"I hear music and see men of the past and future. I see wise men and poets and scholars and artists harmoniously building the hundred-gated cathedral of Mind."

In the avant garde, cyber-hip frontiers of the computer culture, around Mass. Ave. in Cambridge, around Palo Alto, in the Carnegie Mellon AI labs, in the backrooms of the computer graphics labs in Southern California, even in the Austin labs of MCC, a Hesse comeback seems to be happening. However. This revival is not connected with Hermann's mystical, eastern writings. It's based on his last, and least understood, work, Magister Ludi: The Glass Bead Game. This book, which earned Hesse the Expense-Paid Brain Ride to Stockholm, is positioned a few decades in the future when human intelligence is enhanced and human culture elevated by a device for thought-processing called The Glass Bead Game. Up here in the Electronic '80s we can appreciate what Hesse did, back down there (1931-1942).

The figure of Pierre Sogol (ie *logos*) in Rene Daumal's novel *Mount Analog* is clearly a Game Player. Sogol lives in an attic studio in Paris, and a pebbled path leads through shrubs and bushes and cactus plants around this studio:

Along the path, glued to the windowpanes or hung on the bushes or dangling from the ceiling, so that all free space was put to maximum use, hundreds of little placards were displayed. Each one carried a drawing, a photograph, or an inscription, and the whole constituted a veritable encyclopedia of what we call 'human knowledge.' A diagram of a plant cell, Mendeleieff's periodic table of the elements, a key to Chinese writing, a cross-section of the human heart, Lorentz's transformation formulae, each planet and its characteristics, fossil remains of the horse species in series, Mayan hieroglyphics, economic and demographic statistics, musical phrases, samples of the principal plant and animal families, crystal specimens, the ground plan of the Great Pyramid, brain diagrams, logistic equations, phonetic charts of the sounds employed in all languages, maps, genealogies -- everything in short which would fill the brain of a twentieth-century Pico della Mirandola...

"I suddenly realized that in the language, or at any rate in the spirit of the Glass Bead Game, everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created."

Highest culture: the bead game in many categories, embraces music, history, space, *mathematics*. X is now the highest of bead game players, plays the world symphony, varies it according to Plato, to Bach, to Mozart, expresses the most complicated of things in 10 lines of beads, is completely understood by three or four, half-understood by 1000s.

The first requisite of an ideal language would be that there should be one name for every simple, and never the same name for two different simples. A name is a simple symbol in the sense that it has no parts which are themselves symbols. In a logically perfect language nothing that is not simple will have a simple symbol.

The Web allows the direct, digitized display of textual, musical, numerical and pictorial content, and thus provides the Game designer with a medium in which -- to take an example from one of my own Games -- TS Eliot's lyric "The dove descending" can be directly juxtaposed with Vaughan William's lovely piece, "The lark ascending". The counterpoint I am after is not simply between the two forms of words, although that is present, but also between the poem as it may be read aloud and the music as it may be played -- and beyond that, to the descent of the Paraclete on the disciples' heads in the form of flame and the rain of incindiary bombs on London during the Blitz, and to the English meadow lark and its prior celebration by Shakespeare and others.

I tend to think, then, of the Web as a kind of "board" on which the Glass Bead Game or its variants can be played, not simply in natural language but by the direct juxtaposition of ideas -- verbal, musical, numerical, pictorial -- in their own nature.

But in fact this is not what is going on. My presentation of Vaughan Williams' "The lark ascending" on the web is no more the piece itself as played than the Vaughan Williams piece is the lark itself as it ascends. On the web, a performance of the Vaughan Williams and a reading of the Eliot poem can be juxtaposed by rendering them into a common *digital* language... And it is this digital language which I suggest is in practice the appropriate analytic language for the design of Glass Bead Games.

It is this approach which my colleague Terence MacNamee is currently pursuing, searching in his own field of specialty, linguistics, for "a more formal kind of game where there really are structural isomorphisms that are purely intellectual and have nothing to do with events" by converting his old Master's thesis -- which is about the foundations of historical linguistics in the 19th century -- into formal structures for use in games.

I can see that the analysis of syntagms in language could establish isomorphisms between phenomena that are not otherwise related, such as:

(1) Ablaut in Germanic ("speak" vs. "spoke") (2) vowel harmony in languages like Turkish (a word must have all front vowels or all back vowels in it) (3) Semitic roots ("kitab - katab - ktab" - "writes - wrote - book").

The ramifications of this make me dizzy.

I intend, then, to work on these formal correspondences, both paradigmatic and syntagmatic, in the context of linguistics from Grimm to Saussure. The result will be a scholarly monograph which I hope to publish, and a series of games derived therefrom.

The pattern sings like crystal constellations, And when we tell our beads, we serve the whole, And cannot be dislodged or misdirected, Held in the orbit of the Cosmic Soul.