Re: [-empyre-] some introduction ::
- To: <empyre@lists.cofa.unsw.edu.au>
- Subject: Re: [-empyre-] some introduction ::
- From: tamara lai <tamara.lai@skynet.be>
- Date: Thu, 06 Nov 2003 06:21:31 +0100
- Delivered-to: empyre@bebop.cofa.unsw.edu.au
- In-reply-to: <20031106005855.5893611E7EF1@imap.cofa.unsw.edu.au>
- Reply-to: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
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>
>
> Hi - Can you say more about this? I'm not at that stage vis-a-vis
> programming - I have to consciously make decisions, test things
> visually/aurally. How do you achieve a state where you can really
> do what you want?
as i said, i don't write codes but use codes as tools
in french we call these 'routines'
when you know what these 'routines' make, and it's quiet easy, you can write
interactivity
it's the most difficult and amazing too
with a set of more or less ten 'routines', one can do very sophisticated and
labyrinthic pieces
for the Web, I make rather simple interactive pieces
my texts, although being simple words, are not easy, and their conjugation
with my images and sounds, induce remanences of feelings, emotion...
something of subliminal which perhaps touches with the unconscious
collective
>
> I know a number of people who make electronic circuitry, "breadboarding"
> things - and they can place integrated circuits together, wire them up,
> without even thinking about it - they're always focused on the end
> product. For me, though, it's been more of a difficult dialog - I want X
> to happen, but it might not - I might be sidetracked by Y appearing
> somewhere in the process...
yes, sometimes things interact in a different way that one expected
it's the 'accident', and it can be highly creative
and you can play with this 'chance', as a new tool
Tamara
> Alan
>
>
> On Tue, 4 Nov 2003, tamara lai wrote:
>
>>
>> hi all,
>>
>> thanks for invitation and sorry in advance for my bad English
>>
>>
>>
>>> From 97 to 2003, realization of 20 web sites - most networked sites (cf. my
>> 'Tell A Mouse' Web ring http://tellamouse.be.tf), and collaboration with
>> several hundreds worldwide artists.
>>
>> The media (and codes of course) are for me, above all, tools and vehicles;
>> technology brings to me remote proximity, impression of ubiquity,
>> psychotropic action of moving images...
>> I am not intellectual nor a tchnician and my approach of the media is
>> intuitive. Although acting in the field of art, I see myself rather like a
>> poetess of words and image (and sound now...), with research of harmony and
>> balance (balance being, in my opinion, in its search...) in the life and
>> through art. I always used it with what I had access, according to the
>> circumstances and my desires: painting, photograph, video, computer
>> graphics, animations, multi-media interactive, Web art and Net art... But
>> when I initiate and direct networked projects, I regard myself especially as
>> an agent, an instrument, a catalyst.
>>
>> Tamara
>>
>> _______________________________________________
>> empyre forum
>> empyre@lists.cofa.unsw.edu.au
>> http://www.subtle.net/empyre
>>
>
> http://www.asondheim.org/ http://www.asondheim.org/portal/.nikuko
> http://www.anu.edu.au/english/internet_txt
> Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm
> finger sondheim@panix.com
>
> ------------------------------
>
> Message: 2
> Date: Tue, 04 Nov 2003 22:50:42 -0800
> From: Henry Warwick <henry.warwick@sbcglobal.net>
> Subject: [-empyre-] codes | ciphers |
> To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
> Message-ID: <BBCDDDC2.6509%henry.warwick@sbcglobal.net>
> Content-Type: text/plain; charset="UTF-8"
>
> The Voices in my Head tell me that on 11/4/03 12:33 PM, Yvonne Martinsson at
> yvonne@freewheelin.nu wrote:
>
>> what is the alphabet but a code? if you don???t know the cyrillic alphabet or
>> chinese iconography, it???s impossible to decode.
>
> point of precision: not decode. Decipher. Then Decode. big difference.
>
>
>
>> it seems to ask a bit too much of me, like having to know the skills of
>> typographers.
>
> As a former type designer and typographer, I love type. It's a secret form
> of mind control.
>
> You can quote me :
>
> "You don't read words. You don't read letters. You read type."
>
>
> The Voices in my Head tell me that on 11/2/03 8:52 AM, Christina McPhee at
> christinamcphee@yahoo.com wrote:
>
>> Literature means the art which is written down in
>> letters taken from the code of the alphabet.
>
> Is the alphabet a code?
>
> Per Standard Definitions, and the ones I like to work with, No. The alphabet
> is a system of symbols for assembling words. MANIFESTATION: styles of
> written forms and type
>
> (Code: primary: symbols that represent ideas or instructions, secondary:
> symbols that obfuscate ideas or instructions in order to maintain privacy of
> communication.)
>
> (Cryptographically speaking, using different alphabets to transliterate a
> message is not a code, but a cipher. In more advanced forms, "code words"
> are used to set the decipherment systems - they transmit instructions, see
> below, re: number stations for use of alphabetic data as codes.)
>
> Per: Kabbalistic gematria, yes. (ex: film: "PI" : gematria of man and woman
> add up to child.) Operant Theory: (Heb.Trad.:) Genesis is a math object,
> explained by gematria of said sacred text, and unlocking that code should
> bring one to some kind of spiritual state. In this way, the cipher
> (alphabet) stands for numeric values which form relationships with other
> words by virtue of the mathematical relations of the word values themselves.
>
> A different angle: where one is lead to platonic notions of the material
> universe as manifestation of immanent ideas : nature as product of culture.
> (IMHO, and off topic: A fundamental error as cultural is a product of the
> natural : embedded in practices of any social species with social behaviours
> sufficiently complex to develop various cultural objects such as customs,
> rituals, traditions, mores, norms, etc. In my world the cultural is a subset
> of the natural superset, much as Earth is a subset of the Universe
> superset.)
>
> Per International security agencies: Yes. They use letters and numbers
> broadcast on shortwave radio stations (aka "Number Stations") to transmit
> information to agents. Broadcast info is "public key". Agent holds private
> key. Public key changes regularly, preventing decryption of private key.
> Also: Messages can tell operative to do something, as a given sequence may
> refer to memorised instructions or routinised behaviour.
>
> (for more on asymmetric encryption, read this:
> http://world.std.com/~franl/crypto.html . Symmetric ciphers are usually too
> easy to break with today's technology and has been largely abandoned.)
>
> Most transmissions, regardless of origin, are conducted in NATO alphabet:
>
> NATO alphabet:
>
> Alpha Bravo Charlie Delta Echo Foxtrot Golf Hotel India
> Juliet Kilo Lima Mike November Oscar Papa Quebec Romeo
> Sierra Tango Uniform Victor Whiskey Xray Yankee Zulu
>
>
> A simulation of a typical transmission:
>
> A woman's voice says:
>
> Tango Hotel Xray One One Three Eight
> Lima Uniform Hotel One Seven Three Four
> Tango Hotel Xray One One Three Eight
> Lima Uniform Hotel One Seven Three Four
> Tango Hotel Xray One One Three Eight
> Lima Uniform Hotel One Seven Three Four
> Tango Hotel Xray One One Three Eight
> Lima Uniform Hotel One Seven Three Four
>
> and repeats it for several minutes. Sometimes it is interrupted by tones of
> variously musical or quasi-musical origin.
>
> for more lists of phonetic alphabets:
>
> http://www.columbia.edu/~fuat/cuarc/phonetic.html
>
> Example:
>
> Pre-1954 U.S. Navy Radio Alphabet:
>
> Able Baker Charlie Dog Easy Fox George How Item Jig King
> Love Mike Nan Oboe Peter Queen Roger Sugar Tare Uncle Victor
> William X-ray Yoke Zebra
>
> Here, words are used as letters: "code" is used as an "alphabet".
>
> Note: when atomic bomb tests were conducted, they frequently were named by
> such systems. Hence, "Baker", "Easy", "Item", "Mike" and "XRay" test names.
>
> Note: multiCD set "The Conet Project" which has dozens of recordings of
> these stations. (Out of print, rough cost, if found: US$120. Bought mine
> years ago...)
>
> For more info on number stations, this is an adequate place to start:
>
> http://www.spynumbers.com/
>
> There has been a lot of discussion in the cryptographic community over
> embedding cryptographic text data in a picture. Let's say the data we wish
> to encrypt is something like "Meet 10 Downing"
>
> Each letter, M e e t 1 0 D o w n i n g has an ASCII value, so
> the letters become numbers:
>
> 77 101 101 116 49 48 68 111 119 110 105 110 103.
>
> These can be encrypted using the private key and come out like
>
>
> ?????????????-B???????????&U???t?????<`5#???#E]X?????q???????{c?????mh8?????E-
> n??1???2J???^x?????????J???P??O???!&-^??Zh??%
> <??m*?????????????????????????Ye??????1~1????z??Q85P????????,?????????????ke??
> v`U/???????]\2??????????????f~T???5??O??????bt?
> 9????????????????GM??H???????????????????????]1???4????S???~S"9????z??BZ????m?
> ?????????3TB??????O-/??6????????????Z?????z??t??????\???*??
> ????[??*;???h?????A????1???2W????P*???$?????????8????^v???????????t!z??
> ????R!M`??O??S???P??????y^g+?_P????????????<?
> ??G?????9???4c|?????2p???S??????????`??`??)W??????kC???3mC???<???WN??fsG}?????
> ??????i??>);mo??uim????????v??gK?K?????????
> tf??????????1|z81???2??S??e??>??B???~3???4??`???????PA`??????y??????c??jb????
> ?1???4?????HG??w=1???2<n<??D?Q:???8????!5???)
> ??!?????-??P?????????P??%??T/??\??????V?????G??C0^??=???z????\????$???????-??
> +u_????????????d???@z??;e?????i^?3#4C???0??Pq???
>
> then each of THESE chars has a value, the first four being
>
> 178 191 185 2
>
> etc.
>
> A given image is composed of pixels, and if the image is in 24bit colour,
> then each colour channel gets 256 values for Red Green and Blue and Opacity.
> So, included in a given transmission might be pixel coordinates or numbers,
> which can be chosen at random. Then each channel of pixel data of a selected
> pixel becomes a method of holding an 8 bit text value. This can be put into
> or pulled from the image using decryption software but going into photoshop
> would work, and be the hard way to do it, fer sure....
>
> So, now all you have to do is send an image with defective pixels. If the
> image is busy and colorful enough, you'd never notice... If the image was
> pure static, you could never tell... And pulling sensible data out would be
> nearly impossible, because you would 1. have to find the picture (easy with
> social engineering) 2. find all the pixels that are code bearing (tough,
> because that data is likely encrypted in the same PGP asymmetric encryption
> as the rest...) 3. get the data out of the pixels and arrange it in the
> right order (why just RGBO? Why not RGOBGOBRGGRBRGBBOBGROGRBOR and have this
> order also encrypted in PGP asymmetric!) 4. then some how get passed the
> high level PGP asymmetric encryption of the message itself....
>
> ?Art. Imaging. Codes. Ciphers. Encryption.
>
> Unencryption. Decipher. Decode. Unimage. UnArt?
>
>
>
>
>
>> The implication of text is that it is not bound to a
>> certain process of writing it down. And this doesn't
>> have to be in print. The word "code" literally comes
>> from "carving" or "beating" ...carved into stone or
>> wood. So, code denotes writing.
>
> By origin, but not necessity. Code can be: I call you on the phone and tell
> you "Flayrod's gone askew on the treadle". If you and I have previous codes
> worked out from previous F2F discussions, you would know that this phrase
> meant I was on my way to Ouagoudougou, BF, and would be back next Thursday.
> Nothing need be written: it only need be recollected.
>
>
>> In Plato's symposium, all creation or passage of non
>> being into being is poetry or making, and the process
>> of all art are creative; and the masaters of arts are
>> all poets or makers. "Poesis" means making or
>> construction. Plato's definition of poetry implies
>> passage or process.
> <snip>
>> Aristotle looks at metaphor as a shift of meaning, in
>> a nonliteral sense: the shift is the metaphoric
>> transport.
>
>
> Per V. Wilson, Secret Life of Puppets: contemporary culture is caught
> between an Aristotelean Science Machine and a (neo)Platonic cultural
> industry. We have science machines telling us myths.
>
> (IMHO, we're still just gazing into the fire. It's just that 10k years ago,
> we gazed into the fire and told each other stories. Now we gaze into the
> fire and the fire tells us stories.)
>
>
>> So the question becomes, how is the gap between zero
>> and one being filled?
>
> Binary normally (see issue below: surreal numbers) doesn't permit anything
> between: There is or there isn't.
>
> There are 10 kinds of people in this world: Those who can count in binary
> and those who can't.
>
> Cantor: between 0 and 1 is an infinity equal to all whole numbers. (Code:
> Heb. Char. "ALEPH" Note: Trad. Value = 1, see above notes on gematria.)
>
> there is another layer; there are an infinite number of numbers between any
> two numbers in the ALEPH number set, which is another layer of infinity, and
> that kind of mapping is also infinite.
>
> Also: surreal numbers might be of interest:
>
> http://www.innerx.net/personal/tsmith/surreal.html
>
> "Surreal Numbers, invented by John Conway, include all the natural counting
> numbers, together with negative numbers, fractions, and irrational numbers,
> and numbers bigger than infinity and smaller than the smallest fraction.
>
> It was this huge scope of Conway's invention, that prompted Knuth to
> christen them "surreal" numbers, from the French "sur" meaning "above" the
> reals. Despite their astonishingly broad membership, surreal numbers are
> simply sequences of that most fundamental of notions, a binary choice:
> yes/no, off/on."
>
> 0 | 1
>
> Surreal numbers may be of great use in String Theory.
>
>
> = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
>
> my very best to all empyreans,
>
> HW
>
>
> The universe is a fait accompli.
> Don't like it? Go ahead - find another.
> Ooops! See what I mean?
>
>
>
> ------------------------------
>
> Message: 3
> Date: Wed, 05 Nov 2003 08:12:24 +0100
> From: Yvonne Martinsson <yvonne@freewheelin.nu>
> Subject: Re: [-empyre-] introduction here -
> To: empyre <empyre@lists.cofa.unsw.edu.au>
> Message-ID: <1068016399.15276@mailserv03>
> Content-Type: text/plain; charset="US-ASCII"
>
>
>
>> From: Alan Sondheim <sondheim@panix.com>
>> Reply-To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
>> Date: Tue, 4 Nov 2003 18:07:38 -0500 (EST)
>> To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
>> Subject: Re: [-empyre-] introduction here -
>>
>>
>>
>>
>> I did think the chora was dominated by drives, irruptions, pre-linguistic,
>> pre-oedipal stirrings; in this sense, it's also related to the original
>> text of Plato's Timaeus - but I may well be wrong here.
>>
>> - Alan
>
> No, you're not really wrong. The chora is a receptacle for the unconscious
> and the unconscious, let us remember, is repressed material attached to the
> drives. It is pre-linguistic yet structured like a language that has been
> elaborated in the subject's interactions with others and the Other. It can
> only be heard in slips of the tongue, repetition, gestures, irruptions,
> rhythms etc., the 'code' of the unconscious to be cracked by
> analysis/reading. In this way, it resembles your view of code poetry as two
> (or maybe more) layers of language interfering with one another.
>
>
> yvonne
>
>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Wed, 5 Nov 2003 05:08:44 -0800
> From: "Jim Andrews" <jim@vispo.com>
> Subject: [-empyre-] neural
> To: "Soft_Skinned_Space" <empyre@lists.cofa.unsw.edu.au>
> Message-ID: <DCEIJDHNAAEEKPKFBEALGEIACJAA.jim@vispo.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hello Alessandro,
>
> I find your http://www.neural.it/english very useful, particularly for news
> of interactive audio projects, since that is my own work, but also your
> neural.it is useful far more broadly. There aren't too many sites around
> that provide the 'news' (is that the right word?) concerning new projects in
> digital art. None that I know of do as good a job as what I see on your
> site.
>
> I have been reading recently of Italy under Berlusconi. I suppose it would
> be a bit like Ted Turner becoming president of the USA or Conrad Black Prime
> Minister in Canada. He is a big media monster. I read that he is a regular
> visitor of Bush in the USA, also. They seem to be 'birds of a feather'.
>
> How do you view the role of neural.it and, more generally, the internet and
> its art amid this curent pretty revolting situation both in Italy and much
> of the West concerning strong political abuse of electronic media?
>
> ja
> http://vispo.com
>
>
>
> ------------------------------
>
> Message: 5
> Date: Wed, 5 Nov 2003 08:45:08 -0500
> From: "Deborah MacPherson" <dmacp.mail@verizon.net>
> Subject: [-empyre-] initial email statement
> To: <empyre@lists.cofa.unsw.edu.au>
> Message-ID: <001801c3a3a3$0a22dec0$6401a8c0@DELL>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Initial Statement:
>
> I am working on a project with the JHU DKC to develop a process with 3
> states: data, information and meaning. The transitions between the states
> are: human/computer interaction, data curation and digital preservation.
>
> Central to this idea is the ability to gather and recognize meaning or
> information by context instead of description. It is our view that many
> current classification and description techniques are held back by an inner
> dependence on natural language. Even though natural language and thought
> have a clear and obvious relationship, words are not the right bridge to
> certain kinds of ideas. Cultures, aesthetics, emerging theories, ways of
> looking and measuring have become far more complex and interconnected than
> natural language can capture or convey. Wrappers and descriptions at the
> constantly evolving boundary between human thought, knowledge and
> computational systems need an abstract mechanism to manipulate what counts
> as "essential" and a new way to reflect these changes over time.
>
> We propose a system to recognize patterns in symbolic descriptions that is
> portrayed through an automatic visual language of generative forms, textures
> and colors. The symbolic descriptions will be like "an alphabet" but we will
> not be able to "learn" or "remember" the whole set of characters, only
> certain subsets and we think that is ok. Even though we cannot understand
> "the alphabet" in its entirety, smaller relationships between the characters
> can act something like music which we readily understand. A song is a "mini"
> whole that rarely wants to use all of the available notes, it is a line and
> a hierarchy, it is layers, it is combination and structure that is no longer
> component based. At what level can we say - who cares about the whole
> alphabet, do you really need to know all of the symbols to speak the
> language? What is the minimum to know before you can use the system? There
> are actually very few (English) letters, numerals or musical notes but look
> at the endless diversity of meaning - what will happen inside a system that
> accommodates limitless letters, numbers and notes?
>
> ______________________
>
> Deborah MacPherson
> Principal Investigator/Curator
> Accuracy & Aesthetics
> 118 Dogwood Street
> Vienna VA 22180 USA
> 703 242 9411 and 703 585 8924
> fax 703 242 4127
> dmacp.mail@verizon.net
> www.accuracyandaesthetics.com
> ??
>
>
>
>
> ------------------------------
>
> Message: 6
> Date: Wed, 05 Nov 2003 20:38:14 +0100
> From: Yvonne Martinsson <yvonne@freewheelin.nu>
> Subject: Re: [-empyre-] for example -
> To: empyre <empyre@lists.cofa.unsw.edu.au>
> Message-ID: <1068061148.26126@mailserv03>
> Content-Type: text/plain; charset="US-ASCII"
>
>
> Hi Alan et al
>
> Iconoclasm is the word that first comes to my mind - iconoclasm of the spam
> inferno - a 'devilish' outburst - but couldn't you have done this by hand?
> What is gained in this piece by applying a code?
>
> In another thread we talked about the chora/the unconscious and I see a
> conflict here between neural skeins and digital skeins, unless you by neural
> refer to plain biology.
>
> Forgive my ignorance, but I don't know whether your use of code here is
> algorithmic or not, nor do I know if it always has to be. But I'd like to
> contrast algorithm with rhythm, mathematics with the unconscious.
>
>
> According to Merriam-Webster.com algorithm, in its technical sense, is "a
> procedure for solving a mathematical problem (as of finding the greatest
> common divisor) in a finite number of steps that frequently involves
> repetition of an operation". And according to Encyclopaedia.com algorithm,
> when broadly defined, is "an interpretable, finite set of instructions for
> dealing with contingencies and accomplishing some task which can be anything
> that has a recognizable end-state, end-point, or result".
>
> Thus, algorithm is a finite structure, bent on repetition according to a
> stringent set of numbers.
>
> Contrast this to the unconscious, which is an open-ended structure that
> continuously reshapes itself in the subject's interaction with others and
> the Other. It follows its own internal logic, its rhythm, etymologically
> related to 'flow': rhythm, the flow of psychic mobility.
>
> Can there be interaction between a finite structure and on open-ended one?
> Or, is iconoclasm, destruction, hacking, the only possibility? Or, is the
> clash between them the same as the one between the subject's free psychic
> mobility and the symbolic/societal structures?
>
> Yet, societal structures can be played with. The symbolic can be played with
> - in language and/or art - and bring about change in both the player and the
> played. Can play with the code change the code?
>
>
> yvonne
>
> ----------------------------------------
> http://www.freewheelin.nu
>
>
>> From: Alan Sondheim <sondheim@panix.com>
>> Reply-To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
>> Date: Tue, 4 Nov 2003 18:35:12 -0500 (EST)
>> To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>
>> Subject: [-empyre-] for example -
>>
>>
>>
>> for example in the below (which I'm not claiming is particularly good) -
>> spam was collected in the buffer of hyperterminal, then modified through
>> repeated sorts, and seds (sorting and substituting - in this case,
>> substituting to nothing) in my unix shell account. The result is a swollen
>> 'body' of punctuation which almost becomes legible towards the end;
>> further, almost all the lines are duplicated, with one or the other
>> containing individual lower-case letters. This makes the filtering process
>> visible.
>>
>> The movement from inchoate to proto-language (although technically it's a
>> layer beneath or prior to proto-language) fascinates me; I didn't know
>> myself how the work would 'come out,' but eventually I worked towards a
>> particular direction that became manifest.
>>
>> I've placed the code which operated on the buffer after the piece - the
>> 'seds' substitute the first part of the expression (for example [A-Z] -
>> which means any capital letter) for the second (for example // - which
>> means just close up the text at that point).
>>
>> Hope this helps - Alan
>>
>> ____
>>
>>
>>
>>
>>
>> s*p^a%m m!a#c$h%i^n(e
>>
>>
>>
>> [ [ 2 20 0
>> [ [ 2 20 0
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>> ! !!
>> & & 1818,0,00000 ,
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>> , , . . ? ? . . 1 10 0 4 4 (
>> ! ! ================================= =
>> $
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>> . .. .
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>> - ------------- -
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>> [ [ 4,4, 2 200003]3]7-7-1111] ]
>> [ [ v 4,4, 2 200003]3]7-7-1111] ]
>> _ - -
>> _ a a w r y-y- y u t e
>> t o ? ? t , ,
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>> r f r y $ t
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>> 2.2.7 7 _ _ _ _ :_:_ ; ; ` `; ; ^ ^ ' ' *
>> 2.2.7 7 _ _ _ _ c s o o r r :_:_ ; ; ` `; ; ^ ^ ' ' *
>> p s s s i n a !a!d d ================================= = p
>> t g [7[7-1-11]1] ,m, , , a p p 4 4y2y2: : r f
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>> t .w.e e l w a d r n r,r, w e e e .s. .e. t
>> ! !!
>> ' ' : : : / /\ \ ?=?=| | ++++::::
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>> .w. :/:// t
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>> 1 132321010s s i i : : 2525,0,00000 d s g d :o: &y& e e a a h h
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>> a d b t-m-"l".].]
>> a e r y t o t o d d
>> d d l l : : r l r t e e s?s? ?a? e 1.1.3
>> d d o f - -- - 't't p k .].] * *
>> e r r n n a d e s
>> f r d ]n] a a , , d d t a a y !0!00303
>> h (<(<><><><><><><><><><><><><><><>)>)<><>< <> > 3.3.8 8 _ _ _ _
>> i n 2424 w e a d .e.e, , 4 4 v 20200303 1 14:4:3333:5:53 3
>> i n 2424 w w e n d d [ [ e 1111 m d r t d
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>> o f e e e_ _ _ _ c s u d e
>> o t t 1s1 t e t & & * * .o. r
>> p e e s s e e f r r r n a a y o $ $353500000 0 t,t,
>> s s t y t y n h n h
>> t o e a a t o e w
>> t o y u a a c y e e ---------------- 1.1.0 0 _ _ _ _ c s
>> t s !%!% o f e:e:4949:5:50 0 -0-050500 0 ! ! n . .
>> t s s w t
>> w t u u e e f
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>> , e e g g s
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>> :/://w/w.a.
>> =?=? - -88885959-1-1? ? ?=?=2828======== [ [ 4,4, 2
>> =?=?o-o-88885959-1-1?q?q?=?=2828======== [ [ v 4,4, 2
>> c n ^ ^ p ^ ^ ^ n a a y o $ $353500000r0 d r
>> d a t f d t e s e t s & & n 1818,0,00000 d ,
>> h e ---- w s t t e e : : r l r :t: c s
>> n : : , , d
>> n'n't t s s : : : l l n a/a/\c\s ?=?=|a|a++++:::: t e
>> r ] ] d t o e e , , a e i g t o t e g s d t o e e
>> s s s i n a !a! d s h h :t: l
>> u!u!! a a
>> x h n a d e s y ,h,/p/t t a p e.e..f.r.p./w/|a|o n'n't t e ,h,/p/t t : :
>>
>>
>> __
>>
>>
>>
>> Some of the code history - Alan
>>
>>
>>
>> 1 b
>> 2 ls
>> 3 proc
>> 4 pico zz
>> 5 sed 's/Subject://g' zz > yy
>> 6 less yy
>> 7 h
>> 8 sed 's/From://g' yy > zz
>> 9 sed 's/[A-Z]=//g' zz > yy
>> 10 sed 's/$//g' yy > zz
>> 11 pico zz
>> 12 sed 's/<>//g' zz > yy
>> 13 sed 's/[A-Z][0-9]//g' yy > zz
>> 14 pico zz
>> 15 sed 's/^ //g' zz > yy
>> 16 sed 's/^ //g' yy > zz
>> 17 sed 's/../&&/g' zz > yy
>> 18 pico yy
>> 19 sed 's/[a-z][a-z]//g' yy > zz
>> 20 pico zz
>> 21 h
>> 22 sed 's/[a-z][a-z]/&/g' yy > zz
>> 23 pico zz
>> 24 sed 's/[a-z]*2//g' yy > zz
>> 25 pico zz
>> 26 h
>> 27 sed 's/../&/g' yy > zz
>> 28 pico zz
>> 29 sed 's/[a-z][a-z]//g' yy > zz
>> 30 sed 's/[A-Z][A-Z]//g' zz > yy
>> 31 pico yy
>> 32 sed 's/ /a/g' yy > zz
>> 33 pico zz
>> 34 h
>> 35 pico yy
>> 36 sed 's/[A-Z][a-z]//g' yy > zz
>> 37 pico zz
>> 38 sed 's/[A-Z]/ /g' zz > yy
>> 39 sed 's/[a-z]/ /g' yy > zz
>> 40 pico zz
>> 41 sort zz > yy; pico yy
>> 42 new yy; cat nf yy > ding; mv ding nf; rm zz yy; m
>> _______________________________________________
>> empyre forum
>> empyre@lists.cofa.unsw.edu.au
>> http://www.subtle.net/empyre
>>
>
>
>
> ------------------------------
>
> Message: 7
> Date: Wed, 5 Nov 2003 12:34:39 -0800
> From: "Jim Andrews" <jim@vispo.com>
> Subject: RE: [-empyre-] for example -
> To: "soft_skinned_space" <empyre@lists.cofa.unsw.edu.au>
> Message-ID: <DCEIJDHNAAEEKPKFBEALCEJFCJAA.jim@vispo.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> I know it's scary to some, but the unconscious, if it exists, would operate
> according to algorithms, Yvonne. Unless our minds have access to the
> actually infinite, as opposed to some (however large) finite memory storage
> and retrieval and processing, or our information processing capabilities
> somehow transcend the notion of the Turing machine in some other way, the
> mind can be modelled as an information processing system (whether we are
> brains in vats or not) composed of programs, programs composed of
> algorithms.
>
> Just like people found Darwin's ideas unpalatable, the above idea in the
> contemporary world seems to meet with disaproval or incomprehension because
> it seems to 'reduce us to machines'. But just like Darwin's ideas don't
> diminish humanity, similarly, neither does the idea that the mind's
> processes are capable of being modelled, arbitrarily closely, via
> algorithms. An algorithm is just a description of the steps of a process.
>
> Darwin's ideas, as opposed to diminishing humanity, have helped us
> understand not only the history of our species but our relations with other
> creatures. And the processes of history. Similarly, the notion that the mind
> is modellable via processes describable in algorithms will, I hope,
> ultimately permit us more freedom in the soft machine, as opposed to further
> enslaving us to mechanization. In any case, the truth about our nature is
> preferable to a pleasant fabrication.
>
> ja
>
>
>
> ------------------------------
>
> _______________________________________________
> empyre mailing list
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
>
> End of empyre Digest, Vol 10, Issue 6
> *************************************
>
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