Thursday, August 9, 2018

180809 The coming great reconstruction era 

Whenever trouble fills the air, like the ochre haze that hangs overhead in the burning seasons, I think of the coming great American reconstruction. I recall the words of John Lennon:

When I find myself in times of trouble, Mother Mary comes to me
Speaking words of wisdom, let it be . . . let it be.

No matter how hopeless it seems, as there’s no putting out the fires, no restoring the killed trees nor the killed children all over the world, if America has a place in saving Earth’s human life sustainability, then Americans must restore things at home.
It will be hard. It will take years, perhaps decades. Fifty years is a fair estimate, and I will be dead before measurable progress is made. Those who measure the progress are, at this time, little children. They will write about the great American reconstruction and compare it to the first Reconstruction era, which lasted less than a generation, but which was never completed.
This is Wikipedia’s short description of the Reconstruction era:
The Reconstruction era was the period from 1863 to 1877 in American history. The term has two applications: the first applies to the complete history of the entire country from 1865 to 1877 following the American Civil War; the second, to the attempted transformation of the 11 ex-Confederate states from 1863 to 1877, as directed by Congress. Reconstruction ended the remnants of Confederate nationalism and ended slavery, making the newly free slaves citizens with civil rights apparently guaranteed by three new Constitutional amendments. Three visions of Civil War memory appeared during Reconstruction: the reconciliationist vision, which was rooted in coping with the death and devastation the war had brought; the white supremacist vision, which included terror and violence; and the emancipationist vision, which sought full freedom, citizenship, and Constitutional equality for African Americans.
Evidently the Republican congress was unable to achieve what they set out to as the democratic system is flawed. The constitution is open to discussion, and the church entered through loopholes the founding fathers never dreamed the church would exploit.
Thus we have today a nation divided, as it was in the 1860’’s, with a demagogue who calls himself a Republican but who, like any opportunist with mental problems and of low intelligence, exploits the two-party system to his advantage. The congress and the courts are weak and easily influenced by money. The voters are apathetic as they see the problems as being so huge as to be insoluble.
Scientists have warned for half a century that the skies would be almost permanently ochre-colored, and millions of acres of flora would be turned into dust and carbon dioxide like a slow detonation of a bomb. Not in a flash like a nuclear warhead, but like a natural act of God. Only it is not God who is doing it, but Americans and the American way of life.
When I see the devastation, both Natural and man-made, and I take measure of my tiny efforts toward education, I take hope in the coming of the great American Reconstruction coming. I say it begins today – August 9, 2018 – and it should embolden voters for politicians of all stripes who understand the science and the data that point to imminent destruction of Earth’s human life sustainability.
Some people, who I think have latent suicidal tendencies, say it is better that human life be extinguished, as humans have already destroyed many other life forms and show no sign of letting up. Already those who have a strong life urge – not suicidal – especially parents of young children, are looking for solutions.
The solutions may not come from within America, however, they may come from outside our borders. Canada and Mexico, for example, stand to decide for Americans what they must do. China, too and even North Korea, or nations in the Middle East, are critical of American behavior.
Above them all is science and Nature. One which has the means to make logical forecasts based on probability and the other who can assemble the greatest forces of the Universe.

Saturday, June 30, 2018

180520 Are Emeralda and IPCI the same? 

Daily I visit the ten glass beads on my personal website and choose one of the “islands-of-domains-of-expertise” to see where I left off on the design of Emeralda Region. Emeralda was going to be my ticket to fame. Emeralda was supposed to restore my place in the education world. It was supposed to prove my hypothesis that printmaking is a portal to understanding art and technology.
Extracting from the success stories of my former students and focusing not only on their art. In addition to their innate skills, I focused also on what I observed were their skills in ten domains-of-expertise. It took some doing, but I managed to twist their bonus talents and perceived interlocking pretzels of domains. Finally I made up islands where these domains were pre-eminent features of cultural assets.
There are ten imaginary islands. What remained for me, for the rest of my life, was travel among these islands. I made a schedule. To give myself time to reflect about printmaking and its place in higher education, I fabricated a prize, the Gates Prize for Exemplary Teaching, Research, Practice and Service.
The Gates Prize (named for Elmer Gates, a neuroscientist born in the 19th Century who practiced this branch of medicine before there was a name for it) was what I imagined I might have won if my career had not been cut short in 1984. Readers may be reminded of Orwell’s world, and it was a fact in my time at the UW.
Peter Bloom, in his book, Closing the American Mind, wrote about that period. It was the mid-1980s when higher education entered a depression; I lived it, and my development died then. From a distance I watched as my former teaching province was deconstructed and I was erased from its history by one who replaced me. I escaped from a dire situation; not so the rest of the American education institutions. For three decades and counting, I have lived as castaway.
However, my life raft is well-equipped, thanks to the lessons I learned from my college teachers students at the UW. For example, in one of my experiments I proposed that video could serve artists and I established a video art course. In the class we practiced teamwork, free exchange of ideas and performance art. A casual remark about Herman Hesse’s novel, Magister Ludi: The glass bead game, led me to the idea of using glass beads as playing-pieces in a table-top version of Emeralda.
Trivial things like this is what I believe higher education was all about. If my career had not been cut short by the internecine politics at the UW School Of Art, Washington State would have, today, something like my vision of the International Print Center and Incubators, IPCI, a Seattle asset.
On the other hand, the fact that the students didn’t realize that those trivial things were the acorns from which might oaks could grow underscores the fact that, in a perfect studio, where teaching, research, practice and service were happening all at the same time, all under one roof, it isn’t clear what good can come from the interaction of teachers and students. Not until there is proof.
Instead, what occurred was proof that mediocrity at high levels trickles down. Cynicism takes the place of contemplation and testing of hypothesis, narrow-mindedness and fear prevail. Therefore, better that IPCI not be part of a corrupted institution.
If the UW had kept me and allowed my plan to re-define printmaking along the lines of its root in other technologies, eventually the culture of university politics would have resulted in an IPCI with UW ties so intertwined that the inevitable rigidity and ignorance would have made the oak tree rot at its core.
To wit, the model I called the Granger Clay Products Campus in Central Washington was inspired by Dale Chihuly’s Pilchuck Glass School and The Evergreen State College’ founding. Where I thought a skunkworks media arts center would be state-supported, Dale’s idea was privately-supported. Pilchuck (and Dale) succeeded because of business acumen in its sponsors’ attunement to the creative economy and, consciously or not, the principle of the wealth of nations.
What does this teach me? An IPCI must be a business, a corporation designed to make a profit. Its parts must enable its participants to realize their dreams in the same way that I accidentally helped my students realize theirs. The architecture I drew up for Emeralda is morphing into a basket of eggs, each egg representing a hypothetical business in which artistically-inclined people can succeed.
In this sense, my Emeralda has become the International Print Center and Incubators, so named as a marketing device but an Artrepreneurial school, a training center for franchises which monetizes printmaking in ways beyond making prints. It teaches a hybrid of the creative economy and the experience economy about which has been written by authors John Howkins (The creative economy is a powerful engine of growth and community vitality. Together, artists, cultural nonprofits, and creative businesses produce and distribute cultural goods and services that generate jobs, revenue, and quality of life. A thriving cultural sector leads to thriving communities”) and Pine & Gilmore (consumers unquestionably desire experiences, and more and more businesses are responding by explicitly designing and promoting them).

Wednesday, June 27, 2018

180627 Escape Rembrandt’s Press 

I wrote Rembrandt’s Ghost in the New Machine as one asset to add to funding the International Print Center & Incubators – IPCI, Inc. – an S-corp, or Benefit Corporation. Writing it was partly a response to my older idea of the teacher in a box. PressGhost was the incarnation of that concept. It’s all about education, after all.
But education is not a good business. It’s not that the U.S. marketplace is big on education now. Peter Bloom wrote Closing of the American Mind about the time I was being pressed out of my teaching job at the University of Washington.
A good teacher, however, will not roll over dead just because the establishment kicks him out of their club lounge. A good art teacher, too, will not go along with the herd if he or she has dug deep into the meaning of the cultural arts. I teach creativity, and by inventing ways to connect an art tool (or instrument) to the cultural arts, I walk my talk.
I put my mind to designing the Mini Halfwood Press, then I put my mind in it, i.e., the PressGhost.
My research in printmaking (and this does not apply to its cousins, painting, drawing and sculpture) showed the stronger side of its value: technology. Its cousins in photography, film, video and digital-based systems are more important to education.
Thus, I built on a base of artists’ relationship to people through media such as photographs (of art), cinema, video and digital art. Add to this performance skill and it sums up to what I do, which is gaming.
It is not consumer-type games I do, however, but e-games, which are educational games in the guise of entertainment.
As I write this I am practicing my playing of the game I named, Emeralda: Games for the Gifts of Life. I call it practice, but I’m also producing an essay, words for the culture I learned in college, the life of the mind.
Having exceeded my allotment in years, three-score and ten—I move toward the end of my life in the cultural arts. Its highest level of attainment in education is through the channels of media, and the interface is business exchange—commerce being the oldest form of valuation.
I can think of no better means to teach than by commerce, and this includes the incorporation of buyers and sellers into a mutually beneficial relationship. Corporations have provided the structural means to make the relationship happen. It begins with shareholders in the enterprise and includes the consumers who prove and sustain the value of the enterprise. It’s a recursive relationship that works.
An etching press with a brain, or a teacher in a box, can be a product to sustain interaction and mutual benefits but not if its purchase stops at the old frame of reference, i.e., making prints for consumption. That’s because on that level, prints are the same as paintings and drawing but cheaper.
Continuous interaction between maker and consumer is where printmaking trumps its cousins, painting and drawing because printmaking has cousins in technology, too, and this makes all the difference.
Therefore, IPCI is a corporation; but because IPCI is a cultural arts corporation, it may fall under the S-corp or B-corp mantel—Service and Benefit. My only means to finance the startup is my name to those who know my name is as a teacher and artist. It’s likely I’m better at teaching than I will ever be as an artist; time will tell, and we don’t have any more of it.
What is apparent immediately is that I have a thousand unsold works of art in our storage – works of art which will be disposed of as trash soon after I die. But it doesn’t have to be that way. These thousand works can be used for shares in IPCI, Inc., sold as scrip to finance the incubators (the second “I” in IPCI for which IPCI is unique in all the world).
For it is not only for making prints as consumer products that I have spent my life, but also for the benefit of the Earth’s human life sustainability and that, in turn, is educational benefit.

Tuesday, June 26, 2018

180626 Publishing PDF on SendOwl 

We are living in the digital age of the feuilleton described in the back story of Hermann Hesse’s book, The Glass Bead Game. I got stuck in college, like a dinosaur in a tar pit. I’m unable to get out of the habits I learned in college – teaching, doing research, practicing and producing and doing service to communities-of-practice. Like those creatures trapped 38,000 years ago, I am trapped in habits of thought I learned in college.
The habits of teaching, research, practice and service I learned from my teachers led to experiments (research) with video as a teaching instrument and an art instrument. The significance for an arts professional and his or her students would be clear from the 1930’s on, when several scientific discoveries and engineering developments converged, changing the course of human history and pointing to either the specie’s further development or the specie’s destruction both of itself and multitudes of other living species.
Earth’s sustainability of human life, then, became my focus. The present age which resembles Hesse’s view of feuilleton, and mine, too, only updated. He responded with literature. I respond with digital works designed for the Web.
Feuilleton in Wikipedia: In the novel The Glass Bead Game (1943), by Nobel Prize-winning novelist Hermann Hesse, the current era is characterized and described as "The Age of the Feuilleton".[3] In Hesse's novel, this so-called age of the feuilleton, viewed retrospectively from a future scholarly society called Castalia, is generally but not simply portrayed as having an overweening, trivializing or obfuscating character such as is associated with the arbitrary and primitive nature of social production prior to the historical denouement that resulted in the creation of Castalia. The bourgeois feuilleton of the Belle Époque, especially in France during the period of the Dreyfus affair, as well as those of Fascist Germany, served to effect Kulturpolitik; they established norms and tastes, contributed to the formation of social identity, and often expressed an underlying antisemitism. Glasperlenspiel was written during World War II, and Hesse would have been reacting in part to these real historical developments.[citation needed] In Maxim Gorky's novel "Foma Gordeev" the character Ezhóff is described as a feuilleton writer.
Like the fantasy Hesse created a region Castalia, a scholar’s haven where mastery of the arts and sciences counts, I created Emeralda. Where invented the Glass Bead Game, I invented Games for the gifts of life. In this imaginary space – played out in the media of its origination - I practice like a musician practices on an instrument. Sometimes it is an etching press—but seldom these days. Most often it is on a multimedia computer system with software only, my hands touching on keyboards, microphones and digital imaging devices such as cameras.
Most of what I produce are pages for the World Wide Web pages. However, like that dinosaur (or wolf or other species whose bones you see in the La Brea Tar Pits in Los Angeles), I cannot escape into the ordinary world in this age of the feuilleton.
I had in mind valuation of my art when I began writing my memoir. In particular, as a way to finance the IPCI feasibility study, selling my art would raise the money. Anyone reading my life story may find my story justifying my big idea of IPCI. My story may validate my idea(s).

Saturday, June 23, 2018

ap180623 Escape Emeralda Revisited  

Staring at the RIISMA screen for PRODUCTS (after clicking on the glass bead of my homepage, I wondered how a game called Escape Emeralda would work for college credit in a MOOC connected to an art course. I have thought of printmaking for so long that getting credit and achieving printmaking skill mastery to be important that “knowing prints, printmakers and printmaking” seems important.
Maybe it isn’t. Maybe the importance of such things is part of the error in my thinking, the error of thinking latest problems can be solved in the framework of their causes.
Is it true? Think of a problem whose solution is so important that colleges can charge high tuitions to train students in their solutions’ methods. Think of a medical student pays a lot in time and money to solve problems that matter, life-and-death situations. There is nothing close to such important things in knowing about prints, printmakers and printmaking.
Chatting with a neighbor yesterday he commented how the entertainment industry is no in trouble, economically. His daughter is a stage-hand, and reports her firsthand experiences in seeing the outlay of resources that go into major entertainment attractions at the Seattle Center.
“On a day when an event is setting up, there will be up to 20 trucks line up, off-loading for it!” Think about the outlay of resources for that!
The problem, in my opinion, is that entertainment can exacerbate the problems we face as a society and as a species living on a planet with a growing human population and dwindling resources. My game, and my teaching, were supposed to help solve problems by growing creativity, and the creativity of people was supposed to lead to creative solutions to problems.
The medical student planning to be a neurosurgeon is the recipient of tens of thousands of other surgeons who came before. I took the teaching hospital as the model for my art studio—teaching, research and practice going on simultaneously under one roof. I added service to my vision. I call it TRPS, a principle which can be applied to any endeavor for Earth’s human life sustainability.
Staring at my RIISMA screen on my vintage homepage, clicking on PRODUCTS, I tried to imagine an escape game. If I choose one of the three “rooms” I can access – currently there are only three: ARTIST STAMPS, ARTIST TRADING CARDS, and SOFTWARE. Only the first one is linked to another page.

I tried to imagine a CLUE or PHRASE, something to suggest which to choose. I tried to forecast which choice was likely to get me what I want – which is to escape. If I choose ARTIST STAMPS, its link takes me to a window where I can print my own stamps.

Sure, I can print these stamps in color or black and white depending on if I have the kind of printer for it, but why? They are not for use as legitimate postage. They are artistamps. Cool enough? Perhaps. People do, after all, take notice of them in the gallery. If they are physically in the Mini Art Gallery, they can see the stamps in a drawer, and they often want to buy them, and I have, indeed sold them.

The shop is not set up like a store, currently, to make purchases easy. I’m not even set up to sell things; it’s awkward for me. I’m not a shopkeeper, although I could use the money! I have PayPal and PayPalHere, but I don’t take time to practice with it to be efficient.
Not a shopkeeper nor am I a cashier. I am a professor, through-and-through, simple as that. A professor does research besides teach and produce (through practice, practice and more practice).
But what am I researching? What am I practicing? Initially, in the 1980’s, my research was to discover and apply the justification for teaching printmaking in a university. The premise that art should be taught in a university had already been justified. But printmaking within its walls had not.
My hypothesis was that printmaking was being taught incorrectly as an extension of painting. Printmaking is the ancestor of technology—not the poor cousin of fine art painting; therefore, students should be taught printmaking as such, not merely to reproduce drawing and painting canon. This has important social and economic meaning and the main thing is the reliance on teamwork and interaction with Nature, i.e., Earth science.
So, as I begin my day, my screen awaits me. Where do I go from here to, “Escape Emeralda?”

Thursday, June 21, 2018

vi180621 They sell tiles, don’t they? 

I was at the Pike Place Market and I saw that, in addition to the tiles and little bronze pig-hoof-prints, the organization has added metal charms that hang down in the openings of fencing, each charm stamped with a donor’s name. As this is a long-standing method to raise money for nonprofits, would it not work also for artiscripophily in a B-corp?
I still maintain that for-profit is better in the long run for printmaking organizations because print is in-between the fine arts and commercial printing. It is a hybrid art. After reading David Mendoza’s memoir recently, I understood the economic and political aspect of the fine arts better. I saw how the politics of government policies and wealthy patrons, not to mention the politics of sexual orientation and gender, race and ethics are intermingled in the fine arts.
Where money and political power are concerned, the fine arts of the high-ticket kind—artworks that are bought and sold for huge sums—so many factors enter in which may not be in the best interest of Earth’s human life sustainability.
As an example, mention of David’s friends, “Dressed in furs,” reminds me of the animal rights peoples’ protests about the luxury fur industry, not much different than poaching elephants and rhinos. I doubt that you’d have to dig very deeply into the skin of the wealthy women with David to find their true feelings toward the rights of animals—and human kind, for that matter.
I believe Walter Benjamin was correct in his observation, that when reproduction became cheap and accurate, the image of an iconic work of art conferred more political power to the owners of the art than had existed before. He said the cult of art shifted to the practice, the culture, of politics. Art so reproduced conferred power to the owners, the same as a fur coat makes a person appear wealthier and, hence, more powerful, politically.
Given the generations of this reality to take effect on society, entire populations fall under the mercy of a few. Their power shows, as they buy works of art for soaring prices and then donate them to art museums. Government follows the same route—allocating what appear to be handsome sums of money to arts programs and thus garnering the art and members of the culture groups’ favor.
Therefore, proposing nonprofit status for the International Print Center Incubators is wrong-headed, just as it would be for SURF (the tech startup group) to be a nonprofit. You don’t have an incubator which claims to help its entrants learn profitable businesses while under the umbrella of a tax-deductible organization, exempt from the rules of taxable C-corps, B-corps and S-corps.
I think the supporters of IPCI will be more likely to help me get it established if it is a blend, a hybrid, of for-profit and benefit-corporations, just as printmaking is a hybrid of fine art and printing for profit.
As for tiles, charms and bronze-hoofprints set in stone like the benefits given to supporters of the Pike Place Market, IPCI is not only a tourist destination feature for the City of Seattle, it’s also functional as an educational feature for both the stakeholders and the visitors. It also has a prominent Internet presence, reaching far beyond its geographic place.
A tourist at the PPM doesn’t learn a thing by noticing the mementos, but when the tourist reads a printed brochure or Website about the PPM which explains those mementos, something clicks. The donors are recognized. Fair enough. But what is missed is the fact that money and politics saved the market against the onslaught of the developer’s wrecking ball—the donation are not enough to sustain the PPM over the long term. My experience of working with an arts person at the stalls taught me there is a limit on what it does for its vendors.
The IPCI concept is more complicated than saving the historic flavor of the public market. Printmaking has a different meaning, not at all related to farm and garden, fishing or the meat industry. Arts and crafts come close and are a main attraction at the PPM, but under strong limitations.
Printmaking is the ancestor of the technologies that currently account for the Pacific Northwest’s economic success story, yet its descendants—computer aided image making and reproduction—serve education far more effectively than the PPM. Technologies shape the world and will determine Earth’s human life sustainability. That’s a scientific fact, and art helps—but only in reproductions.
In one area particularly, STREAM-based education, there is much work to be done, and I have begun. If the Pike Place Market Foundation can sell tiles, tracks and charms to augment the PPM, then can art scripophily start up the IPCI? I think so.

Tuesday, June 19, 2018

180619 More heroes 

I’ve always had heroes. I’ve never outgrown heroism, that sense there are people greater in stature, intellect, courage and given dumb luck than I. Bill Ritchie in Alexandria, Virginia, is one of them, and evidently, so is his wife, Andrea Barthello. The year of my downfall – 1985 – on the other side of the country, they started designing and selling games for kids. These games had a serious play side, which may owe partly to Bill’s brother, Dennis, who invented C and co-created Unix OS.
Because my goal is to blend a learning game with printmaking to spice up STEM, and do it by making printmaking fit the needed R (for reading) and A (for art) to get STREAM. I want to do for education what “the other Bill Ritchie” did for the good of children and not a few adults like me.
Having read Anne Focke’s entry to her blog, my mind returns to her dilemma, that is, she wonders what a person can do in these times of trouble. She writes about Pollyanna-ism and Panglossian-ism and positions herself outside of both optimism and pessimism because she will do something.
Anne is another one of my heroes. I have many. My autobiography, its first “vomit draft” complete, probably show this from accounts of my elementary school teachers to the most recent – like Bill and Andrea in the article I copied below..
Thus begins my day, a little hero worship (reading a ten-year old Post interview) and it’s back to work on my game-of-life, Emeralda, the games for the gifts of life.
Makers of Mind-Bending Games (from the Washington Post)
By Karen Hart
Special to The Washington Post
Sunday, December 2, 2007
Bill Ritchie and Andrea Barthello took the old adage about "all work and no play" literally when they started their game company, ThinkFun (, then called Binary Arts, in 1985. Fleeing the world of real estate investment finance, the Alexandria husband-and-wife team found refuge in an opportunity to develop mind-challenging games for kids.
We recently sat down with the two co-founders, both 52, to play some Rush Hour and Cover Your Tracks, two of their biggest hits, and hear how their toy story began.
What was your first game concept?
Bill: Our first game concept was called the Hexadecimal Puzzle, and the tag line for it was "an advanced mathematical puzzle with 16 variations."
Was there much of a market for it?
Bill:[Laughs.] There was almost no market. [But] that's ancient history.
When you come up with an idea, how do you turn it into reality?
Andrea: Rush Hour is a good example of that. It came to us as a one-dimensional just flat thing on wood . . . it was like that type of puzzle where you slide things around. So Bill really innovated on it and said we need something that has multi-levels of challenges so that the thing gets harder as it goes along.
Bill: Rush Hour was 10 years [after Hexadecimal Puzzle], and by that time we had become quite sophisticated. We knew an awful lot about taking an idea and turning it into something that was colorful and well designed and well presented.
So you don't necessarily come up with an idea -- someone may come to you, and you purchase it from them or license it?
Andrea: And we evolve it. But the simple answer is yes.
What made you think you could compete with the Hasbros of the world? Or do you feel as though you compete with them?
Andrea: I think you compete with them because you compete for shelf space, but what we've done, which I think is almost a more difficult thing to do, is created a different category. . . . Everything we've been doing has brought us to now, which is owning the category of mind-challenging games, which is different than a board game.
Did you play games as a kid?
Bill: Yeah. My favorite game is Risk.
Did you ever cheat at games when you were a kid?
Bill: Of course you cheated at games! With Risk, though, it was less about cheating but more about trying to convince the kids that you were playing against that they should be defending things that had nothing to do with what you were planning on attacking.
Some of your games' rules seem kind of intricate. How long does it take you to come up with them?
Bill: From the point of view of a 10-year-old kid, this [Rush Hour] is not an intricate game if you compare it to Monopoly or Risk. Even though solving it is tough, understanding what you are supposed to do is not at the same level of difficulty. An awful lot of work goes in by the challenge inventors to make the challenges as clever as possible.
Do you use your family as guinea pigs to test your games or take prototypes to schools for feedback?
Bill: Oh, yeah. Brick by Brick is a wonderful game, but we tried it with first-graders and it was like giving them spinach. Third- and fourth-graders really enjoy it.
I read that one of your sons invented Math Dice as a school project. Did he get a bigger allowance?
Andrea: He owns the patent and gets royalties!
Have you ever seen a game on the market and thought, "We should have done that"?
Andrea: I have. When Cranium came out, I called them. We were in Starbucks, and I called them to see who had done it and see if we should license it. It turns out that I know them now -- these two great guys from Microsoft who had light-years on us in terms of marketing.
What do you think is going to be big during the holiday season? Are games going to be hot this year?
Andrea: I was just at the Fall Toy Show, which is actually for next year, but people are talking about, in the trades, that nothing is emerging as a big hit. . . . For us, the Rush Hour Ultimate Edition at Barnes & Noble -- it is exclusive to them -- is going to do really well.
Do you play computer or online games?
Bill: I went through a brief bout early in our company history and started going down the path where I was addicted, so I don't play any computer games, with one exception: I just now bought Guitar Hero, and I'm planning on getting good at it.
Play Time
To try three ThinkFun games online -- Rush Hour, River Crossing and TipOver -- go to and click "play."