i have a radiohead story! a few years ago -- fall 1999 -- thom and johnny did a regular dj-webcast thing. i listened to some of the sessions. one week they put out an open call for musicians to send them demos, for fun (for them to air). my chapbook wall had just come out and i thought, why not, it's a demo of something -- so i sent it.. and thom posted a section of one of the poems to their bulletin board. they are good blokes! (w.a.s.t.e. btw are the people who sell the merch, incl tickets and all that.)

hi brian kim stefans,
this is indeed interesting: could you broaden this "creep" literature concept a litte bit? is it a kind of camouflage appropriation or deconstruction thing?
greetings from cologne - serner :-)

Not to be mr. didacto about it -- i'm just really tired right now -- but you should probably read the essay, and the commentary that others (and myself) have written about it, including Ron Silliman and Kasey Mohammed (all links are at the posting below):

http://www.arras.net/weblog/000242.html

oh thanks - i did already a small recherche. i will gather all information and make a more detailed item in my weblog: random items (http://random-items.serner.de).

maybe you will remember me in connex to the poetry magazine "perspektive". :-) i left the group this year. but will continue my "avantgarde_under_net_conditions" - project. you will find your updated contribution here: http://avantgarde.netzliteratur.net/index.php?bereich=code&aid=135&interview=true"

sorry - but your commenting system does not really allow to make links does it?

serner

hi again,
i made a small piece about "creep poetry" - i will translate it into english as soon as possible:

"die strasse als heisse ware - creep poetry":
http://avantgarde.netzliteratur.net/index.php?bereich=intro&aid=48&textid=320

serner :-)

Our next line looks familiar, except it starts with an asterisk. Again, we're using the star operator, and noting that this variable we're working with is a pointer. If we didn't, the computer would try to put the results of the right hand side of this statement (which evaluates to 6) into the pointer, overriding the value we need in the pointer, which is an address. This way, the computer knows to put the data not in the pointer, but into the place the pointer points to, which is in the Heap. So after this line, our int is living happily in the Heap, storing a value of 6, and our pointer tells us where that data is living.

Let's take a moment to reexamine that. What we've done here is create two variables. The first variable is in the Heap, and we're storing data in it. That's the obvious one. But the second variable is a pointer to the first one, and it exists on the Stack. This variable is the one that's really called favoriteNumber, and it's the one we're working with. It is important to remember that there are now two parts to our simple variable, one of which exists in each world. This kind of division is common is C, but omnipresent in Cocoa. When you start making objects, Cocoa makes them all in the Heap because the Stack isn't big enough to hold them. In Cocoa, you deal with objects through pointers everywhere and are actually forbidden from dealing with them directly.

When the machine compiles your code, however, it does a little bit of translation. At run time, the computer sees nothing but 1s and 0s, which is all the computer ever sees: a continuous string of binary numbers that it can interpret in various ways.

These secret identities serve a variety of purposes, and they help us to understand how variables work. In this lesson, we'll be writing a little less code than we've done in previous articles, but we'll be taking a detailed look at how variables live and work.

The most basic duality that exists with variables is how the programmer sees them in a totally different way than the computer does. When you're typing away in Project Builder, your variables are normal words smashed together, like software titles from the 80s. You deal with them on this level, moving them around and passing them back and forth.