C++ Classes, Darwinism, Strict/Unstrict Constructivism

C++, the first language to really make encapsulated object-oriented work hand in hand with primitive (and fast) C types.

Object-Oriented, the idea that in programming, tasks or entities, blobs or situations, can all be encapsulated in classes that manage themselves; a class has a private, internal cellular auto-environment. Object-Oriented is a good way to prevent bugs in programs, as well as ramp up complexity by spawning dynamic forms.

However, much emphasis is placed on the idea of inheritance, as part of a crusade to find the common ancestors of all situations in a category. This "ur-situation" is placed at the top (or bottom depending how you look at it) as an abstract (in Javanese) class with virtual methods, to be defined by its inheritors.

Inheritors, we hear, and we think of things like Southern White Plantations, Paris Hilton, Emperors, etc. Momus, the singer/song/thinker has written a wonderful essay on Darwinism, trying to expiate the man's theories from strict interpretation as "hierarchical". "Voyage on the Beagle" was Darwin's time studying the birds of Galapagos, who had played their own game of life on the island, bouncing colors and beak-shapes from one side to the other. Darwin was led to conclude that it "is impossible to put one species above the rest", shunning the Strict Constructivist thinking of Lamarck, the idea of progress, and perhaps even the idea of the ur-whatever.

But Strict Constructivism lives on; remember 2002, George W. Bush defining his own personal brand of S.C.. Un-Strict Constructivism is more creative, and emphasizes divergence into multiplicities. The Galapagos Syndrome: species evolving independently and creatively because they are in an isolated "petri dish" environment, allowed Darwin to absorb evolution in a holographic, or nonlinear time-form. http://imomus.com/indexholidays.html He also compares Japan to Galapagos, an island that has created a wonderfully self-referential culture.

Thus I have come to put less emphasis on ancestro-lineal inheritance in C++. This is hard to do, for I was taught to create abstractions. I still do, but more than worrying about inheritance and a common ancestor, I think about connections, relationships. Forexample, in JUSTINTS, within a ChubberySituation there are SponGinger, RoyalMinister, and Barre, in a complex relationship, where they hold each other and also interact with a cloud of interlinked RatChords. These classes, are balanced by how much code density they have, in an attempt to split code up equally between multiple characters based on their role.

Yes, perhaps if we think of "Dramatic C++", we could think of our classes as "actors playing roles", a king, queen, court orchestra, fool, a reference array of the dukes, barons, and church officials, arranged by tax brackets, the various guilds, organ makers, oscillators. The code should oscillate as a fast virtual version of the yearly and seasonal cycles of this virtual stage.

Writing code here is an act of Shakespearean creativity, filling roles to the brim with meaning. It is as a result of loosening up and pursuing Un-Strict Constructivism.

Only when the actors are comfortable with their parts, then can we talk about Lineage, the idea of multiple kings with the same name, Richard III, Richard V, the idea that an essence of kingliness, or with an emperor godliness, is abstracted and precedented by the ancestors.

Actually thinking about ancestry can be a very philosophical experience. Lamarck drew charts that started with a sole ancestor and end with many species, the typical school-child's view of evolution. This is arborescent thinking, to use a Deleuzian term. But actually, remember we have just as many ancestors as we have inheritors. It goes backwards too. This is hardly covered in C++, but many languages have tried to create multiple ancestors that can come together in the same class, using labyrinthine techniques such as interfaces, templates, and so on. This is trying to make something hierarchical into a rhizomal environment (to use another Deleuzian term). It is actually very hard to make rhizomal code, but it is where the gold is at, for it allows your users to have a holographic experience. To do it with inheritance would be to make all sorts of funny things such as the Oedipus syndrome, rings of inheritance, multiple diverse ancestors, convergence.

This would be a Post-Lamarckian situation, for again, "the usage of post as a prefix shall indicate that we are neither fans or haters of whatever it is; we can basically exploit the dialectic between the presence of whatever it is and the complete negation also". Id Est, we return to inheritance as a "wonderful" synthetic concept, used among the characters to portend a sense of deep-time, or grandeur, or profound, mixed with Darwin's "play within a play", the virtual stage of converging relationships.

relationship between circuit bending and sea-lawyer

those who can quote every rule,

but argue a bend around it.

a prair:

this cirquit is quaietus,

let us hear it louwd.

treehouse poem

some one has hung a net at the entrance to the tunnels, for minnows.

this is me and the treehouse i built when i was small, with friend david

the tree has since grown around the wood (which was arsenicized) like gums around an ancient toothpick.

i remember pounding these nails in

and when david dropped a bord on my head and i thought i was dead from nail brane

i hope my son becomes a famous musician with fancy hands and a trademark smile, some day. Marin's eating my brane.

but for now he can stare at the multi-colored plastic things we have to make his brane grow

Abstract Gay Poem for John Berndt, on his birthday

I like how you sit in front-row,

your hair in an ambiguously dry flop,

lips puffed askance the projection screen,

legs extended into the performance area,

for shows that you approve of,

or curated.

Writing Sample for City Paper

BEST PHO RESTAURANT: THE ONESZ IN CATONSVILLE

As the ancient war-philosophers said, know thine enemy. The enemy of this paper is unrighteousness. What is this in the context of dining? It is restaurants that use hype rather than ingredients, sub-contracting to "reefer-truckers" rather than making an effort to go out and forage locally. In short, our enemy is a restaurant with an ego-complex.

The autumnal mowing down of enemies was known best by Mao, who's favorite season was Fall, because of all the cleaning away of life-scum. The campaign-pogrom-idea of "letting the thousand weed-seeds germinate, then plowing the field", became a standard motif in Post-Maoist China.

So we go into choosing the best Pho restaurant with great trepidation. Best not to let a restaurant become so hubritic and full of itself, that it goes and gets decadant, allowing the broth, man it's the broth, to fall into ruins. This is the autumnal cycle of Pho restaurants, get famous, then fall to the sickle again in sloppy brothing.

The best Pho restaurant is the one in Catonsville, past the Hon. Don't go there. Let the natives enjoy their stainless steel bowls of fresh ingredients, discussing simple, Vietnamese pleasantries. Don't make this Pho restaurant have to stock your highly-hopped, dog-themed beers. It's better in a post-Maoist sense to try to see some reason here, to not plow them into the ground.

Actually, do go there. That's what made California great, is the blend of hipsters and Asians. Any noodle house in "San Fran" will have a wide array of funky-dunk beers. Or even look at the success, as a franchise, of "California Pizza Kitchen"-- i remember as a kid, looking at the menu, and immediately homing in on "Peking Duck Pizza", and salivating at the thought of a nice crust, plum sauce (!) and greasy crunchy duck with fresh leekslivers, roasted in a hot brick oven.

That's what might save us from this endless Mao-ist cycle of pump up the restaurant and let them deflate, all the while spewing fowl anise juice that has not been correctly blended with the other 8 spices that go into a Pho bowl. We don't need the seasonal aesthetic anymore in critical restauranteering. Rather, something meta-seasonal, or perhaps shall we say Californian, may be the solution here. Allowing the seeds to germinate, get famous, appropriate hipsterdom, and fully culturate into a thriving, fusion restaurant, in a post-modern perpetuity of hyper-color plus simple Asian ingredients, with hipsters as "lead programmers" of farmers' marketeering.

-Peter B, for the City Paper (not)

Peter B: "I use MSG b/c it's like Computer Music"

Mayor Martin O'Malley has become the first Mayor in History to be "Abstract Gay"

Baltimore City Municipal Poster Design, as viewed in Jurors' Waiting Room, City Courthouse

note: technically it is illegal to take photographs in the courthouse. this was done surreptitiously with a webcam, because these posters are the most interesting part of the waiting room for jurors, there are scores of them there. they represent a unique history of design decisions, and are reproduced here in order to discuss this history. this article is bending rules, not breaking them, by using only lower-case; it is a "lower-case" piece.

many of them feature a design of "dialectic" as well as "razzle"

the 90's held much critical dialectical debate on topics such as what is art? of course, there still was a certain pizazz in the slicing.

neo-futurism is observed in hyper-color vests, mimes, and fonts, against a truly"theater dork" city-lights and monumental stage.

silhoettoes are a good way to transcend raceism. this is the kind of message-poster that i would stare at as a kid, trying to understand it, and eventually getting a headache from it. always, my friend, always- note the font.

this photo was in the same name as the others, so i brought it out here. look at that wonderful tokyou lighting on kii-kun's face.

this poster is the worst! i love it. the musical notes have a french horn in pink, right next to my ear you see it;. you know, baltimore has always had crabs, and now it has "hon" officially accepted by the mayoral }{ and municipal gov't ":}{[[]l,; [thus] we have crab-hons,'; clowns ;;] mimes,}{:" ice cream }{';';';';' flashback to now we have a thriving silkscreen and experimental jam band scene.

you know, my friends, when i was a kid my parents took me to baltimore, and we went to the aquarium. i may have seen one or two cos-play kids down there by the harbour, and you know that's all it takes in a kid's head, to trip some sort of switch or lever. since then, for many years, i thought of baltimore as the following:

"a hairy, but compassionate looking, man, his hair in curls and capped loosely with a jazzy french hat. the man is playing bongoes in a room full of crazy art."

turns out this came alive when i was about 22, when i met twig harper and moved to baltimore... he is totally such a man and there are many others here, it's like i have discovered an imaginary land that was leveraged in my brain a long time ago... he also has designed many posters which i like, and he would appreciate these posters here if not for he were ;']['.;'][';.;'

Geography of London, powdered data

When I think of my designs, or my computer programs,

I think sometimes of the geography of London,

inn muddy 9th century, and more importantly,

in the 19th century, with its modern veins and arteries

of people, money, goods, water, gas, telegraphs, church bells.

and yet the odd angles, following the Thames or the whim

of an ancient mythology.

programming a law, in various ministerial buildings,

pontificating, yet ruminating of

the psychogeography of bricks, urban exploring,

various pubs where legal opinions can be

discussed over ale and wood paneling.

i approach the barre,

a barrister,

a powdered wig

data,

the powdered man

powdered data

steam powered,

powder powered

steamship

legal decisiones

powered data

POWDROID

powdered android

starship whig

ceremonies

data

powder