The meeting on semiconductors and the Internet lasted until noon.
Then Zhu Jingyuan took his son Zhudi Pu back to the harem and went to the palace of Zhudi Pu's mother Yu Muxue, and the three of them had lunch together.
According to usual practice, Zhu Jingyuan and his family can casually chat about some simple topics while eating.
The Zhu family does not have the rule of "eating without speaking and sleeping without speaking" because there is no such saying in this world.
There is a passage like this in "The Analects of Confucius: Township Party":
"Sacrifice to the Duke, do not leave the meat. The meat cannot be sacrificed for three days. Don't eat it for three days. 'You will not speak when you eat, but you will not speak when you sleep.' Even if you eat vegetables, soup, melons, and sacrifices, they must all be the same."
Even without reading the annotations, at first glance, one would know that it is a sacrificial thing, and there is no problem in treating it as a process similar to bathing and changing clothes.
This sentence does not require the ancients to "eat without speaking and sleep without speaking" in daily life.
Not to mention future generations.
Moreover, "food" here may be a verb with a declining tone, which means to give food to others, rather than to eat yourself.
Speech is to express one's feelings directly, and speech is to talk to others.
The original intention should be that when worshiping ancestors, don't talk to each other, and when spending the night in the ancestral hall, don't talk impassionedly.
When ordinary people eat together, they are obviously not paying homage to their ancestors in an ancestral hall, so there is no requirement not to talk.
Many things in China's native culture have experienced obvious faults in modern times.
When people of later generations want to trace their own cultural roots, they often miss the point and like to rely on literal meaning.
Then, in unnecessary details, we come up with something that is completely empty-headed.
Even literal meanings can be mistaken.
Just like after the collapse of the Thai and Western aristocratic system in modern times, many so-called aristocratic etiquette and behavioral norms were actually made up by the descendants of down-and-out aristocrats.
Ordinary people asked the down-and-out noble what the rules were in your family. The down-and-out noble deliberately made things complicated to show his superiority.
In the true aristocratic era, there were not as many things that nobles really paid attention to in their daily lives as later generations imagined.
Even the Queen of England, the top aristocrat in Europe and the West, grabs the goblet casually and does not pay attention to pinching the legs below with a few fingers.
Many of the contents of aristocratic etiquette teaching are purely created by peripheral members of the aristocratic system to make themselves appear educated and decent enough, and thus win the favor of the real upper class.
Those details are more like waiter rules than aristocratic etiquette.
The old farmer took it for granted that the emperor used a golden pole to carry water, but the landlady said that the emperor also had seven steps and thirteen points to drink water, which was also taken for granted.
The emperor is also a human being and will not torture himself.
While Zhu Jingyuan was eating, he asked about his son's situation at the semiconductor factory.
Judy Pu did not shy away from saying directly that she was very happy working at Yingtian Microchip and that she liked her current job.
He also directly stated that he was going to continue developing the game when he returned.
Unfortunately, the performance of computers is limited, and it is difficult to realize many things that are really imaginable.
After hearing his son's complaints, Zhu Jingyuan tried to give him some guidance:
“There is nothing we can do about the processor performance, we can only wait for the big workers to slowly add technology.
“Furthermore, the performance of computers should be said to never be enough.
“As computer performance increases, the effects you want to achieve will also continue to upgrade, and people’s needs will continue to rise.
“So, technicians must consider how to maximize the use of resources at any time.
“Use the limited capabilities available today to achieve the best possible results.
“The key is to use this performance as much as possible to achieve effects that traditional tools cannot achieve.
"I will give you an example. Compared with previous books, recordings, and movies, the biggest advantage of computer programs is participation and interaction.
“A well-designed computer program can respond to human operations.
“I think you can try to capture that.
“Even the simplest picture, combined with reasonable text descriptions and recordings, presents a background and story.
“At key nodes, set several different options to let the story lead to different results.
“For example, if Cao Cao captures Lu Bu, the user can choose to kill him or not.
“This process can be designed in an iterative way.
"For example, what different choices does Zhuge Liang need to make, and how many soldiers and forage can he get?
"Then, how many soldiers and grain and grass have been accumulated, and what kind of environmental conditions have been achieved, can we have a chance to defeat Cao Wei during the Northern Expedition.
“Only a few mouse-clickable options need to be displayed on the simplest screen.
“Other processes are explained in words, or a few drawings and recordings are used to show the implementation process and final results.
“This allows users to participate in the story.
“It can give them an experience that no matter how many movies they watch or listen to, they can’t get it.
“In order to increase the effect, you can set up an independent portrait for the key person, or even use several portraits in different postures, switching according to different situations.
“When a certain person participates in the plot, a special portrait of that person will be displayed.
“You can even make a normal recording for each person, and let each person’s corresponding voice read his lines.
“As for things that are not personal, just read them with narration like a storyteller.
"Through these simple means, we can slightly increase the feeling of participation."
Judy Pu's eyes slowly lit up as she listened to her father's description:
"Father... is really wise. This... this kind of game with participation may be better than stand-alone Go.
“Because we can directly design the logic flow chart, the options clicked by the user directly lead to the judgment conditions of different molecules.
"It takes very little code to implement these features...
"In other words, this kind of design actually formulates the simplest chess game, a completely controllable chess game.
“The entire board in Go is made up of choices, and this kind of flowchart only has a few options.
“Users can actually only perform limited actions within the rules we limit.
"Of course...it shouldn't be possible to play infinitely like Go, but this is essentially a...comic book that can be manipulated...
“The most important thing is the feeling of being part of the story…
"The key is that the difficulty is very low. As long as you have ideas and direction, you can quickly produce many similar products."
Even Yu Muxue, who was standing next to her, couldn't help but interject while listening to the conversation:
"It sounds like a lot of fun. If you can participate directly, it is indeed a completely different experience than listening to a play or watching a movie..."
After hearing this, Zhu Jingyuan smiled and said:
"Then after the plutonium is made, let me give it to you as a mother to try it first."
Yu Muxue nodded directly without hesitation:
"Okay, okay, Pu'er, come on, Mom is optimistic about you..."
Judy Pu also couldn't help laughing.
There are not many things that my mother is interested in. If I can make something that she likes, that is indeed a good thing.
The whole family enjoyed this meal.
After lunch, Zhu Jingyuan and his son took a lunch break in Yu Muxue's palace, and went to the Wenhua Palace together in the afternoon.
Zhu Jingyuan wants to ask people from the Ministry of Rites to discuss the content standards of literary and artistic works.
Before the Renwu Dynasty, the publishing and distribution system of the Ming Dynasty could be said to be highly liberal.
To what extent the publishing industry in the Ming Dynasty was free, it was basically the same as the United States, a free country in later generations.
Except for the content that really makes a big death, the court will come forward and directly ban it, but usually it is completely ignored.
In the publishing circle, you have to deal with it yourself and figure out a solution yourself.
It means letting publishers publish their own books, find rules acceptable to all parties, and establish private coordination and management organizations.
This is the case in the United States. There is no official review of publishing and distribution, but if you want to publish and distribute something, you have to go to the major publishing agency for review.
It must pass the review of all of them before it can be publicly listed and issued normally.
China was not like this before.
During the Song Dynasty, due to the expansion of the citizen class and the substantial increase in literacy rates, there were already signs of copyright protection.
Although there is no clear law yet, it is clear that publishing management is under the supervision of Guozi.
When an author discovers that someone has pirated his or her work, he or she can report it to the government office, and there is a chance that he or she may get a ruling prohibiting reproduction.
In the early years of the Ming Dynasty, Emperor Taizu Zhu Yuanzhang referred to the laws of the Song and Yuan Dynasties when formulating the laws of the Ming Dynasty.
It stands to reason that if the system is improving, copyright issues should be formalized.
However, what Zhu Yuanzhang did was to delete all the regulations related to publishing.
Before the Renwu Dynasty, in theory, the court did not do any publishing and distribution management at all. Of course, the court did not care about copyright protection.
This is probably the reason why the performing arts industry was highly developed in the Ming Dynasty.
In the middle and late Ming Dynasty, there were basically no substantial restrictions on the publication of literary and artistic works by the court.
The author has reached an agreement with the bookseller, and once the book is written and printed, it can be sold directly.
Unless readers discover particularly outrageous content and spread it to the yamen through private channels, it may be specifically listed as a banned book.
It was not until the Renwu Dynasty, when Emperor Guangwu Zhu Cixiang rebuilt the Ming Dynasty, that basic copyright management and content censorship systems were formally established.
It's just that this system is still very rough, and it only clarifies some of the most basic principles.
Zhu Cixiang's main purpose at that time was actually to protect patent rights and trademark rights, and incidentally listed the content of copyrights with similar situations.
At that time, the existence and ownership of copyright was determined, and the court's attitude towards protecting copyright was determined.
Then there are general requirements that the content of all works must not slander the Ming Dynasty, violate the laws of the Ming Dynasty, or violate basic ethics and morals, etc.
There is no universal review and management system in place.
The Ministry of Rites is simply required to organize personnel from time to time to conduct random inspections of popular publications on the market.
If an "evil book" with particularly egregious conditions is discovered, the Ministry of Rites will put the book itself on a banned list and punish the publisher and creator at the same time.
Their main target is traditional classics and history books, mainly whether there is deliberate distortion and interpretation of traditional classics and history.
For purely entertainment and drama, it is almost laissez-faire.
But just like the United States in later generations, the fact that the court does not directly manage it does not mean that there is no one to manage it.
The booksellers who published books in the Ming Dynasty would review the content of their works themselves, and indeed found evil and banned books. In the end, they were the ones who had the headache.
Even if the court does not intervene to manage it, private scholars, teachers, and parents will pay attention to the books around them and the books of their students and children.
If they find something they can't accept, they will mobilize to make trouble directly with the bookseller...
This logic is also highly similar to that of the United States in later generations.
However, before the era of large-scale popularization of knowledge and the real explosion of information arrives, the issues of publishing and distribution themselves are indeed not complicated.
There are generally two types of people involved in copyright and publishing matters.
One is the traditional literati who are well-known in their own right. In the Ming Dynasty, most of them have fame or are descendants of famous literati.
They are all respectable people, and booksellers will not intentionally cause conflicts with them.
At the same time, due to the absence of clear official management regulations, the copyright protection period of the Ming Dynasty before the Renwu Dynasty was actually close to permanent...
Xi's descendants monopolized the publishing rights of Zhu Xi's articles until the Renwu Dynasty.
They will make trouble when others print, and they will go to the yamen to sue the officials. They can basically win the lawsuits.
Because Zhu Xi himself was too famous, officials could not openly slander him.
These people are indeed the descendants of Zhu Xi. The things left by their ancestors belong to them, which is in line with the traditional concept of Eastern simplicity.
It was not until the Renwu Dynasty that Emperor Shizu proposed the concept of public copyright.
The copyright protection period for literary and artistic works is limited to fifty years after the death of the creator.
The other type of person is a professional writer, a person who directly receives polishing pens from booksellers and writes various types of works as required.
Their works are either sold directly to booksellers, or they are employees of the publishers themselves.
The second type of writer may have conflicts with booksellers, but they are basically financial conflicts and the situation is not very complicated.
At the same time, scholars at that time did not regard creating popular works as their official career, and even regarded it as something that was degrading to politeness.
Therefore, most of them will not leave their real names, and will even take the initiative to avoid suspicion, taking the bookseller's money and then leaving it alone.
Generally speaking, there will not be too many people involved, and the possible situations will not be too complicated.
The basic principles listed by Emperor Shizu are enough for officials to handle relevant cases.
However, with the industrialization of the Ming Dynasty, the printing industry continued to expand, and the video, audio and film industries also emerged.
The people involved are becoming more and more complex, and the content of the case is becoming more and more complex.
More and more ordinary people are participating in creation, and the identity of the creator of the script is no longer regarded as a matter of shame among literati.
We are moving away from the buyout and employment system, and some people are starting to deal with multiple publishers as independent creators.
Zhu Jingyuan even has the memory of later generations, until the Internet era is coming.
The information explosion is only going to happen in the next few to ten years.
Now the Ming Dynasty has reached a threshold.
So now is the time to standardize the publishing, distribution and content management system.
If the court doesn't care, private booksellers will discuss it themselves and formulate the rules within their circle.
Just like the American classification system for literary and artistic works.
It was not officially organized by their government, but was formulated through internal discussions within industry associations.
The United States has a small government. The government feels that it should not do this kind of thing, and the people also feel that they should not care about this kind of thing.
But why do industry associations take the initiative to establish a grading system?
Because they were troubled by the Parents Association.
This rating system from the publisher is actually a disclaimer written to the parent association.
What I mean is that the work I released is originally intended for people over a certain age, and it is not recommended for people under that age to watch it.
I've told you clearly on the packaging and at the beginning.
If your child sees it and is affected by it in some bad way, it is not my responsibility.
In the American legal environment, this kind of statement is useful when litigating.
The existence of a rating system does not mean that all works can be distributed.
Among all the levels, there is actually a lowest level of "rejection rating".
It’s something that’s prohibited from being shown in public…
What Zhu Jingyuan is planning to do now is to seize the unclear censorship responsibilities that are now scattered among the people of the Ming Dynasty into the hands of yamen at all levels in advance.
To avoid direct civil conflicts similar to those in the United States in the future.
