# To Do > [!multi-column] > > > [!bug] Overdue > > ```tasks not done (due before today) hide task count hide due date hide edit button short mode > > >[!success] Today > >```tasks not done (due on today) hide task count hide due date hide edit button short mode > # Notes > [!multi-column] > > > [!summary]- Created Today > > ```dataview > > LIST WITHOUT ID file.link > > FROM "" > > WHERE file.cday = this.file.day AND file.name != this.file.name > > SORT file.ctime ASC > > ``` > > > [!example]- Modified Today > > ```dataview > > LIST WITHOUT ID file.link > > FROM "" > > WHERE file.mday = this.file.day AND file.name != this.file.name AND file.cday != this.file.day > > SORT file.mtime ASC > > ``` ## Quick Links ```dataview LIST WITHOUT ID file.link FROM #quicklink SORT file.cday DESC ``` # [[Weight Tracker]] ## [[Scratch Pad]] ### Baker's [[hylomorphism]] https://notebooklm.google.com/notebook/1aa569fe-cf30-4f5d-b6d7-06e8002bfd95/audio #aiaudio ### [[Alessio's Thesis]] outline The thesis aims to demonstrate that interactive graphic adventures and video games are two different mediums. It is a direct consequence of Nguyen's theses. [[The author]] identifies the game with that art form that shapes the player's agency, through the use of rules and temporary goals. Nguyen focuses on what a user appreciates during the gaming activity. The game becomes a medium when the focus of the user is centered on [[the appreciation]] of his practical reasoning, intent on overcoming the difficulties imposed on him by the game system. Although usually classified as video games, interactive graphic adventures do not present any of this. The type of intervention required of the player is of a different kind. There is no aesthetically appreciable effort to fulfill what is required, no difficulty to face. In many interactive graphic adventures, to make a decision, the press of a button is sufficient. Assuming Nguyen’s theses and the characteristics of interactive graphic adventures, the latter are automatically excluded from the scope of video games. From here [[the question]] arises: could interactive graphic adventures constitute a medium in their own right? To answer [[the question]] effectively I could follow the same path used by Nguyen. What is the material shaped by [[the author]] of interactive narratives to create the [[aesthetic experience]]? (in the case of games Nguyen answers with agency), what is the main element that constitutes the seat of [[aesthetic appreciation]], capable of presenting the attributes to which we often associate beauty? (Nguyen in this case answers with practical reasoning and the player’s actions). If the existence of a series of aesthetic qualities attributable to the branching narrative as such were demonstrated, this could subsist as an autonomous medium.