--> ap/xxxxx


Programming ATmega128L on the scrying_board_reduced: (scrying_tech_notes#21)

1] We wrap avrdude in a shell script. Now changed for 128 or 128L to:

avrdude -p m128 -c avrusb500 -e -U flash:w:"$pfile"

[programmer from: http://tuxgraphics.org/electronics/200510/article05101.shtml ]

2] ATmega128 does not use MOSI and MISO pins but rather PDI and PDO (pins 2 and 3, shared with serial RXD0 and TXD0) - all respectively...

So programming breakout should go to: 1.RESET//2.PDI//3.PDO//4.SCK/5.GND

and then it works.

Artistic OS: (OS#2)


1) The manual/data sheets - the new book

2) The kernel - an intervention into the existent

3) The platform - from scrying http://scrying.org to alice

Notes here:

1) cpu/scrying

2) promiscuOS

3) wonderland - interpreter across all 3

The project is readily broken down as to the three layered sub-project elements classified as to CPU, promiscuous operating system and wonderland language coding environment. Each sub-project builds and informs the next project, ascending a (Babel) tower of abstractions which is itself a strong part of our thematic. The first step is proposed as a summary of contemporary research which maps these domains, including our own previous work. This stage can well be defined as the (public) specification of our artistic computing platform, and can equally be viewed as both a practical and a literary endeavour. We propose the conception of industry-inspired data sheets and specifications as fictions. Such literature, a blend of the practical and theoretical, will be published in book form making use of previous POD (print on demand) experience. This first stage will build heavily on our paper Instruction Sets, delivered at the Interface and Society conference in Oslo last year.

With a specification in place, the three identified elements of the artistic computing platform will be examined and actively constructed, tested and distributed (online). Each element, though building and dependent on others, can be viewed as being occupied with a specific set of concerns as follows:

The CPU is concerned with the black-boxing of technology and a notion of a hidden interior, technology as an interiority. We are interested in the idea of open hardware, and equally in a mapping of such interiority into the world as a philosophical question concerned with rationalism. The project here is concerned with a certain impossibility of exposure. Within a climate of intense (intellectual) property rights management which relies on locking the so-called user out of access to hardware the political concerns here are also important. These will be well mapped out through the documented construction in soft hardware of a functioning Central Processing Unit. The history of computing hardware will be examined in elaborating our artistic platform. Equally there is a relationship to alternative artistic hardware such as Marcel Duchamp's Large Glass and other such bachelor machines. We have technical experience in the coding of FPGAs (Field Programmable Gate Arrays) which will be used to create this speculative, highly reconfigurable hardware.

The promiscuous operating system presents the next level in our model of abstraction proceeding from open hardware to open software. Further interrogating the political concerns of a denial of access to materiality, a politics which can easily be extrapolated from the realm of computation, such a locking-out is equally mimed by software. Users and software are heavily segregated in a universal operating system design which is haunted by the specter of the viral and thus denies the potential of active, shared and networked playful environments. Particular economies are very much present within this model of closed systems and a concern for the politics of control is essential here. This sub-project is concerned with the elaboration, in software, of an active networked operating system which exposes and interrogates control. This OS is concerned with non-functional artistic generation at socially-implied levels of code and production, favouring promiscuous, leaky code and data over security and division by function or task. The highly technical nature of some of the research here means that collaboration on a practical level is essential. This subproject will be launched as a fully-fledged open source software project to highlight the issues at stake here.

The final subproject, the wonderland environment, is the most playful and perhaps loosely specified part of the artistic computing platform. The wonderland environment runs on the OS component and is primarily textual, allowing for language-based manipulation and play with networked instances of highly mobile code and data. The now active, artistic computing system embeds further social systems. The development of a relational language of description and process is implied as well as the question of a meeting between software and fiction; software above all as a means of representation rather than a tool or medium. Again, we are concerned with defining a new artistic practice which is concerned with both science and literature. The working title of a wonderland environment hints at the rich concerns here.