life coding for piksel 2007

Table of Contents

piksel 2007

(load "~/svntest/trunk/piksel2007.el") ;; now with all code


(load "~/svntest/trunk/orgmedia.el") ;; org-mode video

file:orgmedia.el::orgmedia el extension for video audio indexing within org mode buffer

(load "~/svntest/trunk/permute.el") ;; permutations for scheduling

file:permute.el::permutations for scheduling

–[ schedule buffer ]-- –[ resource buffer ]-- –[ audio/pd buffer ]-- –[ remoteco buffer ]--


email: WASTE@noemata.net


org-mode: export visible tree to a temporary buffer with C-c C-e v SPC (org-export, visible, keep buffer)

// <info:emacs:Change Window>

// cycling: http://orgmode.org/org.html#Visibility-cycling

TAB - on header

S-TAB - whole buffer cycle

C-c C-a - show all

useful: C-c C-x b show subtree in indirect buffer.

  • display - fonts - cycling/sparse trees/toc
  • sparse trees, cycling and toc:
    • sparse tree as presentation mode (org-mode)

    C-c /

    custom agenda: C-c a w (par example) for creating sparse trees:

    (setq org-agenda-custom-commands '(("w" tags "piksel") ("W" tags-tree "piksel") ("f" occur "lisp") ("F" occur-tree "l")))

    • narrow to subtree:

    C-x n s - narrow to subtree

    and widen C-x n w

    • use org-toc for cycling



    f - in org-toc buffer to toggle follow // now in .emacs

    1,2,3,4 - for showing trees

    n/p next and previous cycles

  • frames/windows

    winring.el: file:winring.el :

    using C-x 7 n - make new

    C-x 7 j - jump to named

    C-x 7 p/n cycle

    // how to save for piksel

    tapestry.el: file:tapestry.el - not so much success

    layoutrestore.el: file:layoutrestore.el

    • save current and restore layout - simple
  • diagrams: file:box.el::start by boxing in a region inspired by boxquote el

TODO KR/frame/process as major heading:

  • overview
    • messages passed by way of Emacs buffers (see Distel)
    • KR dictates behaviours from relationships
    • process -> KR querying

    -> easiest perhaps then in Lisp (swank/buffer connection):

  • connection
    • Lisp/SLIME buffer connection (by way of pipes/swank)

      or more simply C-u prefix to C-x C-e prints results into current buffer

      from here we could parse matters

      • text/code -> parsed as KR -> manipulation by sets of actions

      text/code <-> (unix/any) process

      also swank [whole thread at]


    • Further - following:
      >>Common Lisp from Emacs:
      (slime-eval-async `(cl:lisp-implementation-type) 
                            (lambda (x) (message "%S" x)))
      (setq slime-enable-evaluate-in-emacs t)
      (defun eval-in-cl (cl-expression-string process-result-values)
         `(swank:eval-and-grab-output ,cl-expression-string)
         (lexical-let  ((here (current-buffer))
                        (process-result-values process-result-values))
           (lambda (result-values)
             (set-buffer here)
             (funcall process-result-values result-values)))))
      (eval-in-cl  "10"
                  (lambda (v)
                    (insert (format "%s\n" v))))
      >> Emacs Lisp from CL:
      (swank::eval-in-emacs '(emacs-version)) ;; for running in SLIME
      >> or we can communicate by parsing Emacs buffer and also making use
      of pipes/tmp buffers
  • KR
  • frame

    see diagram

  • process

    processes in the buffer - active, contributing (as actor's dialogue, as agents (tied into OS) to buffer

    or Common Lisp: file:platform.lisp

  • pd-link rec-play also

    sliced rec and play ??

    commandline splitting with for example: play xad -f u -s b -t raw -r 8000

    (using raw split -b 1024 par example)

    nyquist from emacs as inferior lisp

    rec -w wav file.wav and play (play also in nyquist)

    emacs - comint and pd console output

    pd -stderr – send printout to standard error instead of GUI

    // added to .pdrc and then comint-run pd – this gives us output

    — look again at pd, plenum, five software acts:

    pd: -qlist…. but to specify exactly what we want

resource pool


;; make sure to run image-dired first

(image-piksel-display-thumbs "~/svntest/trunk/imagepool/oslo")

(image-piksel-display-thumbs "~/svntest/trunk/imagepool/piksel")

;; oslo pool

;; piksel pool

via: file:~/svntest/trunk/piksel2007.el

// note M-x image-piksel-display


  • Jonni's pools:

      Those I considered the most capable…

      …were fed appropriately

      Thus as this solemn wedding feast we shall enjoy the greatest delicacy

      Our girls abstained from relieving themselves all day…

      …in compliance with your decree…

      …that we produce this for you

      Let the rite begin

      Our guide restored the divine character of monstrosity…

      …thanks to reiterated actions, that is to say: rites

      No more intoxicating desire exists…

      …endowing you with the vigour…

      …to meet the challenge awaiting you

      Eat, my exquisite bride

      You must prepare for our night of love

      Nothing's worse than a breath without odour

      I can't do it

      Offer it to the Madonna

      Do this

      Say: "I can't eat rice with my fingers like this"

      Then eat shit

      I refer, as you will have guessed…

      …to our illustrious President

      After having satisfied him…

      …I was impressed by such special tastes in one so young

      Tastes that will become clearer later

      Liberated from my mother…

      …I found life rich in all its delights

      One day Madam presented me to the libertine in question

      His passion will strike you as somewhat unusual

      The scene took place in his house. I was shown into a darkened room

      I saw a man lying on the bed…

      …and a coffin in the middle of the room

      "You see before you…", he said…

      "…a man on his deathbed…

      "…but he doesn't want to close his eyes…

      "…without making a last homage to the object of his adoration

      "I adore the behind

      "Although I am dying, I wish to die kissing one

      "When life has left my body…

      "…place me in the coffin…

      "…wrap me in my shroud and close the coffin lid

      "I insist that you observe my orders to the letter

      "In this supreme moment with the sole object of my lewd desire

      "Come quickly!"

      He went on, his voice broken, sobbing

      "Hurry! I am at death's door"

      So I went to him and showed him my backside

      "Oh, what a marvellous arse

      "Having seen this, my life can end. I've never seen one as alluring"

      He fondled it, opened it

      He played with it, kissed it, just as would the healthiest of men

      He made me relieve myself of all that was in my bowels

      I was not at all embarrassed

      "Now it is the time for me to die. The supreme moment has come"

      As he said that, he gave a profound sigh

      Piss over me

      I can't, it won't come

      I've finished

      The limitation of love is that you need an accomplice

      Your friend will know the libertine's refinement…

      …is being executioner and victim

      My sister knew an official in the Controller's office

      A little pig like man, with a disgusting face

      A chamberpot was arranged…

      …for two to sit on, back to back, and relieve themselves

      You must judge by this. A famous painter…

      …was commissioned to paint a Venus with a splendid backside

      He selected her as his model after many weeks…

      …looking at hundreds of behinds throughout ltaly

      How old was she then?

      Fifteen, Duke

      Why don't you arrange a competition to find the nicest bottom here?

      I'll do that. I'm an expert

      Your Excellency, doesn't this situation suggest anything to you?

      It might

      Aren't you ready? Just a moment

      The act of the sodomite signifies the death of the human species

      Ambiguously accepting social standards while transgressing them

      More monstrous than the act of the sodomite…

      …is the act of the executioner

      True, but the act of the sodomite can be repeated again and again

      I think there is a way to repeat the act of the executioner

      Turn off the lights

      Here is my masterpiece

      I have a proposal to make

      We have not yet decided on the winner's prize…

      …for the best bottom

      Here is my proposal

      He or she whose bottom is judged the best…

      …will be killed immediately


      This way we'll be impartial, not knowing whose bottom we are viewing

      A shrewd observation Thank you, Your Excellency

      For if we knew we were looking at a boy rather than a girl…

      …we might be influenced in making our decision

      We must be completely free in our choice

      A clever trap I wish to avoid

      When one prefers men, it is difficult to change one's perspective

      The difference between a boy and a girl is enormous

      One cannot consider what is obviously inferior

      But if we consider all the stories we have heard…

      …in certain cases a girl might be preferable to a boy

      Let us try to remain objective

      Look at the elasticity of those buttocks

      There can be no question here

      Allow me, Duke

      I don't wish to contradict, but may I re examine a most impressive

      However, I will yield to the opinion of the majority

      I vote for the Duke's candidate

      My vote goes to the Duke's candidate

      Dear President, three votes to one

      I bow to the majority

      But I request that my candidate be reserved for me to deflower


      We'll reveal this mystery


      You must be stupid to think that death would be so easy

      Don't you know we intend to kill you a thousand times?

      To the end of eternity, if eternity can have an end

      Once I had a very mysterious client

      His mania was closely related to…

      …the subject of Signora Castelli's stories, for which I apologize

      The man wanted only women…

      …who had been condemned to death

      The closer they were to death, the more he would pay

      He would visit them when the sentence had been pronounced

      Thanks to his exalted social status, enabling him to pay the price…

      …not a single one escaped him

      He did not possess them casually

      He insisted on inspecting their rumps and that they defecated before

      Why aren't you yelling forjoy? Go on, sing!

      You two, what are you doing?

      Excellency, note their names

      If you like to whimper, we'll make you, for your last few days

      Shouldn't you have paid your bills, Monsieur Royale?

      Of course, Monsieur Juju

      Shouldn't you also pay mine?

      Why so?

      Because two and two make four and I'm broke

      Earn some money

      How do I do that? Through manual labour

      I don't know how

      Then become an actor

      That's difficult

      Try to write then; all you have to write…

      …is any old thing

      Are you crazy?

      I have a duty to perform; I'll return later

      Your friend here is ready whenever you are

      Please, may I speak to you? Of course, my dear

      What will you do to me?

      Talk about that tomorrow; many things will be decided then

      I know a secret. Someone is violating your law

      Graziella had a photograph under her pillow

      Give me that photograph

      Spare me and I'll tell you what Eva and Antoniska do

      They're breaking your laws

      Don't kill me. I have secrets to tell you

      Speak, dirty whore!

      Every night Ezio goes to the black servant girl

      I can take you there


      You make me puke

      Those who are named will wear a sky blue ribbon

      You can imagine what that means

      Others, if they collaborate, are reprieved. They will return to Salo

      What are you going to do to us?

      You'll soon know the gravity of your crimes

      The main character…

      …figured in a number of the previous stories

      He is forty, very powerfully built…

      …with a member like a stallion

      He is enormously rich, very powerful, very cruel

      A heart of stone

      He owns a house near Milan, which he uses exclusively for his pleasure

      At his parties, at least fifteen young girls are present…

      …aged from fifteen to seventeen

      Those who are chosen must present themsleves completely naked

      He touches them, caresses them, examines them…

      …then makes them defecate into his mouth, but he does not swallow it

      After these first rituals, with fearsome gravity…

      …he brands each girl on the shoulder…

      …burning a number into their tender flesh

      After these preliminaries, he opens the window…

      …and places a girl standing in the middle of the room, facing the

      …through the window and vanishes into a dark cellar

      Our hero is familiar not only with Nietzsche, but Huysmans as well

      In the cellar, a masked executioner with the devil's emblems…

      …presides gravely over the horrible machines

      When all the girls are in the cellar, our hero…

      …is highly aroused, having so many contacts without once ejaculating

      Naked, his huge member jutting from his belly

      Now all the machines have begun to function…

      …all tortures at once, with terrifyingly loud screeching

      The first apparatus is a huge wheel with razor blades…

      …to which is bound a girl to be flayed alive

      Another has a live rat sewed inside her vagina

      Oh Lord, why hast thou foresaken us?

      A rationalperson…

      …is not content to kill the same person

      He would recommend murdering as many as possible

      Umberto, come here

      Bravo, always ready

      What does a Bolshevik do when he dives into the Red Sea?

      You don't know what a Bolshevik does?

      No, tell me

      He goes splash!

      Poetry Corner. Ezra Pound. The Cantos


      The whole tribe is from one man's body

      What other way can you think of it?

      The surname and the nine arts

      The father's word is compassion

      The son's, devotion

      Small birds sing in chorus. Harmony is in the proportion of branches

      The gay face of spring is set before the world

      The sharpness of winter now flees defeated

      In various apparel Flora reigns

      And in the euphony of the woods…

      …she is hymned in song

      Can you dance?

      Let's try

      What's your girlfriend's name? Margherita

    • TransEurop Express/Pasolini

      Screenwriter 1: Jean Screenwriter 2: Marc Screenwriter 3: Michelle Trafficker: Elias Prostitute: Eva Gangster: Frank Policeman: Loraine

      Marc - Hello Jean Jean - Hi, Marc. Hello, Michelle

      J - The train is super M - We should make a movie in a train like this J - Yes, why not M- We could call it TRANS EURO EXPRESS J-Thats fine. Whats the plot? M-Drug trafficking. J-Okay M-You know, something very animated. Lots of fighting. Rape. J-Yes M- Something exciting J-Very good. Lets start now. Do you have your tape recorder? Michelle- Yes yes Alright its ready J- Good. Lets go On the platform of the Gare Du Nord Station in Paris A trafficker meets his accomplice carrying a suitcase …with a fake bottom….He'll use it in Belguim …to smuggle a few kilos of cocaine Then he jumps on the Trans Europ Express to Anvers But the police, always on the alert, follow the man He was barely in the compartment when the 3 inspectors catch him Lets remind ourselves…the drug trafficking represents… a large portion of the national revenue 3% of these private professional traffickers meet this end.


      Elias-I'd like a suitcase. -What type would you like? E- Something for trafficking, with a fake bottom to hide drugs. Just kidding.

      E- Excuse me…you are probably waiting for Father Petit-Jean. Man- No..I know the priest hasn't returned from his trip. E- I can give you some news about him. Petit-Jean is drinking beer on the floor of the Art Wagon. Man- Thank you .. but beware of false information.

      J- Is he crazy? That one. What's he looking for? M- Didn't you recognize him? Mi- Its Trintignant. M- What about using him for your movie? J- Yes. Not a bad choice. Mi- What name will you give him? J- Elias M- Is there abetter name? J- No, his name is Elias Mi- Is that his first or last name? J_ Its a nickname. Mi- But in real life….what's his name? J- In real life? I don't know. M- That's a good start. Let's do it again…in the beginning… He has an empty suitcase. Mi- Why did he buy the sugar? J- Because the suitcase was too light. Mi- And that's all he wants to take? J- No, he didn't have time to pack He left on sudden orders. Mi- Orders from whom? J- The organization trafficking in drugs. M- But does this really exist in Paris? J- Of course…thats what he does. Mi- Who? J- Elias

      M- So what next? J- Where was I? Mi- You were talking about the other suitcase.

      TAPE J- "So on the platform the drug trafficker receives …from an accomplice…a similar suitcase with a fake bottom they will use to transport kilos of cocaine". END TAPE

      M- And then what?

      TAPE J- "Then he jumps onto the train and looks for a quiet seat". END TAPE

      [An ABZ of Love]

      M- Who is this girl with glasses? J- It must be an agent sent by a rival gang to steal the suitcase Mi- But why? There's nothing inside. J- Yes. Thats true.

      Mi- What is she looking for? J- Cocaine..can't you see? Mi- That's not possible. You just said he was going to Anvers… for a pickup. J- She probably doesn't know about that. M- The rival gang should know the route of the trafficking. So she probably isn't from a rival gang This girl is an amateur detective… Mi- But where did he go? J- Probably the bathroom to use the toilet. Mi- Why would she look in his suitcase in the first place? M- Because she's curious.

      • Passports please. [Customs]

      Thankyou madam. Thankyou. [to Elias]

      M- It's absurd that she would want the suitcase Why would a rival gang be interested in it?… Or an amateur detective? Or anyone? J- So the woman must be a common thief Maybe she took it by chance She doesn't know about the fake bottom She has nothing to do with drug trafficking Mi- Shall we continue? M- Listen… the story of a stolen suitcase makes no sense And we're getting nowhere with it. J- Up to you M- Anyway cocaine isn't a popular plot… perhaps diamond smuggling would be better.

      Mi- A diamond operation has three parts: Cutting. Shaping and Polishing. The shaping is acheived by rubbing two diamonds together And the polishing is done through extensive blasting The diamonds are shaped into four styles …brilliant, briolet, pendloque, and table.

      J- Let's go in-between.. I keep the drugs but remove the theft You want to exchange seats. Mi- Alright Where do we begin? J- The customs part.

      TAPE "Belgium Customs. Anything to declare?" END TAPE

      J- So Elias arrives with no problems at Anvers with his false-bottomed suitcase. M- He's moving fast.

      E- I want a room, please.

      Maid- Are you going out sir? Thats interesting.

      Man- You are probably waiting for Father Petit-Jean? E- No.. I know the priest hasn't returned from his trip. Man- If you want to see him… 8 o'clock exactly.. at the Hall of Orteras. E- Could you give me an advance on the money you owe me? Man- If you don't need my scarf give it back to me.

      Girl 1- Are you looking for something sir? Do you want to buy me a drink? You're not very talkative. E- I'm in a hurry G1- You've been hanging around 15 minutes doing nothing. E- Thats why I'm late. G1- Where are you going? Who was that man you were talking to? E- A cop He asked if I'd seen any prostitutes around here.

      G1- What do you do for a living? E- I'm a killer G1- Professional? E- No, amateur Semi-professional, actually. G1- You're funny. E- You don't believe me? G1- I haven't met many funny assassins E- Do you know who that guy is? G1- He may be a cop E- No.. he's an actor disguised as a waiter. G1- Do you want to come with me? E- No I'm not interested G1- What interests you? E- Rape. Only rape. G1- Alright

      But it will cost more. E- Why aren't you on display like the others? G1- I'm not a whore. I'm a girl from a good family. You came with me to fix my piano.

      E- Open your bag. Give it to me.

      G1- So did you have fun? E- It wasn't bad… you fight a bit too much G1- You're fairly good looking. E- Thankyou G1- Are you from Paris? E- Why do you say that? G1- Your jacket had a Paris label. E- When did you see that? G1- When you took it off. What are you doing in Anvers? E- Tourism. G1- Why did you give that man your scarf? E- I'm a traveling salesman. G1- You don't trust me. I could be useful to you I know lots of people in Anvers…in all kinds of occupations Whats your name? E- Jean G1- My name is Eva I know the man you gave the white scarf to. He sells cocaine. If I were you, I'd be careful. You can't trust them. They recruit people like you. Instead of paying you … they give you to the cops. E- I don't care what you say. The guy lost his scarf and he asked if mine was his He was explaining where he lost it. Eva- Alright. Good for you. Anyway if you want to work in a serious deal, let me know. Don't forget my name.. Eva.

      Is that a picture of your wife? Its the time for the wife photo to come out.

      E- Is that enough?

      M- There's something absurd in your story Why does Elias receive his orders like that?… From meeting to meeting. Never getting anywhere. J- Its easy to understand. Elias is a new agent. And the organization wants him to prove himself. So they watch him carefully before trusting him completely. Mi- What about the prostitute? J- She's not a prostitute. She's a maid at the hotel… M- Not that one.. the one he meets in the street.. The one he went upstairs with. J- It's not important. He has some free time and… he goes upstairs with a whore. Mi- But she wasn't on display. M- So. Mi- She was on the street.

      J- Anyway, it doesn't make any difference…

      TAPE E- "Why aren't you on display like all the others? Eva- I'm not a prostitute. I'm from a good family. You're only coming to fix my piano. END TAPE

      Maid- Its 8 o'clock, sir.

      J- As soon as he got up he went to the river following his instructions from the day before. Mi- Is he taking the suitcase? J- He thought about it, but then realized no one told him to. Mi- What is he doing there? J- He doesn't know. He goes because he was told to go.

      E- A beer.

      Blind man- Another coin, sir… and I'll pray for your soul.

      E- Excuse me, sir… do you know if Father Petit-Jean is here? Man- It took you an hour and 28 minutes. But good morning My name is Frank. E- Was that a test? F- Of course.. I could be somewhere else. E- The result? F- Check your time. In an hour you'll change hotels. E- Can you tell me to which hotel? F- It doesn't matter. E- Then why change? F- For the sake of change. You will leave the hotel via Pelligrant Street… … wrap your things in a sack and go to the new hotel… In the meantime…you will put the suitcase in a locker at Central Station. You'll give the key to one of our men… … who will meet you at the Wagonwheel at the end of Dock Five. Its 319 thru 321. Understand? Repeat where. E- Where. F- Good.

      I forgot.. if you run into an unpleasant situation… you cannot use your gun. E- Then why did you give it to me? F- That will be explained later.

      E- Thank you. I said thank you… don't you have to go? Maid- No, sir. You're the one who's going.

      Customs 1- Custom control. Passport. Customs 2- What are you doing in Anvers? E- I'm a tourist. C 1- What about the ropes. E- Sailboat. C2- Friend? E- Jean C2- Address? C1- and you? E- me what? C2- Where are you staying? E- Hotel C1- Name and address. E- Norbeiken. Main Street. C1- We'll verify it. E- too late. C2- Why. C1- Where are you going? E- To Paris- C2-Tonight? C1 & C2- We'll see E- See what? C1 & C2- The schedule. C2- The suitcase. The locker. Empty. Empty. Empty. C1- What is this? E- A gun. C2- And that? E- A chain C1- And this? E- Razor. C2- And that? E- A comb. C1- And this? E- Don't know. C2- And that? And that? And that?

      Well my boy, you've been caught Tell us the whole story very slowly Since you are a newcomer to the gang And since you've been betrayed There won't be much of a penalty And to help out, we're prepared to forgive eevrything. E- I don't understand, sir.. You must have confused me with someone else. C1- Stay here, boy.. we'll take care of you.

      C3- So what are you doing here, sir? E- I'm packing. C3- Fine. Goodbye.

      Eva- Hi.. what are you doing here? Are you taking the train? E- I'm checking the schedule. Eva- Do you want me to pick you up? E- Why not? Eva- Wait. And see.

      Are you alone, darling? E- Yes. Eva- Did you just arrive? E- Yes. I just got off the train. Eva- Anvers is a strange place.

      You must be tired from the trip. Want to stop by my house? E- Will you be a good girl? Eva- Yes, sir. E- Can I do anything I want? Eva- Something special? E- Something bizarre. Eva- What type?

      Eva- What is this? E- Just a box. Eva- What for? E- For a razor. Eva- Why isn't it inside? E- Must've fallen out. Eva- There's a mark inside like something else was there. E- Like what? Eva- Like a gun. You should buy a suitcase.. then you could carry things. Convenient for a tourist.

      Did you like it with me? E- The problem is you're used to being taken advantage of I should've hurt you or made you think I was a killer. Eva- Then I would've called for help and you'd be arrested. You don't want to call the police in your business. E- What business? Eva- I have something to suggest. The guy with the white scarf gave me an idea. Don't you know someone named Frank? E- In Anviers? Eva- Yes. E- No. Eva- There's a reward if you lead the police to his trail. E- I think you've seen to many movies.

      DOCK SCENE [surrounded by gunmen]

      E- What do you want from me? Gunman 1 [Frank]- We just want to ask you for the locker key as planned. E- Why all these games? F- Just to see your reactions. E- And the result? F- Correct reactions. E- Suppose I had shot you? F- That would have been a bad reaction. And you'd be a dead man. The gun is empty. Your friend Eva removed the bullets yesterday. E- Is she your agent? F- Of course, what did you think? E- She wanted to sell you out to the police and work for another gang. F- I know but that was part of your test. Correct response. E- What about the two men who searched my suitcase? F- They are part of my gang too. Correct reactions also.

      But, because of the gun, that's one point against you. E- What if I'd followed the advice of the girl… and turned you over to the police? F- try it and see what happens. E- It's possible that I'll keep the merchandise… to work for myself. F- You haven't graduated yet.

      E- You are probably waiting for Father Petit-Jean. If you want… I can let you know how he is.

      When you give your report to the big boss named Frank.. Please tell him.. if he plans on spying on me.. until tomorrow night's train.. He can take the suitcase to Paris by himself.

      E- I've seen you someplace before. Boy- Yes, sir. E- Are you keping an eye on me too? B- No sir. E- Did Father Petit-Jean send you here? Answer! B- I don't know. E- What don't you know? Whats your name? B- Matthieu E- Where have I seen you before? Matt- The cafe.. you had a beer and bought a card from a blindman. E- That's right. Matt- It wasn't a real blindman.. he was faking. E- Why would he do that? Matt- To sell postcards, of course.

      Matt- What's inside the sack? E- Things. Matt- What type of things? E- Things for sleeping. Matt- Don't you have a home? E- I'm looking for a Hotel. matt- Around here? E- Not necessarily. Matt- There's no hotel around here You could sleep at my house if you like. E- Do you live alone? Matt- Yes E- Are your parents in Anvers? Matt- No. E- Where are your parents? Matt- In Paris. At home. E- Are you from Paris? Matt- I was. Not anymore. E- I'm from Paris too. Matt- Yes, I know. E- How did you know? Matt- From your accent. E- Frank told you, didn't he? Answer. Matt_ I don't know. E- What don't you know? Matt- What you are talking about. If you want to sleep at my place.. its this way. E- So you can keep an eye on me, right?

      E- So this guy comes from the shadows.. takes off his glasses.. And Jean doesn't understand. And he says: "That's not funny I could've shot you. Then the boss takes bullets out of his pocket. Jean looks at his gun and it's empty. A spy had taken the bullets out. Matt- Then what? E- I don't know. That's where it was left. Matt- I'd like to know the rest of the story. We don't here stories like that in Belguim. E- Listen.. I'm returning to France.. Then I'll be back here. Matt- When? E- I don't know. Matt- I bet you won't come back. You won't think about me. E-Yes

      Man-at-station- Nice weather for traveling E- Yes, nice weather. Man- The key is in your left coat pocket. E- Okay. Perfect. Since when? Man- Since about three minutes ago. E- Your man last night.. the one who followed me.. Man- No one from our organization followed you last night. E- Really. I thought differently. Thanks for your trust. Man- Did something unusual happen. E- No, just an impression. I see spies everywhere now. Man_ Did you talk to the man? E- No.. I was able to lose him. Man- Did he follow you? Or not? E- Probably not.

      TAPE J- Elias now knows he encountered an undercover police officer That after all he wasn't a member of the organization And Elias had, in fact, told him about Father Petit-Jean..the cocaine suitcase.. the Trans Europ Express..and the big boss named Frank. The man with the cigarette was there when the train departed Every policeman was probably on the alert. Elias is ready to jump from the train.. or to defend.. with his gun.. the precious suitcase.

      M- And so, Elias was arrested at customs? J- To his surprise nothing happened. He arrived in Paris without incident. And that worries him even more. He did what he was told, leaving the suitcase inside a locker. Then he goes home after posting the documents.

      • Hello, Elias?

      E- Yes, who's calling?

      • PO Box 345. I have the suitcase. Assignment correct.

      We'll be able to add some merchandise to your run. E- What do you mean? What about yesterday?

      • Yesterday was only powdered sugar.

      We were just checking to see if everything was under control. Hello? E- Yes, I'm listening.

      • You will leave tomorrow morning the same routine as yesterday.

      Do you have any problems? E- No, I understand.

      Mi- Why didn't he tell his boss about the undercover cop? to whom he foolishly told everything. J- I don't know.. perhaps he was afraid of getting scolded. Or worse.. he might have been considered a traitor. He should have kept his mouth shut. Mi- So shouldn't the organization be changing the codes… now that its known by the police. J- But the first thing that should be eliminated is Elias himself. Besides he's upset with Frank and the others for all the games Perhaps he wants to go back to Anvers to see Matthieu. M- Why the police officer. And what's his name? J- Loraine. M- So why is Officer Loraine interested in Elias? J- Did he know that the suitcase would be empty the first time? It must be typical of the profession. M- And Elias goes quietly into the Lion's mouth. J- So then.. back to Anvers.

      And Elias places the suitcase inside the locker again. Here's Officer Loraine.. faithful to his job… following him. Mi- How does Loraine know exactly which train he's taking? J- I don't know. Perhaps he knows more than we thought. Mi- But only Elias knows the date of his second trip. J- No. It may have been planned long before. Mi- He didn't know when he was coming back. J- He wasn't TOLD when he was coming back.

      Old Woman speaks Italian to Elias. Woman- I mean.. are you taking a walk? E- Yes. Taking a walk. Woman- You have a nice scarf, sir. I know a man who wears a similar one. A certain priest.. they call him Jean. E- Do you know Father Petit-Jean? Woman- Of course, I know him well. E- I know him too. But I haven't seen him for a long time. Woman- He went on a trip. Yes. Thats it.. He went on a trip. We're going to see him at the Ocean Cafe.. just in front of the customs. E- Thank you Woman- Have a nice walk, young man. Goodbye.

      Man- Are you waiting for Father Petit-Jean? E- Father Petit-Jean hasn't come back from his trip. Man- He's back. Follow these instructions.

      Eva- You're probably waiting for Father Petit-Jean? E- I know the proest hasn't.. etc. etc. etc. Eva- If you want to speak to him, just follow me home.

      I forgot something.. I'll be back in a minute. Wait for me.

      Here I am.. I forgot to buy this perfume. E- Couldn't it have waited? Eva- Of course.. but I was afraid I'd forget. Its to please you anyway. E- What message do you have from Father Petit-Jean? Eva- Ah, yes.. you must go to Captain Dike Dock.. 6 at 5:00 o'clock. E- And thats the final message? Eva- Yes E- You didn't tell me that you work for Frank. Eva- I thought you guessed. E- Take your dress off. Get on the bed.

      You didn't tell me you worked for the police. Did you think I'd guess it as well? Eva- No. I swear. You really have an appointment at the dock. Mr Frank will be waiting for you and will explain everything.. about the suitcase and your departure. E- Of course.

      And also the cop you gave the key to. Eva- What key? E- The locker key you stole from my pocket. Eva- When? E- Just now.

      Before you went downstairs. Eva- No, I just went to buy some perfume. E- I was watching you through the window. Eva- Please ..take the ropes off.. I'll explain everything. E- I'm going to strangle you. Eva- i'll tell everything. This police officer named Loraine ..he forced me to do it. Its true.. they will be at the dock.. But I thought you guessed that. No, wait.. I still have more to tell you. E- It's too late. Eva- Please.

      E- Here. I brought you these. I'm staying here. Matt- Is someone looking for you? E- I don't know. Matt- Is it serious? You can stay. No one will find you here. I have to go to work now.

      Mi- Something isn't clear. If Elias had given the key to the double agent.. Eva couldn't have stolen it from his raincoat. J- But didn't she give the key to Loraine when she went downstairs. Mi- But what about the other scene? What do we do with that then? J- Take it out.

      Loraine- Excuse me, sir.. you must be waiting for Father Petit-Jean. Frank- No, the priest hasn't returned from his trip.

      Loraine- Hello.. Central Headquarters? let me talk to Verbune. Hello.. is that you? Come immediately to 26 Castle Street. She's dead. Strangled. What about Elias? Are we still following him?.. Did you lose him? I'll wait for you.

      Loraine- Hello.. Metropole? Is the newspaper on the press yet? Good. Remove page 9, and add the publicity piece.. on Cabaret Eve, the picture of the woman in chains. Then add the following story….

      Frank- Elias has disappeared… put three more men on it..

      Frank- Where is that Elias? Answer carefully.. do you know a man who just arrived from Paris? [Matthieus shakes head] Are you sure?

      Police.. give me the kid's address.

      Watch this house.

      PROSTITUTE STRANGLED BY MANIAC [Newspaper headline]

      • He went into Cabaret Eve.
      • Ladies and gentlemen welcome.. and we wish you a good trip..

      We will arrive at 2.30.. after traveling 124 kilometres per hour.

      Woman in cabaret- I am Alice would you like to go behind the curtain?

      Loraine and his officers surrounds Elias. Frank steps out and shoots Elias.

      • Ladies and gentlemen the Trans Europ Express from Paris is arriving on Platform 3

      And will be leaving for Begerse immediately.

      Jean, Michelle and Marc read of DOUBLE CRIME IN ANVERS at the station. M- We could do a movie in Anver with a similar plot. Mi- But drugs and Anvers don't mix. Here they're more involved in diamond trafficking. J- Besides we couldn't make the movie.. We always have trouble with true stories.

      [Translation by Francoise Harris and Tom Weisser for Video Search of Miami].


new video pool:


living time-lapse version control diagram

time lapse - and (VC) - record text or code file changes (only for some kind of spider-branch rendition)

version control (VC) // version control as branching text audio on splitting timeline - potential web-based wiki-like feature-set for text

  • Halley:

    01111000 01111000 01111000 01111000 01111000 ++++++++++++++++++++ZZZZZZZZZZZZZZZZZZZZZZZZ ++++++++++++++++++++ZZZZZZZZZZZZZZZZZZZZZZZZ ++++++++++++++++++++ZZZZZZZZZZZZZZZZZZZZZZZZ ++++++++++++++++++++ZZZZZZZ7xxxxxxxxxxxxxxxx ++++++++++++++++++++ZZZZZZZ7xxxxxxxxxxxxxxxx ++++++++++++++++++++ZZZZZZZ7xxxxxxxxxxxxxxxx ++++++++++++++++++++ZZZZZZZ7xxxxxxxx@@@@@@@@ ++++++++++++++++++++ZZZZZZZ7xxxxxxxx@@@@@@@@ +++ZZZZZZZZZZZ++++++ZZZZZZZ7xxxxxxxx@@@xxxxx +++ZZZZZZZZZZZ++++++$ZZZZZZ7xxxxxxxx@@@xxxxx +++ZZZZZZZZZZZ++++++$ZZZZZZ7xxxxxxxx@@@xxxxx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx +++ZZZ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$xx ~~~~~~~~~~~~~@@@~~~~~~~===============~~~~~~ ~~~~~~~~~~~~~@@@~~~~~~~===============~~~~~~ ~~~~~~~~~~~~~@@@~~~~~~~===============~~~~~~ ~~~~~~~~~~~~~@@@~~~~~~~===================== ~~~~~~~~~~~~~@@@~~~~~~~===================== ~~~~~~~~~~~~~@@@~~~~~~~===================== ~~~~~~~~~~~~~@@@~~~~~~~===================== ~~~~~~~~~~~~~@@@~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~@@@~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ ~~~~~~~~~~~~~@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Incoding Rules [Peter Halley]

  • Version Control diagrams


    see also ediff modes and:


    towards some kind of time/diagram mode spidering out

the shifts:

-//from hardware to execution by way of interface. // [titling]


  • 1) audio representations of chaos

    Jessica Rylan

  • 2) PITstop/blitz 4.00PM

    Ludic Society:


  • 3) volcanic 5.45PM

    Yunchul Kim, Roman Kirchner, Olaf Val

  • 4) world as interface 7.15PM

    Otto Roessler


  • 5) pornographic coding 8.45PM

    Tatiana Bazzichelli, Paolo Cirio, Shu Lea Cheang, Stewart Home

  • 6) execution - the apparatus rendered active 10.30PM

the code:


// transferred into lifecode/ ~/svntest/trunk as svn repositorty working copy (copied from experiment/lifecode into svnrepo repo!)







other functions

clock test/schedule CLOCK: 2007-11-13 Tue 18:54

Clock summary at 2007-11-13 Tue 20:21.

Total time0:00

Author: m <m@1010.co.uk>

Date: 2009-12-31 15:49:38 GMT

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