Pattern Recognition, Metaphor, and Continuity

[Doctor Xero]

So can you explain how this formulation, this stuff about haiku (or bricolage in the other thread) and construction and so on fits into this whole thing about frameworks?

My theory of frameworks is intended to address one question which applies to gaming (and many other creative fields) :

What is the framing which restricts and refines one's creativity?

Is it the high level framing of the haiku, in which one's creativity has a pre-existing framework of syllabation and focus off which to ground one's creative energies?  (What I would refer to as a framework of high interaction.)

Is it the low level framing of the free verse, in which one's creativity has no pre-existing framework off which to ground one's creative energies but also no restrictions?  (What I would refer to as a framework of high independence.)

Shakespeare utilized a framework of high interaction with (or low independence from) various rules of poetry (e.g. iambic pentameter), and this reliance upon pre-existing patterns and traditions external to his spontaneous imagination enabled him to construct some magnificent poetry which is remembered many centuries later.

Ogden Nash parodically utilized a framework of high interaction with poetic convention to make his marvelous satires and spoofs and parodies off poetry.  Again, the awareness of patterns which exist outside the individual and pre-exist the spontaneous creativity enabled him to construct some wonderful poetry.

James Joyce utilized a framework of high independence from (or low interaction with) conventional rules of narrative in portions of Finnegan's Wake.  In this case, the refusal of formalized patterns outside his moments of spontaneous creativity were the mode for Joyce's creative construction.

Neither framework deals necessarily with obedience and a stultification of creative construction.  Rather, they both deal with the solidity of the grounds (or ungroundedness) which one uses as a springboard for one's creative construction.

Does the above now make it clear?

Doctor Xero

[Doctor Xero]

Rather, they both deal with the solidity of the grounds (or ungroundedness) which one uses as a springboard for one's creative construction.

This level of framing is relevant in discussions of simulationism, gamism, and narrativism, in discussions of the importance or unimportance of the various game master functions, in discussions of the degree of pre-generated setting desirable for a game, in discussions of whether color is merely extraneous flair or actually necessary to a game, in discussions of general game design.

Doctor Xero