Wednesday, 22 February 2012

Smelling your way through a city: Lush


Today, I went to Kinokuniya to find some old maps of Singapore; blithely, and without having checked the Internet if such materials actually publicly existed. Naturally, when I got there, i discovered there were no antique, vintage, or even slightly older maps. All the maps at Kinokuniya were maps of the present moment in time - 2011/2012 - and nothing else. If Singapore's largest and most vast bookstore doesn't have any old maps of Singapore, then where else would one access such things? I found this rather disappointing; why hasn't anyone thought to produce something like a series of Ordnance Survey maps through the ages, but for Singapore? I just wanted to find out the route of the old canals from an old map of Singapore... Doesn't every country treasure its old maps? Do we not have any old maps in Singapore that are celebrated or iconic?

After this abortive excursion, I was returning to Orchard MRT through the route I have always taken underground for all of my life. I was about to get to the MRT when I thought I smelled something sweet and oddly familiar while passing through Wisma Atria. I could not quite place my finger on it at first, I couldn't recall why it was so intensely familiar and why it was attracting me. The overpowering scent seemed to come from a shop I have always avoided on principle but am nonetheless visually attracted to. This offending store was called "Typo" which sold "nerd glasses" without lenses and "campus notebooks" with old generic western map symbols all over it. It was even more ridiculous to see so many "old maps" masquerading as wrapping papers there because one could probably safely say that the entire Orchard Road shopping strip would not have a single store that sold historically meaningful maps. And there were no real places that these maps were showing us; these "old maps" were simply the accessories and wallpapers for a "designer lifestyle".

Anyway, thankfully, the bewitching smell had not originated from this abomination of a store. Walking right through this shop, I emerged on the other side of the corridor and there it was: a... LUSH outlet. Yes, LUSH, of pungently fragrant soaps piled up like haystacks, gleefully puddling in tubs like chunky half-melting ice cream. Of intense jasmine sweetness, creamy honey swirls, and crinkly yellow paper bag goodness. I am a true sap for the sweeties and LUSH is a store that hasn't been in Singapore for virtually a decade, having quietly slinked away from its units at Suntec after what appeared to be some tougher economic times. I was too young and too poor to afford the soaps back then, so my main encounter with LUSH was at Liverpool Street Station in London, where the soaps were not so overpriced when one was earning pounds. But the soaps still overpowered the nose and seeped into everything around it. More recently while travelling from Cornwall to London last year, I had picked up a bar of Godiva at Paddington Station (or was it Victoria?). So at Wisma Atria, I found myself gaping at a mountain of Godiva bars on the counter. The girl tending to the store seemed well familiar with this type of response, cooing: "Yes, its been a long time, hasn't it?" Suddenly, I realised that this smell of soap has already coloured my memory of places. Like when a track happens to be playing in the background when something serious happens, and subconciously it begins to take on more significance than it expects to.

liverpool street

And now! Remixing these smells and memories! Taking the MRT, jostling with pimply singaporean teenagers, imagining the light filtering through the trees on the train right, the cold rush of wind through the Tube station, the emergency crisps! Help! And all this, because I found the exact same soap in another country with a consistency that is all too predictable.

I have to admit that I do enjoy the consistent comforts of modernity; for example, it can also be said that most of my wardrobe has consisted on generic plain tailored dresses from Muji or Uniqlo, both of which I have visited in multiple countries. The consistency of the plain "no-brand" generic is something that I find comforting despite the knowledge that it too exists and operates within that same (and slightly sinister) postmodern economy; where traces of memory and culture often appear to have been utterly erased and replaced by the same modern effects all around the world. Shopping malls look the same all around the world, void of interesting architectures and real communities - replaced instead with distorted representations of people and manipulated desires.

Similarly, I am aware that even the little "organic handmade soap" that I have been so fond of over the years could quite very well be not very much different from a mass produced, global commodity, with this bar of soap travelling vast distances to get to me no matter where I might be residing. You might imagine that a sensible response might be to seek out that which is different or unique within a sea of endless repetition. Yet perhaps by dint of having grown up here, I also feel at home at shopping malls overseas because they remind me of Singapore in particular. I wonder why it is that I feel so nostalgic for things. If I keep on buying soaps or things because I am trying to "recapture" a moment in the past, then life would be really boring or artificial I kept it up for too long. I would be stopping myself from exploring new things if I got comfortable with old, sentimental favourites. So I guess this time around I'll allow myself to roll around in a nostalgic soap - but next time we're going out to find new smells that we've never smelled before!


There are other reasons why the very word "lush" warms the cockles of my silly little heart but we'll leave that for another story time.

The Perimeter of Pulau Ubin

Picture 2

The estimated perimeter of Pulau Ubin is approximately 23km.

At an estimated rate of 1 hour per 5km, this endeavour would take at least 4.6 hour. Since I am very unfit, perhaps this will be closer to 5 hours or even 6 hours, while also having to find one's way around as there is no actual footpath or route.

Next, I will be looking for cheap GPS real-time receiver and an old map of Singapore. A GPS receiver will be much more accurate than my iPhone and can be used to map out the actual route taken around Pulau Ubin. I would also be able to go geocaching or make up some geocache variant. Looks like prices are below SG$100 so its not a costly investment either.

The Global Positioning System uses a set of 27 satellites (24 are in use, 3 are backups) which orbits earth at about 19300km above ground. At any one time and from any location on earth, there will be at least 4 satellites within "visible" line-of-sight. The GPS receiver sends a signal trying to locate at least 3 of these satellites and from the signal it receives back from the satellites, it uses trilateration in 3d space to calculate the actual position of the GPS device on earth.

Tuesday, 21 February 2012

Short Message Memories

The Persistence of Short Memory,
How I Transferred 3500 SMSes from a Nokia 3120 Classic to Macbook Pro (Mac OS X 10.5)


The goal was to transfer around 3000+ SMS from a Nokia 3120 Classic (May 2008) to a Macbook Pro running 10.5.8. Now both of these things aren't the newest things in the world; this was an old phone I had used from 2009-2010 after I had left my previous phone chargers in the UK, and my macbook pro is about 2 years old now I reckon and on a rather old OS. Finding the relevant tools that could do the job for these two devices seemed like a good challenge.

Firstly, if your phone is really old and you have forgotten the Model name, There are a number of Nokia codes you can use to find out more information about your phone first:

*#0000# - "Software version"
Nokia Phone Model name and Software version

*#92702689# - "Warranty menu"
Line 1: Serial Number (IMEI Number)
Line 2: Made (in the format of MMYYYY)
Line 3: Purchasing Date (if any)
Line 4: Repair Date (if any)
Line 5: Life Timer (time since it was last started)

*#06# - "Serial Number"
Serial Number IMEI Number (International Mobile Equipment Identity)

IMEI number is used by the GSM network to identify phone devices, so it can technically be used to block a stolen phone from accessing the network in that country or use the IMEI to identify which phones should get other specific network services. In Singapore, there isn't much point to this because telcos here dont use IMEI to decide what phone units to block, but instead terminate services to the sim card if a phone is reported stolen and later reissue a brand new sim card to the user.

I started by downloading Nokia PC Suite, which was the most obvious transfer facility available, except that it was only compatible with Windows. I started up Windows 7 on Paralles, but then I realised that in order to get my Mac's in-built Bluetooth running on Windows Parallels, it would require much jumping through hoops which I was impossible as I did not have my Mac OS X Installation DVD with me at the moment. It seemed impossible to download the offending Bluetooth driver using Boot Camp Assistant (looks discontinued, and will require you to pretend to have at least 10GB free on your hard drive before it will let you burn the disk image with the drivers on it). Downloading it on its own (AppleBluetoothEnablerInstaller.exe) only brought more confusion, what with my system being 64-bit and most of the available standalone copies of this file on the internet being 32-bit (it returned an error message telling me I'd have to run the 64-bit version of DPinst.exe). So it looked like I had to find some bridge that connected the phone directly to Mac OS where my Bluetooth was directly installed.

I downloaded and registered a copy of PhoneDirector (US$29.95) which said it could do SMS export as tab-separated text and also select and delete SMSes.

Picture 10


You can export it as a tab-seperated value text file (UTF-8) and import that into Excel.


Finally, you can delete the messages from your Nokia phone.

Funny how it is that if these little messages were not archived in any form, then losing these short little messages would not matter at all to us; many things in life are not recorded and we don't mourn for them either, we simply move on. But once we know that an archive exists, it becomes hard to delete these archives of memories.

Picture 14

Monday, 20 February 2012

The 7 Best Monospace Fonts

Here is a roundup of my favourite monospace fonts.

7. Courier

For most people, this will be the first monospace font that comes to mind. Courier New. The poor, tired terminal workhorse has been flogged so long and hard to its death that its also hard to be objective about it. However, Courier earns its place in this list for being so ubiquitous. When you're stranded at some foreign PC work terminal that isn't yours but you simply have to code up something, Courier is your only friend.


6. Monaco

Monaco comes as Mac OS X's default monospace font. It's decent, but not that pretty to be honest. If I had to describe it as a shape, its like a trapezium with a heavy base and a wonky top. I think I would prefer my fonts to feel like something beautiful and symmetrical. As you can tell, the thing that launched me on this hunt for the right monospace font was also my dissatisfaction with just using the Monaco font. Its not bad though, but I don't feel all that inspired, staring at it.


5. Andale Mono

Andale is another one of those default fonts that comes with Mac OS X, but it is still not too shabby. I find it marginally nicer than Monaco, but my only gripe is that the spacing is too wide and it feels too fat and heavy as a result. Dotted zero, might be good for people who like their fonts spaced out.


4. Droid Sans

The Droid family of fonts, including the serif, was made for use on Android platform. I am a little divided on this one. I appreciate its clean appearance but it has something of that "boring" feeling when I stare at it for too long. Also, no dotted or slash zero, so you may get your O and 0s mixed up.


3. Consolas

I like Consolas. Its like a Monaco with a bit less space around it. Crossed zero, round friendly appearance, it was originally designed as a replacement for Courier New, and is one of Microsoft Vista's standard fonts. Don't think its a free font, but I've got Vista and Microsoft Office on my mac so I am thinking it came with either since I only noticed it recently.


2. Liberation Mono

Cleancut and stubby, like a homely sort of girl guides biscuit tin, somehow I like Liberation Mono because it makes me feel productive and yet it doesn't feel boring or dull. Dotted zero adds a nice touch. Liberation Mono was made to be the free, open-source replacement to Courier New with very similar metrics.


1. Inconsolata

This is my favourite font of them all. Dainty, crossed zeros, more compact than others. Makes me feel like I'm getting more done. Inconsolata is an opensource font created by Raph Levien and I find it is the most readable font of all... 100 Marks.


as3isolib, regular expressions

Today's roundup of experiments and snippets:


I downloaded as3isolib some time ago but never had time to play around with it. Today I went back to their site after a long while and realised that all their example swfs on their documentation site were broken. Most of the examples were originally for Flex but I sometimes like to work in Flash IDE itself so this is an example how to use it with as3iso. Credit goes to the documentation wiki as well as various commenters correcting each other on the wiki.

"As3isolib is an open-source ActionScript 3.0 Isometric Library developed to assist in creating isometrically projected content (such as games and graphics) targeted for the Flash player platform."

This is a simple example of an IsoScene with an IsoBox. It uses classFactory to create the shadow below itself, and TweenMax to handle the animation.

import as3isolib.core.ClassFactory;
import as3isolib.core.IFactory;
import as3isolib.core.IIsoDisplayObject;
import as3isolib.display.IsoView;
import as3isolib.display.primitive.IsoBox;
import as3isolib.display.renderers.DefaultShadowRenderer;
import as3isolib.display.scene.IsoGrid;
import as3isolib.display.scene.IsoScene;
import as3isolib.geom.IsoMath;
import as3isolib.geom.Pt;

import com.greensock.TweenMax;

var box:IIsoDisplayObject;
var scene:IsoScene;
var tm:TweenMax;

scene = new IsoScene();

var g:IsoGrid = new IsoGrid();
g.showOrigin = false;
g.addEventListener(MouseEvent.CLICK, grid_mouseHandler);

box = new IsoBox();
box.setSize(25, 25, 25);
box.moveBy(0, 0, 20);


var factory:as3isolib.core.ClassFactory = new as3isolib.core.ClassFactory(DefaultShadowRenderer); = {shadowColor:0x000000,shadowAlpha:0.15,drawAll:false};
scene.styleRenderers = [factory];

var view:IsoView = new IsoView();
view.clipContent = true;
view.setSize(stage.stageWidth, stage.stageHeight);


function grid_mouseHandler(evt:ProxyEvent):void
 var mEvt:MouseEvent = MouseEvent(evt.targetEvent);
 var pt:Pt = new Pt(mEvt.localX,mEvt.localY);
 var squareSize:int = 50;// 
 var gridX:int = Math.floor(pt.x / squareSize);
 var gridY:int = Math.floor(pt.y / squareSize);, 0.5, {x:gridX * squareSize, y:gridY * squareSize, onComplete:completeCallback});

 if (! hasEventListener(Event.ENTER_FRAME))
  this.addEventListener(Event.ENTER_FRAME, enterFrameHandler);

function completeCallback():void
 this.removeEventListener(Event.ENTER_FRAME, enterFrameHandler);

function enterFrameHandler(evt:Event):void

Using regular expressions to parse loaderInfo url name:

I have a folder full of swfs which have an external file / xml entry where they must get their information from. Each swf file is named in the format xxx_0.swf where xxx is a 3 letter suffix and 0 is any number (can be any number of digits). The issue is that when you try to return the url name you will actually get the full directory path. Don't know if this is the most efficient way, but the solution I eventually went with involves putting each URL segment (divided by a slash) into an seperate array item and then going to the last one. Finally we slice off the front 4 characters (xxx_) and last 4 characters off (.swf):

var myFileNameArray:Array = new Array();
var num:Number;
var myFileNumber:String;
var myFileNum:Number;

var myFileName:String = this.loaderInfo.url.split("/").pop().replace(/%5F/g, "_").replace(/%2D/gi,"-");
myFileName = this.loaderInfo.url.split("/").pop().replace(/%5F/g, "_").replace(/%2D/gi,"-");
myFileNameArray = myFileName.split("/");
num = myFileNameArray.length;
myFileNumber = myFileNameArray[num-1].slice(4,-4);
myFileNum = Number(myFileNumber);

Sunday, 19 February 2012

How to do Pitch Analysis in Audacity

I should like to make a singing game where people have to sing the tune that's been played to them. A bit like a music memory game. So i thought i'd start by trying to find out how we do a simple pitch analysis.

Picture 10

I used an online tuning fork to generate a tone and then listened to it while recording myself singing back the same note. [At this point I realised my voice was very "pitchy" as playing my voice together with the tone resulting in a discordant sound where the two pitches varied ever so slightly, so when conducting this experiment some degree of inaccuracy should be expected....]

In Audacity, go to Analyze > Plot Spectrum...
Increase the size to 16384 (maximum)
Set Axis to Log (Logarithmic) to see the notes and frequencies present (The "highest" point means that frequency is loudest in that recording).

Picture 8

Frequency Spectrum of myself singing 329.63Hz (E)
Result: Peak Spectrum of 330Hz (E)

Picture 8

Frequency Spectrum of myself singing 220Hz (A)
Result: Peak Spectrum of 219Hz

Sonic Visualiser and Signal Processing

Viewing audio spectrums in audio editing programs like Audacity can be unpredictable as it may frequently crash or hang because the program/computer can't handle the processing required to analyse and display the spectrogram. And after you get the graph, what do you do with it? After the data is visualised, how can we get to the data and break it down?

Sonic Visualiser is apparently a program explicitly built for viewing and exploring audio data for semantic music analysis and annotation. I downloaded it recently and found that it worked incredibly fast and was also full of many useful annotative functions and could also run "feature-extraction" plugins (eg: beat trackers, pitch detection, etc).

I guess I am following this line of thought because I am interested in how we can analyse sound data meaningfully. Detecting beats, pitch, vowel sounds, and other audio features is something that has fascinated me since I once saw a documentary about deaf children in 1970s France, where children were apparently trained to speak using a computer game that made children learn the subtle difference between speaking different vowel sounds. Although the children in this programme were profoundly deaf (often from birth) and could not hear anything at all, they were being physically trained to produce the right vibration and sound through their vocal chords, aided with this motivational computer game that moved the character up/down/left/right according to the sound that was emitted. The vowel sound for "A" would move it up, the vowel sound for "E" would move it to the right, the vowel sound for "U" would move it down, and so on so forth. So it would be, a sort of dream, to find out how to create such a program on my own.

I downloaded Sonic Visualiser and put in an audio file generated by Metasynth which was meant to have a spectrogram that resembled the cover of the Space Voyager record. (Read more about my attempts at converting images to sound)

Picture 3

dBV: "The scale displacement is proportional to the log of the absolute voltage."

Picture 4

dBV^2: "The scale displacement is proportional to the log of the square of the bin value."

Picture 5

Linear: "The scale displacement is proportional to the voltage level of the resulting audio output."

DECIBELS: The dB is a logarithmic unit used to describe a ratio of a physical quantity in reference to a specific level. The ratio may be power, sound pressure, voltage or intensity or several other things.

"In professional audio, a popular unit is the dBu (see below for all the units). The "u" stands for "unloaded", and was probably chosen to be similar to lowercase "v", as dBv was the older name for the same thing. It was changed to avoid confusion with dBV. This unit (dBu) is an RMS measurement of voltage which uses as its reference 0.775 VRMS. Chosen for historical reasons, it is the voltage level which delivers 1 mW of power in a 600 ohm resistor, which used to be the standard reference impedance in telephone audio circuits.

My Observations/Ponderings:
  • are those what we call "noise artifacts" in the spectral analysis process? why are there more colours on certain "scales"? why the fuzzy bits of sound scattered across the graph from what sometimes sounds just like a singular tone?
  • how should we choose a frequency scale? which frequency scales bring out the most striking visual images? is this like the RGB channels for images? in RGB images we can say that the red channel tends to contain the "human skin tones", the green tends to contain the high details, and the blue tends to have the noise - is there a similar thing in sound analysis, where viewing sound on different scales produces visual graphs that emphasise particular details in a similar manner?
  • how is colour assigned? there are many different possible colour palettes available, but how do these programs do it? are there also different scales involved in applying colour effects to the sound spectrogram?

Picture 6

for example, this is a portion of the analysis of dopplereffekt's the scientist. the track itself is fairly minimal and it is very crisp and clean, mostly just DUK CHK DUK CHK DUK CHK DUK CHK. still, this spectrogram is pretty colourful and i can't quite yet look at the spectrogram and imagine the sound from it. perhaps it will take more reading to understand why it looks this way or how to optimise and format the spectrogram output.

In other news, I am currently trying to understand digital sound processing by watching this lecture series on Signals and Systems, released on MIT Opencourse Ware. Got to Lecture 2, was promptly stumped by the first equation. First time I saw the symbol phi. Actually, how the hell do you even type phi? Looks like there is no way to type phi in a mac keyboard. You have to copy paste it in or find the symbols panel (greek) and then add it in. ϕ

The lecture begins talking about a continuous time sinusoidal signal but in the real world a lot of the common digital signal processing that goes on apparently involves discrete signals, eg: music on cds, mp3s.

Signals can either be continuous time (eg: analog) or discrete (eg: digital). Digital audio is sampled and the sampling rate determines how many of these discrete signals we record down.The resolution determines how "detailed" the recorded signal can be. An 8-bit code has 256 possible combinations, a 16-bit code would have 65,536 combinations.

Next, this data has to be analysed so it makes sense as sound. There is no "simple" way to do spectrum analysis for sound and most oscilloscopes do not give any information about the timbre of sound which needs to be understood more as differences against the scale of frequencies whereas we record sound against the scale of time with an oscilloscope. The main method used to analyse sound into something that becomes "digital sound" is the "Fast Fourier Transform" which appears to involve a very much more complicated algorithm....

Monday, 13 February 2012

Geometric Sandwich #1



today i tried making an avant-garde sandwich
with an inset triangle of egg

DJ DBBD 2011

Reposting some mixes and tracks I made last year. Now all on one page.







=== - yt80s.flv
[track made with youtube videos and 80s samples, pieced together manually in audacity]

=== - 4 P.lpwth 19.C
[track made with string samples]

=== - 0tlk
[track made with samples from opening sound of bbc outlook]

Friday, 10 February 2012

Contextfree - Square Recursion with Pastel Circles



startshape circlepaper
rule circlepaper {
    2 * {y 1} {
       2 * {x 1} pastel {}
rule pastel .2 { 
    CIRCLE{hue 180 sat 1 b 1 a -0.75}

rule pastel .2 {
    CIRCLE{hue 0 sat 1 b 1 a -0.75}

rule pastel .2 {
    CIRCLE{hue 50 sat 1 b 1 a -0.75}

rule pastel .2 {
    CIRCLE{hue 100 sat 1 b 1 a -0.75}

rule pastel {
    circlepaper{s .5 y -.25 x -.25 b 0}

Wednesday, 8 February 2012

JPEG Glitch Generators

Found this AS3 BitmapData Glitch Generator. Reading the code to find out how it works. Here is some of the output from this:

Picture 4

Picture 5 Picture 7 Picture 6 Picture 10 Picture 9 Picture 8

The opensource example from soulwire works by altering a few bytes in the ByteArray of a JPEG file, which is loaded back into a DisplayObject using Loader.loadBytes(). You will notice that the corruption starts slightly further down - because the code is trying to avoid the important JPEG headers. It is able to do the same for PNG and GIFs by first converting them to JPEGs then doing the same (PNG and GIF are not saved in the same way and only JPEG's format is suitable for this method of corruption - although I wonder how else we could corrupt PNG or GIF?)

A JPEG image consists of segments and markers. Some of them are important and specify important things like the width, height, subsampling, and quantisation tables. These parts are not to be edited because because this needs to be more or less intact for the JPG to still sorta display, and the part that is altered is the portion from SOS (start of scan) and EOI (End of Image). - See more on JPEG syntax and structure)


The same can be done with any text editor. Here is an example using a random cat picture.

Picture 12

All those characters are storing the information for this picture:


I opened up a duplicate of this JPEG file and pasted in the above paragraph on JPEGs into one of the lines.

Picture 14

This is the effect on the JPEG image:



Contextfree - Moireballs


moireball3 moireball4

Playing with a simple rule set on Contextfree. Looks even more full of moire when compressed automatically by Flickr - moire being the interference pattern when two grids/meshes are overlaid but small differences exist (kinda like how phase shifts work?). In this case, the moire effect is derived from small variations in the circle rule which is repeated.

startshape MOIREBALL
background { hue 100 sat .2 b -1 }
 360 * {r 0.999999} 
rule START {
 START [s .99 x .8 r 0.99 a .5 z -.4]
rule LOOPY {
 CIRCLE {s -.3 b -0.2}
 CIRCLE {s .2 b 0.2}
 CIRCLE {s -.4 b 0.3}
 CIRCLE {s .2 b -0.3}

Sunday, 5 February 2012

Systems and Pattern Recognition

drain2 drain5 drain4 drain3 drain7 drain6 drain8 drain10 drain1

Selected details from a walk along Bukit Timah Road

The above images were from a walk along Bukit Timah Road on Saturday morning. We had eggs benedict at Hatched and then walked backwards on Bukit Timah Road, exploring a few drains and the construction work for the new Downtown line. Some of the electrical and plumbing boxes had been installed with rope handles. You know what I say; if they put a handle on it, it must be for us to open and look inside. So I opened them and looked inside. Not very interesting though, just a lot of soil, but can't expect to find surprises all the time I guess. We also found a total of 3 mysterious packets of bright green grains, along one large storm drain. Could they be fertiliser, rat poison, mouldy barley, drugs, or something else? Does anyone know what this is?


The other day I did an interview with Tan Pin Pin. She had seen my Yangtze scribbler images in one of my booklets and somehow it had the honour of piquing her interest enough to shoot a 5-minute thing about it. We went down to see the location and do a bit of filming. Amazingly, they were still there exactly as I first recalled them - both the ones on the Yangtze stairwell and the new one on the back of the bus stop on Victoria Street (next to the muslim cemetery). Being at that place always feels intense, like intruding into some other world that I don't belong to. Last year in November, I saw a very similar set of symbols on the back of a busstop on Victoria Street. Seeing the same symbols outside of the Yangtze was the thing that, for me, elevated this from "secret language from a closeted, bubble universe" to "GRAND CONSPIRACY / MYSTERY"!

Since the time me and my old colleagues first encountered it in mid 2010, the foodcourt with the western food stall at the top of Yangtze has given way to a huge KTV bar that has completely reconfigured the space. The typically R-rated Yangtze cinema is going strong once again; it is currently showing World of Geisha with a blurry flyer that has a rave review from Francois Truffaut hastily photoshopped on top of it. One would scarcely imagine that any of the people frequenting Yangtze would be familiar with Truffaut or even care about the opinion of Truffaut, but who knows? For years, these "R-rated cinemas" have always been slipping in the arthouse amidst the raunchy film titles.

Yangtze Stairwell (29 July 2010):



Yangtze Stairwell (3 Feb 2012):



Victoria Street (13 Nov 2011):


Victoria Street (3 Feb 2012):


One of the revelations I had as a result of the interview was that my fetish for collecting photos of signs and symbols might also be described as a general interest in understanding systems and finding patterns. I said there and then, that I had always thought that intelligence was just a matter of being really good at finding patterns in things, because IQ tests are usually about finding patterns. Pattern recognition is probably the most crucial skill in intelligent decision making, and even learning new skills or languages also involves being able to understand patterns, predict the next outcome, and also replicate the patterns on your own. I suppose in my own work and writing I also approach the city in a similar fashion, always desiring to find meaning or patterns in what sometimes may or may not be meaningless data.