"Could we have some butter for
The Royal slice of bread?"
The Queen asked the Dairymaid,
The Dairymaid
Said, "Certainly,
I'll go and tell the cow
Now
Before she goes to bed."

http://www.cs.rice.edu/~ssiyer/minstrels/poems/562.html

At poohsoc last week we had a reading from a book of Milne music, amongst other things analysing the timeline of this poem. It was very very amusing and well written. Alas, I can't remember what the book was called, or I'd try to quote an extract.

Owen, Anna -- do you happen to remember?

However, the basic point at question was, the breakfast seems to be happening in the morning, whereas the asking of the cow[1] for butter seems to take place when the cow is going to bed. The relevant passages in the poem are:

(a) Title, "King's breakfast"
(b) King described as having "bread with butter or marmalade" or "porridge", typically breakfast foods
(c) The king in despair is described as going back to bed
(d) The dairymaid says she'll ask the cow "Before she goes to bed"
(e) The cow is "sleepy"

There are a few interpretations, but none entirely satisfactory. H0 might be described as the null hypothesis. H1 and H2 were the two described in the book (although placed in their scholarly background, rather than in relation to my systematic numbering).

H0. The text is not entirely consistent, conveying the feeling of the events perfectly at the expense of describing a narrative which could actually happen chronologically.
H1. The cow has a nap in the morning.
H2. The events take place over slightly more than a day, the breakfast finally be described being the day *after* the kind is initially disappointed (either because H2a: there is no butter *now* or H2b: there might not be any butter tomorrow ).
H3. The dairymaid says "before she goes to bed" to mean she'll talk with the cow before the end of the day, though in fact is able to do so almost immediately. The cow is sleepy because she has just got up.
H4. The king is in the habit of having is breakfast last thing at night.[4]

All of those explain away all the facts presented, but all have the feeling of being fitted to the facts, rather than the facts naturally flowing from them. None feel unarguably *right*. Can anyone suggest conclusive support for any, or a convincing Fifth Theory?

[1] Note: Alderney is a sort of cow, like a mare[2], not a sort of royal functionary, like a mayor[3]. You may be thinking of "Alderman"
[2] That is, not "It's a sort of cow, in the same way a mare is a sort of cow" because it isn't, but "It's a sort of cow (the sort of cow it is being like a mare (at least compared to a mayor))".
[3] That is, the meaning of the word is not "Alderman". The cow itself may or may not be an Alderman, this isn't stated and is irrelevant to the poem. But since most cows aren't alderbovines, we will provisionally assume it isn't.
[4] Cows are traditionally milked in the morning. Is that biologically necessary, or just so the milk is freshest for a morning breakfast?
jack: (Default)
The next iteration of my Winnie the Pooh flash game is online here: http://semichrome.net/~jack/games/quartus/

Christopher Robin, Alice, find the animals of the Hundred Acre Wood are cursed, becoming evil. This, of course, leads to a series of self-contained action/puzzle levels with graphic cartoon violence.

The new version has:

* Ten new levels and plot
* Improved controls, including a rouge-like mode (where things move only as fast as you press a key, giving you as much time to study as you want), and hjkl and wasd keys.
* Blinkenlichten and and LCD display showing you which levels you've completed, and letting you skip to whichever you want.
* One new character, Piglet (squee!), a rewrite of small, become more interactive but less dangerous
* Some of the old levels have been tweaked slightly.

Please play! I would love to hear how far you got, or how quickly you finished it, and if there's any levels (or characters) you particularly liked or found dificult.
jack: (Default)
You will remember the flash game? I won't link to it here because I hope to upload version 0.4 shortly, with new levels, more plot and a fiddled interface.

What I like about it is the complexity of the characters. Many games do wonderful things with enemies with very simple rules (eg. Chip's Challenge, Deadly Rooms of Death) which can literally be summed up in one or two clauses. These are a bit more complicated, enough to have some challenging emergent behaviour. Instead of exploring interaction solely on a map, you have to explore abstract state spaces that control them, the idea being even one enemy can be challenging.

Although it should always be fairly logical, simple and graspable, many levels are essentially written around observing, predicting and exploiting just one aspect of behaviour. And others are tweaked to make the overall effect what you'd expect -- eg. if being chased by two enemies, and you go round a corner, and the first follows you, the second will follow him, rather than standing around stupidly. Exploiting that subtlety is far ahead, but it correctly gives you what you'd expect: both continue following you, but they don't just automatically know where you're going.

However, I think I was too niggardly. I like exploring every aspect of interaction of each piece of scenery, but I should have had some more simple interface: a fence, a gate, etc. Then levels could be simpler because you don't need to justify "you can get him but he can't get you" you can just do it, and if you have a fence it's entirely obvious what that means.

Anyway, the point of the post. I never had a name for the game. What should I call it??
jack: (Default)
However, when many Poohs are moving close to each other, the processing can be more complicated. If you have "Pooh, Pooh, space" and both Poohs run right, you would naturally expect that the second would move into the empty square, and the first into the second's square. If the second's move function happens first, this is indeed what happens. However, if the first's move function happens first (as it would if the Poohs start moving right, not left), the square it moves into is blocked. (Or, it moves regardless, overwriting the contents of the next square!)

This manifests as in the first tick, only the second Pooh moving forward, and thereafter them always having a blank square between them. In fact, this looks quite good, but it isn't what the logic demands: in real life, they'd both move a fraction of a centimetre, and the one ahead wouldn't block the one behind, it only does because they move in a square jump at once.

What can you do? It's hard to know the best order to process them in beforehand, you'd have to keep shuffling the array.

Make the first check if the second is moving, and if so, move? But then if there second were moving sideways but in fact was blocked by a wall it would stay where it was after all. Check if it's able to move? But it might be unable to move for many many reasons not even coded yet -- next year I may include sticky mud.

You basically need to do the entire movement routine on the second Pooh, once you realise the first one is blocked. But that's exactly what you want. The answer: The move function checks if movement is blocked by another character. If so, it calls the move function for that character, and when it's complete, checks then if the original movement is still blocked or not.

If you have a line of five Poohs moving left, this never happens. If they're moving right, the first tries to move, tells the second to move before it completes it's move, the second tells the third, and you get recursion five-deep, ending with the rightmost completing the move first, then the next-rightmost, etc.

I thought this was a pleasingly elegant solution. (Of course, you don't need recursion, you could permute the array instead.)

The thought occurs to me, I invented the solution, it's not *necessarily* obvious. But everyone writing a characters-moving-on-tiles games must have done something similar. (Admittedly, mine depends on character interactions more than many. If you have a thousand characters, you fudge this sort of thing. If you have two, they're practically AIs anyway.)

So, experienced programmers, tell me. Was that obvious to you? Had you seen it before? Where should I have been reading/hanging out to have heard of it myself? :)
jack: (Default)
I helped out on the Amnesty cage stall this morning. I wasn't expecting to be landed with a four hour slot, but I was free all that time, and didn't really feel I could refuse, as I hadn't exactly helped before, but it was a nice if cold day and it was going fine.

It's quite interesting to see different reactions; some people seem to have been presented slight misconceptions of what Amnesty do.

* "I'm not actually english." I don't know, but I *think* not from Burma is the point.

* "I'll sign on the way back." No-one did, but I still give them the benefit of the doubt :)

* "No thank you." It's a fair enough automatic reaction, but slightly incongruous in context.

* Arguing devil's advocately for five minutes and refusing to sign. Um. I like a good argument as much as the next guy. It keeps the brain in trim, and avoids you falling into ruts of thinking. But while I can see arguing that an amnesty petition is innefacious, I'm startled to see someone arguing without apology that it's not worthwhile. "What right do we have to interfere?" We're not. We're just sending a LETTER! "What about that guy arrested in Australia?" Drug smuggling is BAD (arguably). Peacefully campaigning for democracy is GOOD. "He should keep his mouth shut. We wouldn't like it if they criticised our country." I think they can. Look, you're speaking your mind right now. "They have a right to do things their way." There's 50 million people, and one Senior General. Why does *he* have the say?

* Standing on King's Parade for two hours is a convenient way to meet people. Mdavison passed several times.

* Eric from school in worcester said hello. We vaguely inteded to have an school meetup, but knew we never would.

* Tess, a Mrs. Dave stopped. She really is sweet.

* Theinquisitor stopped to chat, carrying a bag full of stuff, which I couldn't tell from larp, juggling, assassins, or candelabras.

* Anna, who I embarassingly couldn't place for a moment. Pippa's friend. Toft_froggy?

* Jacqueline and ?Adrian? back from ?France? for the weekend. Jacqy was nice, and I suppose Adrian was, but refused to sign until he could read up about Thet Win Aung.

* Martin, the evil bastard! He completely refused to help!

* Some Shiela people I didn't remember the names of until they were passed who fairly enough refused to sign petitions on principle.

* One girl who was flirting with me, but I couldn't get in touch with except by stealing the email from the sign-up list.

After that, I went to poohsoc AGM. We managed to scrape together a new committee, so I'm off the hook :) I'm now Christopher Robin, the ex-officio-est of the Committee-y roles, and we have a committee primarily of new people. Woo!

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