This book takes a single line of code--the extremely concise BASIC program for the Commodore 64 inscribed in the title--and uses it as a lens through which to consider the phenomenon of creative computing and the way computer programs exist in culture. The authors of this collaboratively written book treat code not as merely functional but as a text--in the case of 10 PRINT, a text that appeared in many different printed sources--that yields a story about its making, its purpose, its assumptions, and more. They consider randomness and regularity in computing and art, the maze in culture, the popular BASIC programming language, and the highly influential Commodore 64 computer.

Nick Montfort

Nick Montfort writes computational and constrained poetry, develops computer games, and is a critic, theorist, and scholar of computational art and media. He is associate professor of digital media in the Program in Writing and Humanistic Studies at the Massachusetts Institute of Technology, president of the Electronic Literature Organization, and director of The Trope Tank.

In addition to his books, Montfort has done digital media writing projects including the ppg256 series of 256-character poetry generators; Sea and Spar Between (with Stephanie Strickland); the interactive fiction system Curveship; Ream, a 500-page poem written on one day; the group blog Grand Text Auto; Implementation, a novel on stickers (with Scott Rettberg); The Electronic Literature Collection Volume 1 (co-edited with three others); and several works of interactive fiction: Book and Volume, Ad Verbum, and Winchester's Nightmare.

Patsy Baudoin

John Bell

John Bell is a software developer, artist, and writer currently teaching at the University of Maine. His work ranges from straightforward and utilitarian to confounding and aggressively useless, including everything from intermedial art installations to scriptwriting to a 3D Tetris variant for the blind.

Ian Bogost

Dr. Ian Bogost is an award-winning designer and media philosopher whose work focuses on videogames and computational media. He is Ivan Allen College Distinguished Chair of Media Studies and Professor of Interactive Computing at the Georgia Institute of Technology, and Founding Partner at Persuasive Games LLC. His research and writing considers videogames as an expressive medium, and his creative practice focuses on political games and artgames.

Bogost is author or co-author of Unit Operations: An Approach to Videogame Criticism, Persuasive Games: The Expressive Power of Videogames, Racing the Beam: The Atari Video Computer System, Newsgames: Journalism at Play, How To Do Things with Videogames, Alien Phenomenology, or What it's Like to Be a Thing, and 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. He is a popular academic and industry speaker and considered an influential thinker and doer in both the game industry and research community.

Bogost's videogames about social and political issues cover topics as varied as airport security, consumer debt, disaffected workers, the petroleum industry, suburban errands, pandemic flu, and tort reform. His games have been played by millions of people and exhibited internationally at venues including the Telfair Museum of Art (Savannah), the Laboral Centro de Arte (Madrid), Fournos Centre for Digital Culture (Athens), Eyebeam Center (New York), Slamdance Guerilla Game Festival (Park City), the Israeli Center for Digital Art (Holon) and The Australian Centre for the Moving Image (Melbourne).

His recent independent games include Cow Clicker, a Facebook game send-up of Facebook games, and A Slow Year, a collection of videogame poems for Atari VCS, Windows, and Mac, and winner of the Vanguard and Virtuoso awards at the 2010 Indiecade Festival.

Bogost holds a Bachelors degree in Philosophy and Comparative Literature from the University of Southern California, and a Masters and Ph.D. in Comparative Literature from UCLA. He lives in Atlanta.

Jeremy Douglass

Jeremy Douglass is an electronic literature author and critic, with a particular interest in developing new authoring tools and performance practices. He also teaches workshops on electronic literature, including authoring with visualization and performing "live typing," as inspired by live coding.

Douglass writes on interactive fiction and on the connections between electronic literature and video games. His dissertation on interactive fiction, "Command Lines: Aesthetics and Technique in Interactive Fiction and New Media" (U. California Santa Barbara 2007) is freely available online. Along with Mark Marino and Jessica Pressman, he is co-authoring a book on electronic literature that explores narrative, visuals, and source code in William Poundstone’s Project for Tachistoscope [Bottomless Pit]. He is a long-time collaborator with Lev Manovich on the art and science of cultural analytics, and their information visualization artworks of (among other things) large page collections from magazines, comics, and books have been exhibited internationally. Douglass is an Assistant Professor of Liberal Arts at Ashford University.

“Eight Was Where It Ended” is a short poem on motherhood and hidden bereavement, performed on the desktop through creating and reshuffling nested file folders.

Mark C. Marino

Mark C. Marino is a writer and scholar of digital literature living in Los Angeles. He is the editor of Bunk Magazine (http://bunkmagazine.com) and the Director of Communication of the Electronic Literature Organization (http://eliterature.org) .

His works of electronic literature include "a show of hands," "Marginalia in the Library of Babel," and "The Ballad of Workstudy Seth."

He currently teaches at the University of Southern California where he directs the Humanities and Critical Code Studies (HaCCS Lab) (http://haccslab.com). His complete portfolio is here: http://markcmarino.com

Michael Mateas

Michael Mateas's work explores the intersection between art and artificial intelligence, forging a new art practice and research discipline called Expressive AI. He is currently a faculty member at the Georgia Institute of Technology, where he holds a joint appointment in the College of Computing and the school of Literature, Communication, and Culture. At Georgia Tech, Michael is the founder of the Experimental Game Lab, whose mission is to push the technological and cultural frontiers of computer-based games. Michael has presented papers and exhibited artwork internationally including SIGGRAPH, the New York Digital Salon, AAAI, the Game Developers Conference, TIDSE, DiGRA, Digital Arts and Culture, ISEA, the Carnegie Museum, the Warhol Museum, and Te PaPa, the national museum of New Zealand. Michael received his his PhD in Computer Science from Carnegie Mellon University. Prior to CMU, Michael worked at Intel Laboratories, where he helped introduce ethnographic techniques into the Intel research culture, and Tektronix Laboratories, where he developed qualitative design methodologies and built advanced interface prototypes.

Casey Reas

REAS is a professor in the Department of Design Media Arts at UCLA. With Ben Fry, he initiated Processing in 2001. Processing is an open source programming language and environment for creating images, animation, and interaction. More information can be found online at http://processing.org. Reas' software has been featured in numerous solo and group exhibitions at museums and galleries in the United States, Europe, and Asia. This work is archived at http://reas.com.

Mark Sample

Mark Sample is an Associate Professor in the Department of English at George Mason University, where he teaches and studies contemporary literature, graphic novels, videogames, and new media.

Noah Vawter

I'm a Researcher, Designer and Developer in the areas of Musical Instruments and Medical Devices. I'm intensely curious about the nature of media, perception, communication and reality.