7 Comments
User's avatar
Dave Morris's avatar

I was rooting for the plucky pixel, but that last story is *bleak*! I was reminded of the work of Heider and Simmel (https://www.all-about-psychology.com/fritz-heider.html) but you've pared it back even further than they did.

Expand full comment
James Mitchell's avatar

Ah, but is the last story only bleak because of an assumption we could bring about the meanings of light/white/on and dark/black/off?

Expand full comment
Dave Morris's avatar

Yes indeed, we learn a grammar of stories (and images, from cinema) and in this case the first story sets up the idea that white/on is a character and black/off is an absence or empty space.

Expand full comment
James Mitchell's avatar

Oh that’s true! I hadn’t even realised that the first story had “taught me how to read the second”.

But… does that mean the second story is really a story in its own right? Or is it, in some sense, a sequel?

Expand full comment
Dave Morris's avatar

Personally I think Toby had a good reason for putting them in that order, but let's see what he says...

Expand full comment
Toby Litt's avatar

Hello James and Dave. I think I'll write something about this in the Diary, if you don't mind. It's bigger than an answer here.

Expand full comment
Johnathan Reid's avatar

The three pixel triad is indeed a story if you invert the binary representation (effectively turning absence into presence). We then have two characters undergoing a bitter/sweet journey with a tale of togetherness, separation and reconciliation.

Further reading: Shannon's information theory; lossless compression; Turing's ticker tape; Conway's 'Game of Life'.

Expand full comment