Navigating Nodes and Zones in THE GAME

Photo courtesy of TaTu BBQ
Updated 5/15/10
The building blocks of THE GAME are nodes. The concept of the node has evolved over time, but the essence of the node and its role in THE GAME has not changed. In its most basic form, nodes are the individuals/groups, places, objects/things, ideas, traditions, discussions, created works, competitions, etc. that are found in cultures and remixed by those in the cultures. THE GAME borrows these nodes; reshaping or “tweaking” them to fit into, if not already, the context of a competition. Nodes enable groups and individuals to create and continually transform the content of THE GAME competition(s).

When an existing competitive or cultural node has been integrated into THE GAME, it is transformed into a GAME node (or G node) which can in turn be spun back into cultures for consumption and/or reintegrated into THE GAME. This process allows THE GAME to recombine and mashup its contents and perpetually reshape and transform itself.

On the surface, it seems THE GAME would be difficult to follow and participate in since it appears to be in a state of constant flux. However, THE GAME is like an expanding universe in that at its center are an interconnected network of known nodes and known G nodes that remain relatively unchanged (and have an established following). On the frontiers of the expanding universe, THE GAME can recombine its constituent nodes and/or create newer nodes and newer G nodes from existing nodes or nothing at all. People could choose to follow certain sections of the “established” GAME or follow the “fringes” of THE GAME where new nodes and G nodes are being developed and integrated.

In terms of participation, there are various GAME Types that one can participate in THE GAME. To summarize, there are five main GAME Types currently in use:

1. Specific
2. Transitional
3. Grouped (style)
4. Mixed: blended (hybrid) & linked
5. Jacks

The following diagram visually depicts some of these GAME Types: some shapes represent specific nodes; others represent mixed nodes. A mixed node can be a blend of two or more separate nodes forming an entirely new blended node or a linked node consisting of two or more nodes that are not completely blended but exist in two forms simultaneously—their constituent nodes and the new node created by linking, but not completely integrating the constituent nodes (as represented by the dotted outlines of its constituent shapes). Enlarged view.

Groups and individuals will most often focus their efforts and specialize on a particular part or parts of THE GAME. Others may choose to participate on the “expanding frontiers” of THE GAME, preferring the latest nodes being created. Others may choose to participate in a little of each in varying degrees. And then there are those, if resources are available, who may prefer to participate in the entire GAME. It is this flexibility for customization that enables THE GAME to have a broad appeal and be “everything to everyone”.

So what makes THE GAME unique beyond being a collection of nodes? Citing the previous example of THE GAME as an expanding universe, if the nodes and G nodes are the stars, planets, galaxies, etc., the physical spaces between the stars, planets, etc. are the zones—the physical and virtual spaces in THE GAME in which nodes can be connected or blended together in infinite ways. Referencing the figure above, the figure below (enlarged view) illustrates a section of the GAME ecosystem, with its various GAME Types represented by the different shapes that are blended, hybridized, grouped (by shape), etc.. The links and connections and the creation thereof, that occur in the the physical and virtual spaces between shapes (nodes) are what makes THE GAME more than a collection of nodes. What emerges instantly are links, connections, and blends from one node to many other nodes, to many other nodes, etc., forming an infinite network of interconnected competition nodes that form a larger omni-competition.

So what actually is happening in the zones—the physical and virtual spaces between nodes to create these connections in THE GAME?

Let’s say, for instance, we want to borrow the following nodes and, if they aren’t already, place them into a competitive context:

• football/soccer
• baseball
• BBQ
• architecture

We are going to create a unique competition that strings, blends (hybridizes) or links these nodes together by utilizing the physical and virtual zones between them. So here is one way of creating a Game from these nodes:

1. Indianapolis, IN. A football/soccer pitch is adjacent to a baseball field. One possible connection that can be made between these two nodes is as follows: Team A is at bat; the baseball outfield (a zone) opens up to the football pitch (another zone) lengthwise. The zone that physically connects the two nodes’ zones is a transition zone—a zone that facilitates the transition of action from one zone into and out of another. In what is essentially a pass, a hitter from Team A hits a pitch deep into the outfield, past Team B’s outfielder, and sets up Team A’s football midfielders, who will continue to press on toward the opposing team’s goal (this illustrates specific nodes that transition from one node to another; creating a linked node). Outfielders from Team B may periodically shadow Team A’s players on the pitch to help their teammates defend their side. The football match will not wait or stop for events to occur on the baseball diamond and vice versa. Both events will moving independently of each other until moments like above occur when multiple options may present for divergent flow of play in each node. Another option can have a zone physically located between the two nodes, within and/or adjacent to the two nodes whereby a (newly created) blended node with players on each side use a bat and their feet to advance a modified football towards the opposing goal.
2. Dubai, UAE. An architecture firm (49% owned by Team A) enters an international competition (in which Team B is also participating) for a commercial project. Team A’s architecture firm presents its bid to the developers of the project in a conference room (a zone); the videoconference of Team A’s bid is shown to leadership, coaches, participants and spectators (via a big screen) in Indianapolis during the Game. A virtual connection exists between these nodes. A physical connection may exist as well if the pitch/baseball field are physically connected to other competitions, that are connected to other competitions, etc. all the way to Dubai.
3. In the parking lot of the football pitch and baseball field (a zone), several tailgaters representing themselves and Team A or B are participating in a BBQ contest while the Game ensues. The contests categories will include: chicken, ribs and brisket. The spectators watching the Game and a panel of judges (whose points will be weighted more) will decide the winner of the contest. This is an instance where a specific node can simultaneously be a linked node.

The winner of this Game is determined by the total runs, goals, points, project dollar amount, etc. tallied by Team A versus Team B.

The Metaverse: Virtual Worlds and Mirror Worlds

In previous posts, I've stated that virtual worlds and the convergence of the digital and physical worlds are essential pillars in the ever-expanding structure of THE GAME. Whether it is creating/augmenting supercompetitions in existing/evolving virtual worlds or in a real world context, or linking physical objects used and referenced in THE GAME with the digital world, technology is the one thing binding G.3 across all worlds. The technologies that are helping propel and shape THE GAME are simultaneously enabling the construction of an infinitely rich and diverse virtual reality-the Metaverse.

In the July/August 2007 issue of MIT's Technology Review, a fascinating article by Wade Roush entitled "Second Earth" (please note that access to the article requires registration) explains that "free-flowing and ungoverned" virtual worlds like Second Life, There, Entropia Universe, Moove, Habbo Hotel and Kaneva; and mirror worlds ("if they were books, virtual worlds would be fiction and mirror worlds would be nonfiction") such as Google Earth and Microsoft Virtual Earth represent the fundamental technologies that will be required to construct the Metaverse .

Roush proposes that, "what is coming is a larger digital environment combining elements of all these technologies-a "3-D Internet"....People will enter this environment using PC-based software similar to the programs that already grant access to Second Life and Google Earth. These "Metaverse browsers" will be to the 3-D Internet what Mosaic and Netscape were to the dot-com revolution-tools that both provide structure (by defining what's possible" and enable infinite experimentation."

"There will be a bunch of different worlds, owned, controlled, and operated by different organizations," predicts David Rolston, CEO of Forterra Systems. "They will be built on different platforms, and you will have community standards about how you can connect these worlds, and open-source software that carries you between them." The word "Metaverse" will refer to both the overarching collection of these worlds and the main port of entry to them, a sort of Grand Cyber Station that links to all other destinations. The central commons itself could be designed as a mirror world or a virtual world or some interleaving of the two: people logging in to the Metaverse might want it to look like Manhattan or the Emerald City of Oz, depending on the task at hand. But either way, partisans say, the full Metaverse will encompass thousands of individual virtual worlds and mirror worlds, each with its own special purpose. To borrow a trope from corporate networking, it will be an "interverse" connecting many local "intraverses."

Culture, Theater and Sport: The New Zealand All Blacks Haka

Courtesy of Wikipedia

The All Blacks, the international rugby union team of New Zealand, perform a haka, a Māori traditional dance, immediately prior to international matches. Over the years, they have commonly performed the "Ka Mate" haka. In 2005, the All Blacks performed a new haka, "Kapa O Pango".

The origin of the "Ka Mate" haka dates to 1810 when chief Te Rauparaha of the Ngāti Toa iwi (clan or tribe) was being chased by enemies. In a cunning stratagem, he hid in a food-storage pit under the skirt of a woman. Because this was an unthinkable thing for a chief to do, Te Rauparaha thought he would be safe. He climbed out to find someone standing over him, who, instead of killing Te Rauparaha, turned out to be another chief friendly to Te Rauparaha. In relief Te Rauparaha performed a haka with the words (translated from Māori):

"It is death, it is death: it is life, it is life; this is the man who enabled me to live as I climb up step by step toward sunlight."

These words are still used today. Te Rauparaha's escape from death is commemorated in the haka, which can be interpreted as 'a celebration of life over death'.

The following video is the "Ka Mate" haka performed prior to the New Zealand vs. France match in November of 2004:

The debut of the "Kapa O Pango" haka in 2005: