For GNURadio we need to get to IF (Intermediate Frequency) 19:18 (research#15)


An intermediate frequency (IF) is a frequency to which a carrier frequency is shifted as an intermediate step in transmission or reception. It is the beat frequency between the signal and the local oscillator in a radio detection system. IF is also the name of a stage in a superheterodyne receiver. It is where an incoming signal is amplified before final detection is done. There may be several such stages in a superhet radio receiver.

of radio signal

on a Superheterodyne receiver

Heterodyne receivers "beat" or heterodyne a frequency from a local oscillator (within the receiver) with all the incoming signals. The user tunes the radio by adjusting the set's oscillator frequency. In a mixer stage of the receiver, the local oscillator signal multiplies with the incoming signal, producing beat frequencies both above and below the incoming signal. The mixer stage produces outputs at both the sum of the two input frequencies and at the difference. Either the higher or the lower (typically) is chosen as the IF, which is amplified and then demodulated (reduced to just audio frequencies through a speaker).


for entry into source code of GNURadio:


how do we make an antenna for experiments with soundcard and analysis 17:38 (research#14)


farmers manual mention of standing waves 15:20 (research#13)


As an aside: 13:04 (research#12)

Some versions of Unix have integrated kernel random number sources available through the device file abstractions of /dev/random and /dev/urandom. When present, these devices combine a cryptographically secure random number generator using non-deterministic sources of bits with seed information from many random sources, such as network interrupts, user input, and other external events.

/dev/random generally returns random bytes until it exhausts the available noise in its entropy pool, and then blocks until more entropy has been gathered. It is thus suitable for cryptographic applications and one-time pads, but the time required to generate a given number of random bytes may not be predictable. For security applications, this is generally the best source of random numbers available in the operating system without attaching special hardware.

/dev/urandom returns as many bytes as requested; when it has exhausted the available noise, the bytes it returns are only pseudorandom. It never blocks, and thus has predictable time requirements, but may not be suitable for cryptographic use.

Systems that don't have /dev/random can try the Entropy Gathering Daemon (http://egd.sourceforge.net), a user-space daemon that performs a similar function.

From Will Ware:(from http://www.robseward.com/itp/adv_tech/random_generator/ ) 12:50 (2006.07.11:2 tech_notes#144 research#11)

"This circuit uses avalanche noise in a reverse-biased PN junction, the emitter-base junction of the first transistor. The second transistor amplifies it. The first two ALS04 inverters are biased into a linear region where they act like op amps, and they amplify it further. The third inverter amplifies it some more..."

also includes some nice notes/links for PCB fabrication

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:


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