--> ap/xxxxx


16:02 (interface_and_society_notes#7)

To work into above (below):

1) White rabbit economies

2) faked data sheet. holes in the (op code) map

3) OS -> CPU linkage. OS as a social and economic motif

where we can specify that invisible interface which is the operating system.

terms of:

4) (machine) cycles and circles - comparative slide (1) with Gravity's Rainbow mandala

5) ending with forest light slide

exactly a question of interior and exterior - of a hiding.

Notes from transparencies:

trajectory - elaboration of a data sheet, reverse engineering - zoom out (above/below) from interior to film studio to forest - flip/mirror side of kopf and perhaps Salo

trajectory of inside/outside - a journey outwards (but where we imply economy)

a trajectory through the rings - from inside out or from outside in, rings of protection, circles of hell

operating system - kernel and user space.

? the circle within this trajectory

arriving back where we started within an embedding (parallel tracks). - the film that is Gravity's Rainbow ends with the contemporary (to its writing) crash into the movie theatre (the mirror/flip side of Edison's black maria studio - a quotation/exhibition/execution of that which was scripted so long ago). film studio CPU is thus at the centre.

arriving back within an embedding which is endophysical. the CPU disappears or is erased to become the world. that is the circle end

CPU and world as interface

1) code and hardware (interface). the (Chateau) Silling CPU. designation of interpreter, compiler and questions also of microcode and micro-assembler. code commentary from xxxxx introduction:

Sadean life/live coding, with reference to clear systematics, is of an extreme order, existing in obvious relation to Stewart Home and Florian Cramer's pornographic coding. By way of equally systematic artist Pierre Klossowski we can begin to decode Sade's writing in essential relation to the executable:

The description Sade gives of his own experience in the characters he created covers a twofold experimentation: (1) that of the representation of the sensuous in an aberrant act; (2) that of the described representation.

[Pierre Klossowski. Sade My Neighbour. Quartet books 1992 page 17]

Sade's text is not "purely descriptive" but rather functions as quine-like source code for an interpreter. Again we're near to the closed circuit of expanded hardware - an interiority of code in Klossowski's terms referenced as a bloody Cyclops eye otherwise known as the bedroom. Sade as the primal "coder in the boudoir."

This is made evident in Salo. The frame. The whore/storytellers relating of an aberration interpreted by the machinery (CPU) of the libertines; rendered executable and electric within that circuitry.

A spoken source code, grey as celluloid, lingers within the irreversible miasmic air of the chateau. Even the code comments are there:

Do we read Sade as we read Laclos, Stendhal, Balzac? Clearly not! We would not look to the bottom of the pages of Splendours and Miseries of the Courtesans [ital] for notes that would give prescriptive formulas and recipes for procedures to follow or ways to act in the bedchamber. We do find here and there this sort of pragmatic note at the bottom of the pages of Juliette [ital]... These pragmatic notes belong to the exercise of purest irony.

[Pierre Klossowski. Sade My Neighbour. Quartet books 1992 page 42]

In this code walk through (low level to high level or in reverse to action) we are one step away from execution; the next paragraph. The ambiguity of live/life coding presents a similar exercise in irony/cynicism. Life as code, as dictation. The machine (for living - a house or a body) only does that which it has been instructed to do. Alternatively living coding at the command line; that horizontal prompt proving a horizon for contemplation. Just as Klossowski quite rightly states that such an exercise in the "purest irony," our code comments, would not function is such notes did not achieve "real pragmatic use." They must be capable of being rendered executable, of indicating an outside which is "not at all the interior of the 'bedroom'..." where one would code.

The whores function as a prime example of Sadean life coders and also engage economy. Execution is quite literally 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 screwing down the Cyclops iris of the film camera. The pinnacle of an always-fictional snuff movie as a sexual reflexivity in the seedy primal location of Edison's Black Maria or Kinetographic theatre. The apparatus here is also in the circuit; perfect end credits of a stopped down lens sequence. A circuit which could be readily coaxed to embrace a particular director's death.

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

[Pierre Klossowski. Sade My Neighbour. Quartet books 1992 page 42]

Full circle. This is the other half of the two rainbow portions left and right forming the loop (antenna); 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 impacted by the very wavelength of light. The following can well be compared with Pynchon's electromysticism closing the work:

[possibly as closing forest slide]

... first a series of tales, discourses, then a series of tableaux that slyly invite the reader to see outside what does not seem to lie in the text - whereas nothing is visible anywhere except in the text. His work then is like the vast layout of an urban showroom in the heart of the city, one with the city, where without noticing it one passes from the objects exhibited to objects that exhibit themselves fortuitously without being exhibitable. At length one recognises that it is to these that the corridors of the exhibition lead.

[Pierre Klossowski. Sade My Neighbour. Quartet books 1992 page 42]

2) Seasonal, tabulated program of de Sade (les reglements). Salo making evident quotation. (120 days) Four nobles are isolated in the Chateau Silling for 4 months - November, December, January, February.

4 whores/storytellers/life coders

Salo/chateau as the interior of the CPU

3) KEZVH (p361 Gravity's Rainbow Picador). Klar, Entluftung, Zundstufe, Vorstufe, Hauptstufe (main stage)

In the sky over the Alexanderplatz he has seen Oberst Enzian's KEZVH mandala (p446)

circular design of GR

Dante's inferno. Salo/de Sade - circle of manias, circle of shit, circle of blood. circular mechanism of the black maria. Rings of privilege within the CPU.

Beyond the Zero (GR opening)

4) 6809 Byte design 3 parter: SYNC - allows external hardware to be synchronised

5) A map of the TMS-9900 CPU: with 2 to power of 15.95 legal instructions.


instruction opcode operand operation addressing mode


classsubclassmnemonicoctal op codefull namedescription

6809 classes such as Math, Move, Clear, Branch

I/O as class: subclasses here: Multi-digit, Single-digit and Flags

6) Dotted lines surround the black diagram, a symbolic description; dotted lines mark the cut, the interface between exterior and interior

7) exterior- pin functions and pin assignments

interior idealised - the block diagram

the exo-CPU

8) Features of the Silling/Dee CPU:


further on instruction sets:

Alice stack, off with her head

atrocity exhibition

cpu as chateau

one bit world cyclops instruction

instructions named after four life coders of de Sade:

La Duclos, La Champville, La Martaine, La Desgranges