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1010/ap

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dired and find: 14:34 (tech_notes#130)

M-x find-name-dired

M-x find-grep-dired

http://www.gnu.org/software/emacs/manual/html_node/Dired-and-Find.html

but how to grep dired buffer?

a) mark all files in dired buffer (t key to toggle marks)

b) search with A key. M- finds next match

command line operations (parametrised by OSC) replacing cur 13:34 (tech_notes#129)

buffers, FIFOs - difference? copy opertions across FIFOs

also tie in to JACK leakage and containers

Five software acts synopsis 12:31 (five_software_acts#15)

Five acts enabled by differing open software constellations.

Based on PLENUM, xxxxx

The five exposed software acts, verging on the coded operatic as pinned down by plenum, explore the interface between the realms of ever hopeful expanded software and reduced contemporary code; an exchange rooted in the heavily textual notion of scripting. Each act is to be rendered in real time (primarily using the audible as our time base) by five demarcated and differing sets of exposed software assemblages. Such machinery will be assembled in modular fashion using visible Pure Data (PD) patches, custom coded commandline applications chained into new code formations and specific applications of computer languages, alongside well established ap environmental code. The discursive quite obviously enters into the equation within the experiment which is presented by five software acts; an opera with neither performer nor audience, but rather all participants within a code laboratory. A rough outline for the five acts could be sketched as follows:

0) Prelude

Without giving background to R.W. Fassbinder's In a Year of 13 Moons, a singular scene attempts to expose our layering or reframing summarised by "the record player on stage." Where is the script? The elements are all here; philosophy on the walls, curtains obscuring daylight, a silhouetted body-builder lifting weights in slow motion, fake moustache, prostitute and man become woman. A lengthy scene, played out for audience provocation, beginning with Ingrid Caven's spinning top, a dream recounted. "Maybe I didn't dream it at all. Maybe I only heard it or read it somewhere. It doesn't matter." A tape recorder is switched on, dialogue concerning the difference between "real life" and living -- or "real music" and music while Suicide's "Frankie Teardrop" plays. Alan Vega's scream. Song lyrics. Seven minutes 40 seconds. Execution and coding.

1) Substance

The first questions of interface are raised at the level of an imagined neural trigger, an imagined dynamic which could be exposed, a tonality. Escalation is first broached by discussion and by software.

Languages and protocols are exchanged and tried on for size. Codified software switches into leakage and the social becomes heavily protocol driven; operatic speech, drawing room sensibilities, yet all under the banner of substance or vertiginous term/domain exchange/crashing which is maybe the same thing. There is no part or counter-part.

2) Alice: Coded rabbit holes. Spoken word and speech synthesis

Coded rabbit holes. Spoken word and speech synthesis.

The script is interrogated and opened up to ridicule. The code is full of (rabbit) holes and sample transformations. Our pleasant neural system now accepts wild triggerings. A tea party.

3) Jekyll and Hyde

Jekyll assumes sampling or data slicing a la slow scan image-sound, piping and leaked and labelled containers. Timeslice audio laid open to inspection. As from a distance, from within the train carriage, distant objects maintain their place, whilst those closest rush past, a similar spectrum will be attempted. In addition the exterior scene can be moved with no train motion. Time slicing and distance. Multiple versions of the same software will be showcased with reference to the multiple edits and censorsnips concerning Docteur Jekyll et les Femmes (1981). Walerian Borowczyk.

4) H bomb simulation/audience simulation catastrophe

Simulation is made evident through noise and spatialization. The audience is in the patch/code. Code audio is broadcast into the audience simulating space; where are the microphones recorded in the machines placed in simulated space and now heard in the room through two speakers?

Simulation at entry point/interface into the machine. The participants in our expanded software must be mapped into the computer model. Where they meet is the (ugly) interface. What the machine can know is important for its mapping. For example if the microphones are moving the machine doesn't know where they are (unless we code in very complex algorithms that would compare background noises - simulating space is easier than reading space) - unless we at the interface say so - ie. we humanly trace it - or we use some machine vision or some kind of interference pattern. Noise or waveforms suggest themselves.

War time simulations-theory and game theory circa code war escalation could be recounted here.

5) Pink light

[The Thames walk. A code graveyard. The repository is symbolically drained.]