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From: 18:08 (2006.10.23:2 research#100 interface_and_society_notes#4)

W.K.L and Antonia Dickson: History of the Kinetograph (facsimile 2000 MOMA NYC):

p20: regarding the Kinetographic theatre or black maria:

[quote]

As we peer into the illusive depths we seem transported to one of those cheerful banqueting halls of old, where the feudal chief made merry with human terrors, draping the walls with portentious black, and thoughtfully providing a set of coffins for the accommodation of his guests. And what is this mysterious cell at the other extremity, sharply outlined against the dazzling radiance of the middle ground and steeped in an angry crimson hue? Are these inquisatorial dungeons, and is that lurid glare the advance guard of the awful Question? Is that gentle persuasive in process of administration, and do these half-guessed recesses conceal the hellish paraphernalia of rack and screw, glowing iron and crushed stone? Has the doom of ages overtaken our wizard at last, and is he expiating, with twisted limb and scorching flesh, the treasures of his unlawful wisdom? Ah, me! that the prosaic truth must be told. No dungeons are these, thrilling with awful possibilities, but simply a building for the better "taking" of kinetographic subjects.

xx___ 17:51 (2006.10.23:1 research#99 interface_and_society_notes#3)

The CPU is a highly interiorised existent device/structure in the world. The interior is unknown - interface is presented both by way of assigned pins (labelled by numbers/assignments and control, I/O or time driven functions) and the literature on construct of the data sheet which presents this annotation - to some degree often incorporating purely theoretical rather than practical information. The product unknown to the manufacturer returns conjecture. There is a relation to measurement and exploration by way of reverse engineering.

[CPU image. the black box. data sheet Zilog Z80. machinery of reverse engineering]

To extrapolate from such a (fictional) view of the CPU (in the world) towards the world/existent (and thus the arena of life coding: the darkened theatre and its double) implies an interiority which is rationality (a machine) with pin-outs extending deep into the black forest of an outside. It's a necessary exchange - expansion of CPU/machine interiority implies a sadistic or cruel rationality (contained) of the machinic. The CPU is (always) a rabbit hole within this forest which accommodates another extrapolated CPU - Edison's Black Maria. A film studio with a constrained or reduced instruction set which well allows for viral reproduction and thus execution. This studio, in the forest, precisely mimes interiority. The encoding of the instruction set permutation, the program, which equally implies circular motion by way of both vertical sprocket-led motion (reproduction) and a horizontal rotation of the studio itself repeating the world's motion in attempting to track the light of the sun, a telescope's motion; this encoding is equally used within the first hardwired CPU of Konrad Zuse - a hardwired arithmetic unit implying circuit selection parallels the permutational (editing) possibilities of that life coding demonstrative double which is cinema.

ref also:

http://irb.cs.tu-berlin.de/~zuse/Konrad_Zuse/Neumann_vs_Zuse.html

John von Neumann's Computer Concepts versus Konrad Zuse's Ideas and the Machines Z1 and Z3

[Klossowski image/Salo bibliography-ending wrapped in as image and text. Black Maria interior shot. shot. Edison text p. 20+ Dickson's history transcribed below]

Extrapolating further on this tracking (out) trajectory from CPU to Black Maria studio (a mobile police cell) to world/existent and maintaining a relation to containment (prison of language and rationalism), leads both to a permutational filmic construct arrived at when film, like all software, turns in on itself, eats its own promiscuous tail, in compiling or interpreting harmless, passive data as world-active code - an everyday operation which allows for an interface between high level expressive language (comments are nevertheless discarded) and the machinic: machine code exactly as it is termed.

[?. an interpreter in hardware - Lisp transcription]

This film: Rainer Werner Fassbinder's Welt am Draht. Thus a series of ever expanding containers, Searle's Chinese room embeddings. leading both to the Kopf embeddings within Fassbinder's two part magnum opus, and equally to the question of interface. The clue that such a world reverse engineering, this mock turtle science, is on the right paranoiac or conspiratorial track revealed through further empirical evidence or coincidence. Fassbinder's Welt Am Draht (describe) is based on a novel, Simulacron-3, by Daniel F. Galouye in 1964, which is well referenced at the beginning of Otto Roessler's first manifesto for a new kind of science: Endophysics (1992) , or precisely science or physics from WITHIN. Equally the question of a "world as interface"

[Welt am Draht images. Tower of Babel and Breugel CPU]