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679 lines
29 KiB
Plaintext
679 lines
29 KiB
Plaintext
{
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"cells": [
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{
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"cell_type": "code",
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"execution_count": 5,
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"metadata": {},
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"outputs": [],
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"source": [
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"import re\n",
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"with open(\"Visceral_Facades.txt\") as f:\n",
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" text = f.read()\n",
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"\n",
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"tt = re.split(r\"\\n+\", text)"
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]
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},
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{
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"cell_type": "code",
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"execution_count": 12,
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"metadata": {},
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"outputs": [],
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"source": [
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"with open(\"visceral_facades.lua\", \"w\") as fout:\n",
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" print (\"text={}\", file=fout)\n",
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" for i,p in enumerate(tt):\n",
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" ep = p.strip().replace('\"', r'\\\"')\n",
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" print (f'text[{i}]=\"{ep}\"', file=fout)"
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]
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},
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{
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"cell_type": "markdown",
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"metadata": {},
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"source": [
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"Now with [textwrap](https://docs.python.org/3/library/textwrap.html)"
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]
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},
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{
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"cell_type": "code",
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"execution_count": 13,
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"metadata": {
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"collapsed": true,
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"jupyter": {
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"outputs_hidden": true
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}
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},
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"outputs": [
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{
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"name": "stdout",
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"output_type": "stream",
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"text": [
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"Visceral Facades: taking Matta-Clark's\n",
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"crowbar to software.\n",
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"Architecture was the first art of\n",
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"measurement of time and space. Ancient\n",
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"megalithic structures such as Stonehenge\n",
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"are the ancestors of the machine you are\n",
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"reading this text on. Whereas computers\n",
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"build up from the scale of electrons\n",
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"rather than that of giant lumps of stone\n",
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"and the tasks they complete are abstract\n",
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"and changeable, rather than specific and\n",
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"singular, they both remain physical\n",
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"instantiations of abstract logic into\n",
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"which energy is fed in order to produce\n",
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"results to one or more of a range of\n",
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"potential calculations embodied in their\n",
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"structure.\n",
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"Nowadays, as films such as Die Hard and\n",
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"novels such as Gridlock are so keen to\n",
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"show us, buildings and telecommunications\n",
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"are profoundly interrelated. As\n",
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"architecture is caught up in the mesh of\n",
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"the 'immaterial', of security and\n",
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"communications systems, of gating and\n",
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"processing (think of an airport) its\n",
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"connection to its originary development\n",
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"as geometry realised in synthetic space\n",
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"becomes ever more apparent. The\n",
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"proliferation of special effects that\n",
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"effect consciousness of time and distance\n",
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"and the perception of the environment in\n",
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"a context where maximum stratification\n",
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"combines in the same device with maximum\n",
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"fluidity, is presented as an abrupt break\n",
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"with an older style of architecture\n",
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"wherein power can be deciphered by the\n",
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"maximum possession of space.\n",
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"In a short story, Tangents, science\n",
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"fiction writer Greg Bear introduces four-\n",
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"dimensional beings into a three\n",
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"dimensional shape: something which he\n",
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"likens to looking at fish through the\n",
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"corner of an aquarium. The shape that\n",
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"these fourth dimensional beings appear in\n",
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"is a normal, two storey house. The house\n",
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"is gradually, neatly, Swiss-cheesed by a\n",
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"series of cones, columns, and spheres as\n",
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"the dimensions intersect.\n",
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"Possibly, this might be the kind of\n",
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"effect you'd worry about if you'd invited\n",
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"Gordon Matta-Clark around to your home.\n",
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"An artist who trained as an architect,\n",
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"Matta-Clark was born in New York City in\n",
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"March 1943 and died in 1978. His most\n",
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"prolific period, between 1971 and 1976,\n",
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"occurred within a rich context of\n",
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"experimental and anti-commercial\n",
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"dematerialization in both art and\n",
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"architecture, (although certainly within\n",
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"the field of 'authorised' architecture,\n",
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"much of this work remained on a\n",
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"theoretical and propositional basis).\n",
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"Matta-Clark carried out his\n",
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"investigations of architecture and space\n",
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"through performance, drawing, sculpture,\n",
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"photography, video, film and material\n",
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"interventions known as 'cuttings'.\n",
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"One action carried out in 1974,\n",
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"Splitting, involved taking a simple\n",
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"detached wooden house in Englewood, a New\n",
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"York State dormitory town, and bisecting\n",
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"it. The house, already slated for\n",
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"demolition, is cut exactly in two, from\n",
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"the roof, down the walls and through the\n",
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"floors to the raised foundation of\n",
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"building blocks. In the short film which\n",
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"documents the process a shard of sunlight\n",
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"streams through the split, effacing the\n",
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"wall, energising the new structure. The\n",
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"next stage is to take the rear half of\n",
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"the house and, supporting it on jacks,\n",
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"gradually knock away the upper surface of\n",
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"the foundation at an angle of five\n",
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"degrees. The back of the house is then\n",
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"tilted away from the other half of the\n",
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"structure back onto the now sloping\n",
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"foundation. Throughout the film, Matta-\n",
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"Clark can be seen working away at the\n",
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"building. A scrawny longhair in jeans and\n",
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"boots doing with a simple toolkit the\n",
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"serious structural re-adjustment that\n",
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"only the most deranged of do-it-\n",
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"yourselfers can dream about.\n",
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"Another short film, Conical Intersect,\n",
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"made in 1975 documents an intervention\n",
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"which is even more reminiscent of the\n",
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"transdimensional interference of\n",
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"Tangents. Made during the Paris Biennial\n",
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"in the area of Les Halles, tellingly\n",
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"close to the construction of the Centre\n",
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"George Pompidou - a politically inspired\n",
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"scheme reminiscent of that other artiste\n",
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"démolisseur, Baron Hausmann - the cut\n",
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"probes into two adjoining seventeenth\n",
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"century 'mansions'. Appearing from the\n",
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"outside as a series of receding circles,\n",
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"the cut punctures the building at the\n",
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"fourth storey and moves upwards towards\n",
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"the sky. When the outer wall goes\n",
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"through, the film shows the trio of\n",
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"people working on the hole perform a\n",
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"brief can-can on a soon-to-be-demolished\n",
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"section of floor.\n",
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"In a 1976 film, Substrait (Underground\n",
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"Dailies), Matta-Clark explored and\n",
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"documented some of the underground of New\n",
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"York City. Grand Central Station, 13th\n",
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"Street and the Croton Aqueduct are filmed\n",
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"to show the variety and complexity of the\n",
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"hidden spaces and tunnels in the\n",
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"metropolitan area. Somewhat reminiscent\n",
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"of the ultra-dull documentaries made by\n",
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"the Canadian National Film Board in the\n",
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"same period, this film develops an\n",
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"intimate concern with the material\n",
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"qualities of the structures under\n",
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"investigation, and perhaps provides for\n",
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"the New York sewage system a precursor to\n",
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"the geek art of the internet. It is\n",
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"possible to imagine a film of its travels\n",
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"through the nets made by a software worm,\n",
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"being of remarkable similarity.\n",
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"Some of Matta-Clark's work could have\n",
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"only been produced by someone deeply\n",
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"familiar with the strange reality of\n",
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"realty. In Reality Properties: Fake\n",
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"Estates he bought up fifteen minuscule\n",
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"sections of land that had been left over\n",
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"in property deals, or that teetered just\n",
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"off the edges of architectural plans\n",
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"drawn slightly out-of-whack: a foot strip\n",
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"down somebody's driveway, and a square\n",
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"foot of sidewalk, tiny sections of kerbs\n",
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"and gutters. Buying up this ludicrous\n",
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"empire was again part of Matta-Clark's\n",
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"project of the structural activation of\n",
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"severed surfaces. It is also an example\n",
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"of the idiosyncratic manipulation of\n",
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"rule-based behaviour to achieve different\n",
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"ends.\n",
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"Along with the dematerialised art that\n",
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"provided a context in which this work can\n",
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"be sensed, the period it was produced in\n",
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"was also the peak of minimal art. Whilst\n",
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"Matta-Clark's work is in part concerned\n",
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"with formalism, the application of\n",
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"procedures and the revelation of\n",
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"structural properties, it is precisely\n",
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"because his work is formally non-\n",
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"reductive and purposely heterogenic that\n",
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"it is profoundly at variance to an art\n",
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"that was only supposed to speak of itself\n",
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"and of the immaculate connoisseurship of\n",
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"its audience. This is an artwork that is\n",
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"exactly the reverse of autonomous. It is\n",
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"openly dependent on a network of\n",
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"coincidences and interconnectedness: on\n",
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"being seen by chance passers-by; on the\n",
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"receipt or avoidance of bureaucratic\n",
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"permissions; on the functioning of\n",
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"recording devices; on good weather; on\n",
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"not being discovered when acting in\n",
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"secret; on the theatre of its enaction\n",
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"being an oxygenation of the still\n",
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"smouldering embers of history. At the\n",
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"same time as it articulates the space in\n",
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"sculptural terms it also complexifies it\n",
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"in terms of its placehood, as an object,\n",
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"and within its social, chronological and\n",
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"economic contexts.\n",
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"Knowing that there is freedom in suprise,\n",
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"it is along this fault line of\n",
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"rationality and the non-rational that\n",
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"Gordon Matta-Clark runs his fingers.\n",
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"Fingers which he also uses to tease\n",
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"another split - that between art and\n",
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"architecture. Comparable to his\n",
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"relationship to minimal art, rather than\n",
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"partaking in the functionalist urban\n",
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"sublime of the glass and steel skyscraper\n",
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"typified in the architecture of Mies van\n",
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"der Rohe - with its interior opened to\n",
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"make it more governable - Matta-Clark's\n",
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"work operates a dis-enclosure of urban\n",
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"space: its malfunctions, voids, shadows.\n",
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"The tension inherent in such spaces is\n",
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"portrayed well by Gilles Deleuze in\n",
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"describing \"any-space-whatever\" the half-\n",
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"urban, half-waste lands often used as\n",
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"sets and exteriors in post World War Two\n",
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"films: \"Any-space-whatever is a perfectly\n",
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"singular space, which has merely lost its\n",
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"homogeneity, that is, the principle of\n",
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"its metric relations or the connection of\n",
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"its own parts, so that linkages can be\n",
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"made in an infinite number of ways\" This\n",
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"tension between particularity and\n",
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"obliteration found in the European\n",
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"bombsite translated well into the\n",
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"conditions in which Matta-Clark worked\n",
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"out of necessity and choice: buildings\n",
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"eviscerated by the progress of urban\n",
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"restructuring.\n",
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"\"There is a kind of complexity that comes\n",
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"from taking an otherwise completely\n",
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"normal, conventional, albeit anonymous\n",
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"situation and redefining it,\n",
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"retranslating it into overlapping and\n",
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"multiple readings of conditions past and\n",
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"present\"\n",
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"As an aside, this too easy lock-down into\n",
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"textuality implied by the use of the word\n",
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"'reading' is of his time, (and one\n",
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"replicated in perpetuity by artists\n",
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"hungry for the valorising seal of textual\n",
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"authority) but it rather understates the\n",
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"multiple sensory affect of the work. It\n",
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"is this aspect, of working with material\n",
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"that is in the process of being made\n",
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"anonymous, generic - yet turning it into\n",
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"an engine of connotation - that is\n",
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"particularly suggestive for a context\n",
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"that, in its apparent dematerialization\n",
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"seems most likely to resist it: software.\n",
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"Software lacks the easy evidence of time,\n",
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"of human habitation, of the connotations\n",
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"of familial, industrial or office life\n",
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"embedded in the structure of a building.\n",
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"As a geometry realised in synthetic\n",
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"space, it is an any-space-whatever, but\n",
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"dry-cleaned and prised out of time.\n",
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"Use of the computer happens at many\n",
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"levels, both hard and soft. A crucial\n",
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"difference with how we traditionally\n",
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"understand architecture, rather than what\n",
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"it is becoming under the impact of\n",
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"information technologies, is that\n",
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"everything necessarily happens at human\n",
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"scale. That the size, and to a certain\n",
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"extent the organisation, of people has a\n",
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"determining effect on the shape of the\n",
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"building. Conversely, the axiomatics that\n",
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"channel and produce the behaviour\n",
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"necessary for use of computers happen at\n",
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"both human and subscopic scale. The hard\n",
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"organs of the computer: mouse, keyboard,\n",
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"modem, microphone, monitor, though all\n",
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"matched to greater or lesser extents to\n",
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"human form, all snake back to the CPU.\n",
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"Whilst what is of interest here is an\n",
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"investigation of the moment of\n",
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"composition between user and computer,\n",
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"and not a reiteration of text-book\n",
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"schematics, it is worth noting that\n",
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"simply because they occur at the level of\n",
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"electrons the axes of software are\n",
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"impossible to find for the average user.\n",
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"Just as when watching a film we miss out\n",
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"the black lines in between the frames\n",
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"flashing past at 24 per second, the\n",
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"invisible walls of software are designed\n",
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"to remain inscrutable. However, the fact\n",
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"that these subscopic transformation of\n",
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"data inside the computer are\n",
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"simultaneously real and symbolic; where\n",
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"the most abstract of theoretical terms to\n",
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"be found in mathematics becomes a thing,\n",
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"allows the possibility of a kinaesthetic\n",
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"investigation. An investigation that\n",
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"opens up a chance for dialogue between\n",
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"the smooth running of the machine and\n",
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"material that might be thought of as\n",
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"contamination within the terms of its\n",
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"devices.\n",
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"Much of the 'legitimate' writing and\n",
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"artistic production on information\n",
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"technology is concerned with expanding\n",
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"the application of the theoretical\n",
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"devices used to recognise replication and\n",
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"simulation, (what constitutes 'the real')\n",
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"and of those used to recognise\n",
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"surveillance. These themes, carried over\n",
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"most commonly from debates around\n",
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"photography and architecture, are of\n",
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"course suggestive and in some cases\n",
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"useful, but in the easiness of their\n",
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"translation we should not forget that\n",
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"they are moving into a context that\n",
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"subsumes them and is not marked by their\n",
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"boundaries. In acknowledging the distinct\n",
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"interconnectedness of the symbolic and\n",
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"material, this is also an approach which\n",
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"is opposed to the conception of\n",
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"'virtuality' being taken as the desired\n",
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"end state of digital technology: taking\n",
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"virtuality as a condition which is\n",
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"contained and made possible by the\n",
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"actuality of digital media.\n",
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"To provide the skewed access to the\n",
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"machines that such an investigation\n",
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"requires we can siphon some fuel from the\n",
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"goings-on of Gordon Matta-Clark: use\n",
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"faults; disturb conventions; exploit\n",
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"idiosyncrasies.\n",
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"Faults arise in systems when the full\n",
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"consequences of technical changes are not\n",
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"followed through before the changes are\n",
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"made, or are deliberately covered up.\n",
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"This is an enormous game of hiding and\n",
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"finding being played by a cast of\n",
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"millions and one which has wide\n",
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"ramifications. Perhaps the most crucial\n",
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"faultlines being traced at the moment are\n",
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"those around security: the world of\n",
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"minutiae that compose the integrity of\n",
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"existence in dataspace and the way it\n",
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"maps back onto everyday life.\n",
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"The profoundest restructuring of\n",
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"existence is taking place at the levels\n",
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"of the electron and the gene. Technical\n",
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"complexity, commercial pressure and the\n",
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"mechanisms of expression management are\n",
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"blocking almost all real public discourse\n",
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"on the former. They are less able to do\n",
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"so to the latter.\n",
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"Whether radical or reactionary,\n",
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"traditional political structures have,\n",
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"either deliberately or through drastic\n",
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"relevance-decay, abdicated almost all\n",
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"decision making in these areas to\n",
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"commercial interests. From a similar\n",
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"catalogue of stock characters to that of\n",
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"the artist, the pariah/hero figure of the\n",
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"hacker has largely set the pace for any\n",
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"critical understanding of the changes\n",
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"happening in and between information\n",
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"technologies.\n",
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"Picking up a random copy of the hacker\n",
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"zine 2600 - summer 1996 - the scale and\n",
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"ramifications of issues being dealt with\n",
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"in this area becomes apparent. Subjects\n",
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"covered include: an editorial on the\n",
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"position of hackers in the legal system\n",
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"and media; the code of a LINUX program to\n",
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"block internet sites by flooding them\n",
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"with connection requests; a list of free\n",
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"phone carriers in Australia; acquiring\n",
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"phone services under imaginary names; the\n",
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"telecommunications infrastructure in\n",
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"Prague and Sarajevo; encryption; consumer\n",
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"data security; catching passwords to\n",
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"specific multi-user computer systems;\n",
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"passenger in-flight communications\n",
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"systems; phreaking smart pay-phones;\n",
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"starting a hacker scene; the\n",
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"transcription of part of a court case\n",
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"involving the show trial of hacker,\n",
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"Bernie S; plus pages of small ads and\n",
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"letters. (Perhaps noticeable in comparing\n",
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"the importance of these scenes with that\n",
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"of art is that the second-order\n",
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"commentary on the work comes mainly from\n",
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"the media/legal system rather than just\n",
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"critics).\n",
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"The faults identified by hackers and\n",
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"others, where ethico-aesthetic situations\n",
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|
"are compounded under sheer pressure into\n",
|
|
"technical ones, are implicated in wider\n",
|
|
"mechanisms. These technical situations\n",
|
|
"can be investigated from any point or\n",
|
|
"development within these wider mechanisms\n",
|
|
"regardless of the degree of technical\n",
|
|
"proficiency. Cracking open technical\n",
|
|
"situations with the wider social\n",
|
|
"conditions within which they occur is an\n",
|
|
"increasingly necessary task. Doing so in\n",
|
|
"a manner that creates a transversal\n",
|
|
"relationship between different, perhaps\n",
|
|
"walled-off, components, and that\n",
|
|
"intimately works the technical with other\n",
|
|
"kinds of material or symbolic devices is\n",
|
|
"something that remains to be developed.\n",
|
|
"Tracking the faults, the severed\n",
|
|
"surfaces, of technology is one way in\n",
|
|
"which this can begin to be done.\n",
|
|
"This intimacy, as well as concerning\n",
|
|
"itself with the cracks and disjunctures,\n",
|
|
"the faults in systems, can also become\n",
|
|
"involved in situations where they appear\n",
|
|
"to be most smooth. For the average user,\n",
|
|
"the conventions of personal computers\n",
|
|
"appear secure, rational, almost natural,\n",
|
|
"if a little awkward and tricky at times.\n",
|
|
"Like many social protocols, computer use\n",
|
|
"is a skill which is forgetful of its\n",
|
|
"acquisition. Perhaps that user can\n",
|
|
"remember back to when they first got hold\n",
|
|
"of a machine, when they were waving a\n",
|
|
"mouse in the air to get the cursor to\n",
|
|
"move towards them; afraid to touch the\n",
|
|
"wrong key in case it damaged something;\n",
|
|
"saving files all over the place; trying\n",
|
|
"to draw curves in Pagemaker; putting\n",
|
|
"floppies in upside-down; trying to work a\n",
|
|
"cracked copy of CuBase with something\n",
|
|
"missing; learning how to conform to the\n",
|
|
"machine in order to make the machine\n",
|
|
"conform to them...\n",
|
|
"In computer interface design the form-\n",
|
|
"function fusion is made on the basis of\n",
|
|
"averages, a focus grouped reality based\n",
|
|
"on peoples' understanding of a context in\n",
|
|
"which it is impossible for them to\n",
|
|
"function unless they develop the\n",
|
|
"understanding already been mapped out for\n",
|
|
"them. Perhaps in this context, the user\n",
|
|
"will always be the ideal user, because if\n",
|
|
"they are not ideal - if, within this\n",
|
|
"context at least, they do not conform to\n",
|
|
"the ideal - they won't be a user.\n",
|
|
"Interface design is a discipline that\n",
|
|
"aspires to saying nothing. Instead of\n",
|
|
"trying to crack this invisibility, one\n",
|
|
"technique for investigation is to tease\n",
|
|
"it into overproduction. Why use one\n",
|
|
"mouse-click when ten-thousand will do?\n",
|
|
"Why use any visual information when\n",
|
|
"navigation is perfectly possible with\n",
|
|
"sound alone? Why just look at the\n",
|
|
"interface, why not print it out and wear\n",
|
|
"it? Why read text on screen when a far\n",
|
|
"better technology is paper? Why use a\n",
|
|
"cursor when the object you're actually\n",
|
|
"pointing at can function perfectly well\n",
|
|
"to indicate the mouse position?\n",
|
|
"In any other social context, what because\n",
|
|
"of the arbitrary nature of the abstract\n",
|
|
"machine appear as protocols, would be\n",
|
|
"revealed as mannerisms. (Take a fast taxi\n",
|
|
"through the ruined neighbourhoods of\n",
|
|
"cyberspace by travelling through\n",
|
|
"emulators of old computers: punch a hole\n",
|
|
"in the surface of your shiny new machine\n",
|
|
"by loading up the black hole of a 1k\n",
|
|
"ZX81). When the construction of machines\n",
|
|
"from the fundamental objects of the\n",
|
|
"hardware: bits, bytes, words, addresses,\n",
|
|
"upwards are realised to be synthetic\n",
|
|
"rather than given, or even necessarily\n",
|
|
"rational - though produced through the\n",
|
|
"application of rationalisation, logic -\n",
|
|
"they become subject to wider\n",
|
|
"possibilities for change. Software as an\n",
|
|
"aggregate of very small sensory\n",
|
|
"experiences and devices becomes an\n",
|
|
"engine, not just of connotation, but of\n",
|
|
"transformation.\n",
|
|
"Some of those transformations in\n",
|
|
"occurrence can be sensed in the sheer\n",
|
|
"idiosyncrasy of much software. In the\n",
|
|
"Atrocity Exhibition and other books, J.G.\n",
|
|
"Ballard mixes flat, technical\n",
|
|
"descriptions of body positions as they\n",
|
|
"come into composition with the synthetic\n",
|
|
"geometry of architecture, automobiles,\n",
|
|
"furnishings, to produce an investigation\n",
|
|
"of machined erotics. He continues and\n",
|
|
"intensifies the Surrealist stratagem of\n",
|
|
"cutting together transgressed\n",
|
|
"functionalities in order to regain entry\n",
|
|
"to the order of the symbolic. To an\n",
|
|
"objective observer, the transitory point\n",
|
|
"at which a thigh comes into convergence\n",
|
|
"with a table also suggests the way in\n",
|
|
"which the original Microsoft Windows\n",
|
|
"interface was bolted on top of the old\n",
|
|
"DOS language. The tectonic impact of two\n",
|
|
"neural landscapes performs an operation\n",
|
|
"called progress. The software is tricked\n",
|
|
"into doing something more than it was\n",
|
|
"intended for. Instead of dramatic breaks,\n",
|
|
"hacks and incrementally adaptive\n",
|
|
"mutations are often the way things are\n",
|
|
"made to move forward. (For instance on\n",
|
|
"Apple computers, the desktop is already\n",
|
|
"being bypassed by the absorption of some\n",
|
|
"of the functions of the finder into\n",
|
|
"various applications. From being a\n",
|
|
"grossly over-metaphoric grand entrance\n",
|
|
"hall, it has become a back alley). When\n",
|
|
"they work well they are elegant usable\n",
|
|
"collages. Often they are botch jobs. In\n",
|
|
"both cases, the points at which the\n",
|
|
"systems mesh, collide, or repel, can, at\n",
|
|
"the points of confused demarcation,\n",
|
|
"produce secret gardens, car parks, lamps\n",
|
|
"that fuck.\n",
|
|
"Idiosyncrasies can also develop when a\n",
|
|
"software system is applied to a situation\n",
|
|
"in toto. Perhaps most obviously,\n",
|
|
"databases. The production of software\n",
|
|
"dedicated to knowledge organisation and\n",
|
|
"information retrieval, a field largely\n",
|
|
"seen as the domain of linguists and\n",
|
|
"computer scientists, immediately brings\n",
|
|
"with it a range of problematics that are\n",
|
|
"at once both cultural and technical. The\n",
|
|
"technology underlying search engines and\n",
|
|
"databases - set theory - is based on\n",
|
|
"creating classifications of information\n",
|
|
"according to arbitrarily or contingently\n",
|
|
"meaningful schemes. It is in the\n",
|
|
"application and development of those\n",
|
|
"schemes with all their inevitable biases\n",
|
|
"and quirks that the aesthetics of\n",
|
|
"classification lies.\n",
|
|
"Attuned to quantifying; organising;\n",
|
|
"isolating and drawing into relationships,\n",
|
|
"particular cases of the possible and\n",
|
|
"working them till they bleed some kind of\n",
|
|
"relevance, databases exist firmly on the\n",
|
|
"cusp of the rational and non-rational.\n",
|
|
"When the Subjective Exercise Experiences\n",
|
|
"Scale locks onto the Human Genome\n",
|
|
"Initiative processing library stock-\n",
|
|
"holding data: prepare for something\n",
|
|
"approaching poetry.\n",
|
|
"Perhaps in some ways sensing into the\n",
|
|
"future this destratification of\n",
|
|
"conventions is the architecture of the\n",
|
|
"internet. This, (almost despite its\n",
|
|
"position within and between various\n",
|
|
"political, commercial and bureaucratic\n",
|
|
"formations) after all, is a network which\n",
|
|
"functions on a basis of being broken,\n",
|
|
"continuously finding the shortest route\n",
|
|
"between nodes: even as a squatter will\n",
|
|
"always see the empty buildings on any\n",
|
|
"street before those that are full. At\n",
|
|
"these shifting, transitory points where\n",
|
|
"sensoriums intermesh, repel, clash and\n",
|
|
"resynthesize are the possibilities for a\n",
|
|
"ludic transdimensionality. Knock through\n",
|
|
"a wall, and beyond the clouds of brick\n",
|
|
"dust clogging up and exciting your eyes,\n",
|
|
"tongue, palate and throat, there's\n",
|
|
"another universe: an empty,\n",
|
|
"unclassifiable complex seething with\n",
|
|
"life.\n",
|
|
"Matthew Fuller, May 1997\n",
|
|
"I/O/D\n"
|
|
]
|
|
}
|
|
],
|
|
"source": [
|
|
"with open(\"Visceral_Facades.txt\") as f:\n",
|
|
" text = f.read()\n",
|
|
"tt = re.split(r\"\\n+\", text)\n",
|
|
"\n",
|
|
"import textwrap\n",
|
|
"\n",
|
|
"WIDTH=41\n",
|
|
"\n",
|
|
"for i,p in enumerate(tt):\n",
|
|
" p = p.strip()\n",
|
|
" lines = textwrap.wrap(p, WIDTH)\n",
|
|
" for line in lines:\n",
|
|
" print (line)\n"
|
|
]
|
|
},
|
|
{
|
|
"cell_type": "code",
|
|
"execution_count": 22,
|
|
"metadata": {},
|
|
"outputs": [],
|
|
"source": [
|
|
"def esc (t):\n",
|
|
" return t.replace('\"', r'\\\"')\n",
|
|
"\n",
|
|
"with open(\"visceral_facades.lua\", \"w\") as fout:\n",
|
|
" print (\"text={}\", file=fout)\n",
|
|
" for pid,p in enumerate(tt):\n",
|
|
" p = p.strip()\n",
|
|
" lines = textwrap.wrap(p, WIDTH)\n",
|
|
" print (f'text[{pid}]={{}}', file=fout)\n",
|
|
" for lineid, line in enumerate(lines):\n",
|
|
" print (f'text[{pid}][{lineid}]=\"{esc(line)}\"', file=fout)"
|
|
]
|
|
},
|
|
{
|
|
"cell_type": "code",
|
|
"execution_count": null,
|
|
"metadata": {},
|
|
"outputs": [],
|
|
"source": []
|
|
}
|
|
],
|
|
"metadata": {
|
|
"kernelspec": {
|
|
"display_name": "Python 3",
|
|
"language": "python",
|
|
"name": "python3"
|
|
},
|
|
"language_info": {
|
|
"codemirror_mode": {
|
|
"name": "ipython",
|
|
"version": 3
|
|
},
|
|
"file_extension": ".py",
|
|
"mimetype": "text/x-python",
|
|
"name": "python",
|
|
"nbconvert_exporter": "python",
|
|
"pygments_lexer": "ipython3",
|
|
"version": "3.7.3"
|
|
}
|
|
},
|
|
"nbformat": 4,
|
|
"nbformat_minor": 4
|
|
}
|