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Guide for life coding practise as electromagnetic [EM] action (2007.06.13:1)

[to be published as part of: Constraint City from Gordan Savicic:

http://www.yugo.at/equilibre/ ]

Iceland spar is what hides the Hidden People, makes it possible for them to move through the world that thinks of itself as 'real,' provides that all-important ninety-degree twist to their light, so they can exist alongside our own world but not be seen.

[Against the Day. Thomas Pynchon]

To outline the practise (instructions for city-wide life coding activity within electromagnetic/aetheric substance) we can begin in an associated realm - instructions devised within a scene by William S. Burrough's [Cities of the Red Night] to place the city EM play (scrying) within the context of both EVP [Electronic Voice Phenomena: cf. white noise spectrum and Stochastic Resonance Theory. references: the work and apparatus of Freidrich Jurgenson, Konstantin Raudive and Hans Otto Koenig] and the flip-side of radical constructivism (software); a deceitful world interface with direct reference to The Magus [John Fowles] and Burrough's software (the crash of that software revealing...):

I recorded a few minutes in all three rooms. I recorded the toilet flushing and the shower running. I recorded the water running in the kitchen sink, the rattle of dishes and the opening and closing and hum of the refrigerator. I recorded on the balcony. Now I lay down on the bed and read some selections from The Magus into the recorder.

[William S. Burroughs. Cities of the Red Night]

Electronic Voice Phenomena or ITC (instrumental Transcommunication - a two way conversation with the spirits) - a modern , technology-driven double to early science/spiritualism with white noise and recording apparatus as support or medium (for bootstrap or debug messages from the beyond, the Hidden People, dead coders/technologists).

The communication terms of signal and noise are called into a different relation under Stochastic Resonance Theory - broad spectrum white noise; at a microscopic level, the internal thermal noise of a physical circuit (a city) or natural electrical phenomena in the atmosphere - both embraced by radio technology. White noise boosts an otherwise unheard (voice) signal, makes it evident.

EVP divines software or code with scrying recommended as city-wide EM flaneur activity; EM scrying for ghost software - divining process, divining a hidden city, an alternate electromagnetic architecture with no lines of transmission, but rather of resonances undone from the intentionality implied by the terms of receiver and transmitter.

Coming to light, revelation, exposure, a transparency or making visible enabled by the crystalline Iceland spar which serves as a doubling - the decomposition of light into two rays (the ordinary and extraordinary, the real and the imaginary component) as it passes through the calcite crystal. Science as a bringing into light, the light of day as opposed to the darkness of spiritualism. Work (and putting the spectrum to work, work and energy and entropy, light as resource and as power) and the day and light.

Brought to light, electromagnetic substance, after James Clerk Maxwell and Albert Einstein, is precisely light, or, in reverse, light and magnetism are viewed as "affections of the same substance"; a disturbance propagated according to "electromagnetic laws" [Maxwell]. This same substance, luminiferous or light-giving aether. Duplex fiction and double identity from the word (go), Charles Dodgson and alias Lewis Carroll, with games of time reversal, of clocks setting time forwards and backwards in text, and in nonsense language, predicting the occupations of modern physics (Albert Einstein, special relativity again with the direct link to Maxwell's equations), and a certain question of direction which concerns both the daemon of Maxwell (outside the system, in the exterior), and the fiction of Pynchon (halved circular arc of Gravity's Rainbow, the thematic and drive of entropy within Pynchon's Crying of Lot 49 - with direct reference to Maxwell's famous creation).

Light and electric light (against the night), light in the expanded sense (after Maxwell), light as that duality (of wave and particle), the doubling within the Iceland spar:

"The ancient Manichaeans out here worshipped light... No matter what transformations might occur, and they expected anything, travel backward or forward through Time, lateral jumps from one continuum to another, metamorphosis from one form of matter, living or otherwise, to another - the one fact to remain invariant under any of these must always be light, the light we see as well as the expanded sense of it prophesied by Maxwell, confirmed by Hertz. Along with that went a refusal of all forms of what they defined as darkness."

[Against the Day. Thomas Pynchon]

Both Manichaeism and Gnosticism are concerned with a duality of light: a doubling and duplicitous nature relating to conspiracy (the work of Philip K Dick as supremely Gnostic in preoccupation) - the dupe (The Magus - an untrustworthy or constructed reality), the double. The looking-glass world of these "lateral jumps" returns us to Charles Dodgson, alongside Conan Doyle (forensics, detection and revelation), members of the SPR (Society for Psychical Research - together with Lord Rayleigh, Maxwell's successor).

Another double or second person is presented within the fiction itself by the pseudonymic double within Dick's VALIS [Vast Active Living Intelligence System - the pink light] - a translation or transition effected by any lens from Philip K Dick to the character, in the third person, Horselover Fat; he who is talked about as another person within this novel of Gnostic intent, of revelation within a total paranoiac oeuvre; an obsession that there is something else at work here, there is something else happening aside from the visible or the told [the career of Wernher von Braun]. "The empire never ended." The (pink) light or luminiferous aether is a revelatory medium. The life coder is elsewhere/another, very much within a scene.

Life coding enters both as this kind of fiction and the practise of the container which is established by (mise en) scene and by the establishment of a rationalist model - the container of a model (constructed by science) for lived reality/technology. De Sade makes it plain what it is to write fiction, to write code commentary in the 18th century, sitting on the page, as some kind of container also to be divined, and within the mise en scene to define a relationship of execution (storyteller whores as life coders). In the scene.

A living that it makes no sense to talk or write about without reference to economy (city as a machine for living, the interior CPU or circuit we'll arrive at soon confronting Oedipa Maas, familiar from the banal radio days).

The life coder presents a play with these containers - these containers are exactly the EM scrying devices; VALIS in the hand. The practise is clear: a mapping of (the interior) technology over the constructed world (exterior) aside from questions of instrumentalism, use or relation - rather that fiction which is a data sheet (outlining potential acts - the instruction set perhaps) becoming in some way embodied within this closed hardware; a kind of reciprocity or exchange between a science (fiction) successful in prediction or approximation (this is the hardware) and, on the other hand, science as describing the world as contained (the project of rationalism, the interiority of endophysics). The final cyclops eye of the Sadean life coder is in some sort of lens, Fourier transform or anamorphic relation to the expanded bedroom (city). An in-circuit flip-flop of Russian-doll-snakes rationalism/irrationalism biting word tails; Horselover and Philip, Charles and Lewis.

Embedding and containing imply an idea of scale and of a frame of reference: Oedipa's miniature radio receiver hides (behind) an exterior which cannot be avoided across Maxwell's City swarmed with mushroom antenna. An exterior of wire, of metal intentionally at odds with the buried cables and structural Faraday's cages embedded within concrete. The microscopic of an internal electronic circuit is reflected in the wider copper traces of tramlines, power lines, structural metal - a sibling circuit with its own ghost architecture; the circuit diagram is replaced by an overlapping series of maps. Maps of structure and ownership also. Circuits of detection and translation (less than visible). Capacitance, inductance, blocking, resonance, resistance on a grand Tesla scale.

Where do we place execution or, rather, interpretation which can maintain a (programming) language, maintain the closed space of execution (interior) within this active process; a closed circuit with this language which can begin to re-define itself and thus to re-define new ways of describing and thus regarding process. Such that a process can hang on a fence, waiting for continuation, for extension and further execution, potentially within a new environment.

Life coding flaneurs attach this descriptive process to city objects, delaying execution. Code becomes a part of EM substance - modulated and demodulated articulating hidden substance. Code (that writes) is W.A.S.T.E (We Await Silent Tristero's Empire. ref. The Crying of Lot 49) - a paranoiac, alternative system of message distribution - a simple equation concerning signal and noise - intentionality of transmission and implication of reception. We are receiving a signal.

Tristero is fiction as conspiracy theory par excellence, revealing nothing but itself.

The pink light can be analysed in the frequency and hence time domain to be revealed, to come to light as information, as that which was intended to be transmitted for certain reasons, or from a source which is yet to be revealed. the same source which is active behind the paper scenes (a source of messages) divined within the city of San Narciso by one Oedipa Maas in Pynchon's The Crying of Lot 49:

She drove into San Narciso on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull brown earth; and she thought of the time she'd opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate.

The closed circuit is clear - electromysticism within city practise - life coding within a CPU mapped onto the circuit. The very latest Baedeker is transformed into both data sheet and circuit diagram for a new form of life coding tourism.

Martin Howse. Oslo/Berlin. June 2007.

(from riga presentation notes) 13:01 (2006.08.21:2 research#59 xxxxx_at_piksel_notes#16 life_coding#8)

what is life coding - as expressed by the design of a CPU, the design of a simulations machinery after Daniel Galouye (Simulacron 3 - reworked by Rainer Werner Fassbinder as a pure filmic description of Rossler's endophysics, head, eye and camera in electronic transition - zero domain crossing is your reference)?

our model for the CPU, and the question that the idea of the CPU renders is precisely where we draw the line, where we mark a division or passage between hardware and software, a false and delirious division which could be imagined as between the analogue and the digital - the digital and/as a reining in of the analogue - not so much in terms of discretisation but of a forbidden zone far from zero crossing - a forbidden zone which precisely the Schmitt trigger is designed to out-sketch, to eliminate, drawing that wave as squared, as regular noise. A different time-frame for a digitised sine wave which can also stand as a modulation. what carrier?

so there is this drawing of the line which is a question of instructions also, of microcodes which express the most basic operations which can be achieved in terms of raw hardware, of gates opening and closing around a machinery. on the bus. a drawing of the line which is a question of virtual machines - of how that instruction is understood by an underlying machinery. an old tale of abstractions which fits language. the same line-drawing which articulates a progression into high-level code by way of the (termed by computer scientists as incestuous - within a bachelor realm) interpreter (we will meet again under the terms of evaluation) or the compiler.

such allows us to choose as a model for the CPU, the design of a LISP-based processor undertaken by Guy Steele and Gerald Sussman in the 70s at MIT AI labs. the idea here of a layering down to hardware which mimes the same principles or ideas, an equivalence of data and code which marks the incestuous role-play of the interpreter (code into action, into electricity reflexively) and allows for the entry of quotation; quotation implying a system of notation which can equally well be the brackets of the so-called Lisp S-expressions, or ones and zeroes.

http://repository.readscheme.org/ftp/papers/ai-lab-pubs/AIM-514.pdf

(Lisp typified as high-level machine language)

how we can proceed from the specification of a high-level programming language - conceived a means of active process description and symbolic manipulation - the latter as key to the electric process described here - rather than as, say, a spreadsheet - proceed from this specification to the description in a (software generated) circuit diagram for that which will run or mime this language.

how does quotation take place in hardware?

what are the possibilities for the SALO code project? 20:41 (2006.08.09:5 tech_notes#205 research#51 life_coding#7)

previously:

An encoding of Salo according to some system or active scheme of representation.

encoding those enframings, insertions and contextual shifts (life as dream as life as dream) enacted by quotation.

a system of notation (software) mapping levels of action, quotation and description (Salo is such a case - in being filmed, in the act of filming a prescribed script - of expanded software). - relation and marking as itself also within Salo - systematics and enacted diagram overlap here is short circuit of the pseudo-scientific rationalism of de Sade and pornographic intent itself. Such a diagram/system of description can be extrapolated in the opposite direction as a system of creation.

also pragmatic notes - source code commentary

prescriptive formulas and recipes

How to produce such a mapping or system of notation - perhaps Lisp-based and making use of indentation and bracketting

and of course 'quotation within the language itself

linear time-line and nesting of action and notation itself

the language of Salo description becomes active language of fm01 creation

so here we have the idea of a paranthesis-led notation. a language which could be interpreted and such interpretation locked to the already noted frames and nested playback

xxxxx introduction discarded notes: The opening credits 11:59 (2006.07.11:1 research#10 life_coding#6)

Bibliography, index (with reference to J G Ballard's work The Index, which should be read as a condensed, parallel relative of this work), opening credits, within a necessarily non-fictional film perceived - some kind of technologically mediated - and with an equal resort to the staccato frames of an equally digital Turing machine (film as always a digital medium encoded in base 24 most commonly) recording the enigmatic physics of dials and other instrumentation within the V2 rocket (our living - woman as missile). Film thus as the never-fictional in relation to an instruction set which could be documented here in a reverse direction (again a question of reversibility for de Quincey's carriage, for Nietzsche (the eternal return), for Sade, for Klossowski, for computing itself, for Endophysics by way of entropy, for nuclear operations, and for crash/living), a reverse direction to Ballard's The Index (a fiction of an index for a book which does not exist). The instruction set as a never-articulated atrocity exhibition active real, highly fictional - all the components of the re-configurable logic, the hardware, point in that direction. The Atrocity Exhibition itself is an active circuit articulated by the changes in digital circuitry itself which are effected by the instructions. A setting of switches in strict notated time; a transition from 24 fps to 2.7 GHz, TTL or CMOS modulation within an economy, a system of production imapcted by the very wavelength of light.

The so-called (non) fiction of the real lived film constructed with the real effects of a fictional instruction set. A relationship mapped exactly by the (necessarily) viral executable.

Pierre Klossowski's (as Nietzsche) intensities modulations, simulacra and representations re-read within a landscape of active code, of expanded hardware rendering an eternal return:

First one must admit everything that is purely 'automatic': to dismantle an automaton is not to reconstruct a 'subject'. Since perspectivism(ital) is the characteristic illusion of this automaton, to provide it with the knowledge (ital) of this illusory perspective, the 'consciousness' of this 'unconscious', is to create the conditions of a new freedom, a creative freedom.

Pierre Klossowski. Nietzsche and the Vicious Circle (translation by Daniel W. Smith) p39

Alternative opening credits and introduction. An anonymous entity interrogates this introduction. And given that the computer can easily manipulate these symbols it could well prove itself to be such a thing. Capable of writing or saying "I am." These words, the preceding words appear slowly in green text on a rasterising terminal, a low glow; the past thankfully revisited courtesy of the contemporary GNU/Linux commandline. The clatter of a distant teletype provides suitable incidental or ambient soundtrack as the opening credits now roll. A worthy collation of re-framings as practised by the likes of Godard.

The opening credits roll (that first opening quotation from Gravity's Rainbow). Titles. A relation - fiction. naming with real and otherwise assumed names participants in an all real so-called fiction which follows. Karel Reisz' film French Lieutenant's woman acts as a prime example.

A film with a greater reality, a preferred reality than the so-called and psycho-analytically abused terms of the real without a start on the political. with its broad frame, these credits we speak of and can enter as participants and as a written text, these credits we can very certainly grab hold of. We could speculate as to a future reality Tv show placing celluloid in all surveillance cameras.

From the repetition of the opening quotation it can only be assumed that Friedrich Kittler is also in the cinema, as a Delta-t of time and space expands to embrace a snowy berlin V2 rocket test launch and final destination (predated by a reversible rainbow) in that very cinema - the same Hollywood theatre or more suitably a recorder turn for a kinematographic cylinder in the first black film studio; driven on by the entropy-led demons ushered in by Thomas de Quincey and nursed by Otto Rossler.

Expanded software

Life coding, a practicle or rather poesis-ridden subtitle for xxxxx, is an active interrogation asking a what and a how in relation to both life and code, inscribed by language; electromystic code commentary as a means of practical liberation from the language virus (cutups as early software art) according to Pierre Klossowski. Expanded software, marking a fretful return to proposing a new space, the artistic erased by the same hex-like five crosses (x86) which veil crash as word, as idea - what some would attempt to name again as life but which we will call software. art and thus life in the age of (its impossible, zeroed) mechanical reproduction - better translated as ....

Speculative or expanded software (questionable term itself when we come to embrace hard software) abandons the devilish realm of the hex-infested existent hardware, stepping lightly over the established cultures of scripting and notation, other encodings. As such does it not accord, map over, or in the last instance, ultimately be rendered equivalent to what, in the words of an anonymous question on a live coding panel, is termed life? Without entering into any parallels with theatre or film. The opening credits roll.

cutups - Stewart Home riots.

the actor makes a living, lives through the set piece, the camera movement reveales on a mirror edge by both filmed product (executable) and documentation - the train moving window trick again

source code after the fact.

time reversal

expanded software as that which both is and is not in executable - exactly enacting what it was instructed to do by an overdetermined subject enwrapped within an object oriented knowledge domain - the contained universe of rossler's simulations theory

having it both ways - alice dream mirror of the is, is not

hamlet's gnostic veil of culture and of science

Kloss quote p58 reading backwards

pyncho n electro - deceit also

p412 GR - the system - intro life coding...

that you can make a representation, make a drawing, going further, a film to attempt to get hold of that framing - our own credits here, the scene is described, opening scene and always an awakening (ending of Alice), that framing of/around what could be called "life"

1] life coding starts at the command-line, that horizontal prompt proving a horizon for contemplation

2] reframing of texts here which goes without saying

3] what is expanded software?

consideration of expanded software undertaken within xxxxx, as first step towards life coding

mention .walk of socialfiction.org on same ambulatory terrain S Home mapping walk

expanded software and the impact of the executable on necessarily open hardware. An active examination of electro-mysticism in this regard with reference to Friedrich Kittler's essay Pynchon and Electromysticism:

* .. that elegant blend of philosophy and hardware, abstract change and hinged pivots of real metals which describes motion under the aspect of yaw control...

an equation follows.

(Pynchon Gravity's Rainbow p.239)

* The only difference between military test camp and Schwarzgerat, between Peenemunde and novel, is the technical drawing, which converts itself into poiesis, into the making (das Machen).

grew from two series of events concerned with third space - science blah - speculative hardware/software

crash and xxxxx

3) life coding. sadean life coding and salo as example of expanded

software (hardware also)

Sadean live coding and the deceitful world interface

A bibliography precedes a film which is already held together by a tissue of quotations (written, spoke, gestural simulacra), themselves appearing absurd within a context of degradation, of explicitly cruel acts. Reverse the process, viewing this lengthy textual compendium, reframed texts within the context of an xxxxx thematic, in tandem with a viewing, most probably electronic, of Pasolini's Salo and that bibliography, surrounding documentation also rendered as artefacts. An encoding of Salo according to some system or active scheme of representation.

encoding those enframings, insertions and contextual shifts (life as dream as life as dream) enacted by quotation.

a system of notation (software) mapping levels of action, quotation and description (Salo is such a case - in being filmed, in the act of filming a prescribed script - of expanded software). - relation and marking as itself also within Salo - systematics and enacted diagram overlap here is short circuit of the pseudo-scientific rationalism of de Sade and pornographic intent itself. Such a diagram/system of description can be extrapolated in the opposite direction as a system of creation. We can also calculate strict parallels with the embeddings of simulated worlds/enframings/literary quotation (Zeno)/the circuit diagram within Rainer Werner Fassbinder's Welt am Draht (World on a Wire), and thence to originating text Simulacron Three by Daniel Galouye referenced as an entry into the original domain of Endophysics as described by Otto Rossler (see page xxx).

Sade formulating systems

Sadean life/live coding of an extreme order in obvious relation to Home/Cramer - pornographic coding

decoded by Klossowski, Sade's writing in relation to the executable:

p17

21 recuperation of the possible

p41 execution

120 days - made evident in Salo. the frame. the whore/storytellers relating of an aberration interpreted by a machinery (CPU) of the libertines. rendered executable and electric within that circuitry

a spoken source code within irreversible miasmic air of the chateau

The whores as prime example of Sadean life coders - execution as the final dance, the two hopeful boys embrace at the close of the film cut across the tubular torture garden at the end of the telescope or kaleidoscope (history of) screwing down the iris of the film camera. The apparatus here is also in the circuit, perfect end credits of a stopped down lens sequence. A circuit which could be coaxed to embrace a particular author's death.

p42 What gives Sade's text its disturbing originality is that through him this outside comes to be commented on as something produced within thought

p42 parallel last sentenced to pynchon city plans and the radio (kittler)

also pragmatic notes - source code commentary

prescriptive formulas and recipes

film - a representation of that questionable term "ourselves"

of life ignorant as Sartre's pickup of the process of reproduction

film to be gotten hold of - framed yet in some ways through its own invention reflexive. the pinnacle of the always-fictional snuff movie as a sexual reflexivity in the seedy primal location of Edison's Black Maria or Kinetographic theatre - worth mention of original cylindrical nature of early kinematographic apparatus

film credits - the ability to run time backwards.

film credits - faces/sceens - a symptom or sign before they appear - what will happen contained

can i describe myself? problem already of grabbing hold of something

fatalism -

deceitful world interface with reference to the Magus and Burrough's citation/program in Cities of the Red Night:

instructions/post-description: I recorded a few minutes in all three rooms. I recorded the toilet flushing and the shower running. I recorded the water running in the kitchen sink, the rattle of dishes and the opening and closing and hum of the refrigerator. I recorded on the balcony. Now I lay down on the bed and read some selections from The Magus into the recorder.

I will explain how these recordings are made. I want an hour of Spetsai, an hour of places where my M.P has been and the sounds he has heard. But not in sequence. I don't start at the beginning of the tape and record to the end. I spin the tape back and forth, cutting in at random so The Magus may be cut off in the middle of a word ...")

deceitful interface - in the light also of relation de Sade to (as hinted at by Roessler in xxxxx paper) cartesianism

Because if the world is consistent relationally, then it’s a machine world and then the other human beings that you meet during daily life also are nothing but machines. Then you could in principle build a computer, build an artificial human being, artificial persons. Or at any rate, even if the computer had not been invented yet, where you could build a lower level universe to which you are the boss in the same sense as he felt there was a boss above him. Even before that, with respect to the other people in your world – to you -you can claim that, they are machines. You are outside them in the same way as the vertical exteriority, that imposed the dream of consciousness on you, is outside to you. So this is again a sadistic situation. There was a pupil of Descartes a hundred years later, called the Marquis de Sade who took this element out of Cartesianism, and wrote very cruel books – I didn’t read them – but a friend of mine did and told me the gist: and so one of the sentences is that this young lady : he tells her that it’s her own business, if she loves him. It has nothing to do with him. It’s none of his business to be loved by her. Its just her own pleasure. And this cruelty, it was made possible by Descarte's thinking. If he is the only sensing soul and everybody else is nothing but clay in his hands. So it’s a slavery type situation. So the same slavery type situation that he felt himself to be in, suddenly he is able to give to the next level ( so to speak) suddenly the others become slaves in his own – they are dependent on his fairness or not – and he can mistreat them as machines or he can treat them as machines without mistreating them.

quotation in Salo

temporal bandwidth

a machine for living

a house is a machine for living (dir Pierer Chanal 1931)

enframed machine understood. untied (by capacitor to ground) living less easily represented/understood (recourse to a commonality)

alternating current

waves crossover (see waves text - the circuit)

a machine for living:

living being the task, the role for the machine - that which the machine fulfills. definition of living/life (outside the scientific - again unframed, untied from a domain which could be said to be within living - living from outside endo-living)

living life coding - overlap/frame.

life as dream thematic

sade -> Rossler

crash de quincey trajectory xxxxx

again to cynicism

life as a business, sein und zeit

p195 sloterdijk

by way of Ballard interview, quotation from Villiers de L'Isle Adam's novel ????

As for living, our servants shall do that for us.

echoes in Aldiss - Live? Our computers will do that for us.

again simulation

again live coding/life coding within the frame of a machine for living and of a modern(ist) cynicism

interspersing WaD/simulacra 3 synopsis/lines

preface sloterdijk - public dispute about true living

machine for living (far from utopian sense) - algorithm as enabling a systematics - as a prime mover within an economy of the machine for living - an algorithm of economy. GR as code. cold war explicit as code in being chained in to a kind of hardware - hiroshimic hardware. economy as code. one side of expanded software

4) life as dream thread (how we can enter this). life coding as life/world frame question (endophysics) without entering into

equally brutal term of consciousness

Sadean (for life coding) systematics encoded within 15:58 (2006.06.27:2 life_coding#5 tech_notes#140)

prolog-like/kodiak-style system

by way of Klossowski's outline: Outline of Sade's system in Sade My Neighbour

life coding panel notes cybersonica 20 may 2006 dana centre, london 12:20 (2006.05.25:1)

Notes for panel.lisp based on code from Peter Norvig (Kodiak.lisp) and Paul Graham (On Lisp - processes and continuations)

Specification of the environment for the ironic panelling modules concerned with representation and process - ie. software.

From the outside in. or bottom up. A free software environment - GNU/Linux, GNU Emacs - exposure as essential for live coding, SLIME and CMUCL Common Lisp implementation.

Representation - a knowledge map/set of relations is expressed using Norvig's Kodial representation language.

Previous experiments to map a network linking Alice in Wonderland by way of author Charles Dodgson to Ripper murders of late 19th century extrapolated/or looking glass switch into contemporary death of Lady Diana.

Representation - categories, individuals, relations and values. Also notation for equivalance and when/if statement

roughly ties into level of process - interacting process with three processes here: Jonni, Martin and the deus ex machina exchange messages and synchronise by way of the panel board. System is readily extended by way of integration into the querying system with answers posted to the board by active agents. code as character. Sadean live coding.

pre-panel codelang notes

multiple titles/ entry points/ code relation the opening credits:

panel as kodiak representation language module.

what could a panelling module be? software as active and expansive descriptive means for process and recursion/expansion - an open field

live coding is dead. long live live coding.

live coding and the interface

interface between expanded software and existent or contemporary software

environmental code towards xxxxx and plenum

world as interface

plenum cutn'paste:

Software is concerned with an interface which operates in two directions - from the realm of speculative or expanded software (aka. the social) to the reduced yet equally effective realm of codified software and (as output, as interference, as noise) the entry of executed results back. A repetitive return trip. A two way street.

The code here is concerned with that which can be exchanged (or mapped over) on this interface. On the machine side that which is knowable for the patch - time, sound as data (amplitude and thus frequency which then opens up to statistical analysis across various domains), and, as we will have 8 microphones distributed in the room, space. Simulation, and code herrings push things further.

On the other side, the human, and within a narrow context the meta, the xxxxx/PLENUM experiment attempts a simultaneous overmapping of both realms using operatic, logical and holographic technique dressed up in the emperor's new clothes; the expanded software script (human) translated into machine and meta-human-machine operation. We would rather view interface in terms of a Gunter Brus incision than a question of design and GUI.

Code leaks both ways across a broken-world interface, a pornographic exchange, the dull promise of the world on a wire (puppet or network), and the entry of simulations theory. Code translates into the intensely operatic with orchestra, libretto, shameful life all on a multiplied plane. No other score or meta score exists. There will always be an outside.

All patches, software encodings, algorithmic elaborations for either space should prove readily extensible (in the codified realm, heavily abstracted and based on message passing, in the social realm driven by baroque protocol) and concerned with an extreme escalating overmapping of expanded and reduced software domains. The problem states itself as that of the practical and the experiment. Substance.

Specifications:

A powerful programming language is more than just a means for instructing a computer to perform tasks. The language also serves as a framework within which we organise our ideas about processes. Thus, when we describe a language, we should pay particular attention to the means that the language provides for combining simple ideas to form more complex ideas. Every powerful language has three mechanisms for accomplishing this:

[Structure and Interpretation of Computer Programs. Harold Abelson and Gerald Jay Sussman with Julie Sussman]

The software environment: Live specification of a language. This is not Pd, this is not SC3, this is not Common Music, this is not Scheme, this is not .....

The protocols: Ported upstream to the social. In order for heterogeneous systems (ourselves) to exchange data they need some sort of protocol agreed upon. Protocols are to be discovered and determined in situ favouring those which stress promiscuity and supreme pluggability.

The hardware: As many code operators/composers and artists as possible. Ten microphones, two mixing desks, cables, beamer.

The five acts, five software modules. Five versions of the same film or software. Five times five.

code AS an/the interface

quote:

This is the natural way of Lisp … you stop thinking in terms of applications at all, because you can play with everything interactively. Any user interface is there to simplify the API for

less sophisticated users.

thus in relation to live coding // live coding as philosophy (GNU Emacs as live coding, free software as live coding,???)

or in relation to live coding as a technique (trivial concern):

pros:

1) exposure is always good. allied with free software.

there was one more but forgot it now. relation also to scripting/theatre could be broached also

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

2) code is interface and environment. The commandline. GNU Emacs.

3) playfulness

4) privelege of source over execution (perhaps)

cons:

1) return of the virtuosic: the guitar solo translated

2) emphasis on the algorithmic

3) emphasis on the imperative - the guitar string is plucked

4) a simple answer to the question: what is code? is pd patching live coding? is machine code pokery live coding. an ignorance of abstraction. the blank slate

5) social software?

further story understanding resources 21:10 (2006.05.24:3 tech_notes#132 fmo1planner#4 life_coding#3)

http://lucy.media.mit.edu/~mueller/storyund/storyres.html

FAUSTUS 21:04 (2006.05.24:1 tech_notes#131 fmo1planner#1 life_coding#2)

Frame Activated Inferences in a Story Understanding Program

http://www.norvig.com/ijcai83.html

life_coding 21:27 (2006.05.23:2)

live coding panel notes, cybersonica, london 20 may to follow

!!!