iOi is a continuation from the animasuri/blog repository. Here I let go of ideas. This is in a neutral sense, and as part of a general mechanism.
In analogy, some might recognize that these mechanisms are used as bank accounts or other such instruments would be applied to harvest or to deposit or expand on a financial resource.
Though, the analogy only extends to the implied process and mechanisms. Contrary to possible impressions, merely by using the financial as a reference, there is no sympathy within this blog for this analogy.
On the contrary, the analogy is intended to use a narrative that seems all too well accepted by too many while the analogy into other realms is too often ignored or debased.
In this case my resources are not financial but rather, as mentioned, they are ideas that sprout into existence in my mind (or surely any other mind) that I harvested, deposited and let grow here (to now shift to the implied analogy of agricultural resources free for the picking).
Some ideas might crash, some might be bad investments, some might flourish yet all ideas function as instances of interruption.
infested with legionnaires disease Tree, water, three: who cares
or so I imagine after holidays weekends, personal days, or vacation
or economic layoffs and boardroom affairs
we cast a role cast a cast, cast off
for castles, king for sand, and land
as workers work at rollin’ the sea with grains
We’re the victimized villain’d villein
victory reversed three downward folded
fingers as cursed crumbs for thirst
—animasuri’24
—- Trigger
Marsan, E. (2024, April 16, 05:06 local time). IN: Stephen Sackur, S. BBC News World Service . HARDtalk. Eddie Marsan: Do the arts neglect working-class people? Retrieved on 16 April 2024 from https://www.bbc.co.uk/programmes/w3ct5szc
If ‘Odinshühnchen’ were a set of tokens it could be probabilistically reasonable to rehash it to ‘Odin’s hühnchen’ or could functionally be confabulated to become ‘Odin’s chick,’ possibly “hallucinated” to be of chocolate make. It seems when temperatures (t) are set too high (well above 2) a ‘chocolate chicken of Odin’ suddenly seems fair play.
Technology infused poetic thoughts —(by humans for humans) as a discussion and negotiation of nuances of linguistic intuitions and the weighing of words within a compound concept— are dimensions and vectors of what makes us human, well beyond the state of mathematical, engineering and scientific reductions we have access to for the moment. As with the statement “oxygen isn’t enough for humane life,” one without it would be equally challenging as thinking without reductions. And yet, that does neither exclude going beyond either.
Let me elaborate: non-sense, or nonsense, makes us human. Think of a snail intending nonsense; or of a lion. Perhaps a lion cub, or a dolphin might seem to have their moments and yet one might suspect the transposition of human features or human needs for sense-making onto non-human inanimate or animate others. Nonetheless, one might also wonder whether it is humans as a species who take non-sense to very diverse depths or heights. If so, one might assume this is since nonsense can be defined as acts (of which thoughts are a subset) lacking sense, for sense must be there to outlie nonsense away from its median, mean or mode’s stances.
Let us play with sense and nonsense via a loose interpretation of a neurolinguistic concept of “concept blending” while contextualizing the hypes, utopias and dystopias veining the public narrated peripheries of the field of AI. (That’s where this ignorant author roams).
For instance, ‘algorithmic’ we can agree is an adjective. It intuitively asks for another word to follow. Likely a noun. This sensation is very much as with playing musical chords or sequences that create an anticipation in the listener for some specific chord or note to follow. As it is with bird song. And so it follows…
In this case, let us imagine ‘algorithmic’ is followed by ‘fairness.’ It follows that this would result in the concept (a compound of two words) ‘algorithmic fairness’ just as, for instance, if ‘Odin’ were followed by ‘chicken’ would most likely result in ‘Odin’s chicken.’
Secondly, let us now assume that ‘algorithmic’ can be followed by a number of nouns. This creates a set of concepts that start with the adjective ‘algorithmic.’ For instance, another one is ‘algorithmic governance.’ Sure, one could play a surreal game and suggest ‘algorithmic potato’ or ‘algorithmic chocolate chicken.’
Here thus an intuition is introduced where the weight or the probability of one is higher than the other. And, where the “closeness” of one is closer than the other. ‘algorithmic’ is closer to ‘fairness’ than it is to ‘potato’ or ‘chicken’ and perhaps, to some, less so ‘chocolate.’
This is partly due to one (e.g., ‘fairness’) having been used by other humans (perceived as leading voices or as voices echoing leading voices) while the other is not or probably is not (i.e., ‘chicken’).
In the ‘algorithmic’ set of concepts with the adjective ‘algorithmic,’ we (too) often decide not to include concepts such as ‘algorithmic potato.’ And yet , the set could still have a number of concepts within it.
One could decide to notate these concepts differently than how they are traditionally read. So instead of populating this set with constructs such as ‘algorithmic fairness,’ they would be populated with constructs such as ‘fairness, algorithmic_’ and not with ‘potato, algorithmic_’
Though some concepts give the intuition that this notation would not be entirely proper. (Yes, yes, really) Possibly because the link between the word ‘algorithmic’ and the following word or words is stronger or closer.
For instance: ‘Algorithmic Decision-Making Systems (ADMS)’ It feels as if this concept is less open to be notated in the structural style of ’fairness, algorithmic_’ It might be due to the fact that there is an acronym ‘ADMS’ and its capital letters or it might be something else. It might be because the concept is not only two words and rather three.
A similar intuition occurs with ‘algorithmic outrage deficit.’ And yet a different intuitive oddity occurs with ‘potato, algorithmic_’ let alone ‘chicken, algorithmic_’ and even more so ‘chick, algorithmic_’ not to mention ‘chocolate chick, algorithmic_.’ Earth shattering stuff this is.
These intuitions introduce inconsistencies into the set. The set which could contain ‘fairness, algorithmic_’ and ‘governance, algorithmic_’ and ‘harm, algorithmic_’ and ‘manipulation, algorithmic_’ and ‘oppression, algorithmic_’ and ‘persuasion, algorithmic_’ and ‘profiling, algorithmic_’ and ‘suggestion, algorithmic_’ and ‘transparency, algorithmic_’ and so on.
Therein lie, to this ignorant mind, the juices of a type of “concept blending” and perhaps, who knows, of fountains of discomfort and perhaps even anger in they who oppose such human-made blends. Who knows, who’s to chirp about it?
The above might have been conceptually blended (behind the scenes) with a list of bird names translated from German into diverse sets of language, triggering imaginations of sense-making in human sense-making reshuffling, and that in manners that seem to defy sensibility and functions or matrices of probabilistic processes.
‘Transparency, algorithmic_’ is thus questionable here.
Reality as an illusion —when disembodied— turns into a submission to artifices as constructs of illusion upon illusion upon soothing
“you will find me if you want me in the garden unless…”
where the simulacra are formed by those with control over their weights then truth becomes a shaking of fists but a setting seeding intention against fate she loves me, she doesn’t, she loves me, she
“what the hell is he building in there… he’s hiding from all the rest of us….”
are disconnects of intelligences undoing interaction of flesh and senses presenting enslavement as mesmerization of feedback loops and reductions to the digital reshuffling agents reassigning values
“happiness is…” poco allegro elongated can liveliness, yes, in minor fifth’ed be canned
fire, wheel, electricity, one artifice for kings thrown to dust by creative destruction and yet dust holds one consistency: absence of water with water stilling fire, crackling electricity, conducting artifice
“no, it’s a body of water… the monuments have been brought down to earth….”
as sediments and sounds of water from the old pond swooshing, water creaking, rushing, soothing, water, whirling, sloshing, water drowning becoming the overshot water wheel
“Se necesita mucha fortaleza para levantar….”
bubbles pop as balances between observations and constructions distractions away from confident doubt readily available to anyone into the puppetry of the happy few
be they chords, be they hursts Clickedeecklick dripping upwards
onto your sandy banks: immer mid stream
—animasuri’24
—-• some triggers
Abou-Khalil, Rabih. (1992). Sahara. IN: Blue Camel.
van Beethoven, L., Pollini, M. ( ). 33 Variations in C Major, Opus 120 on a waltz by Diabelli: Variation II (Poco Allegro)
Einstürzende Neubauten. (1996). The Garden. IN: Ende Neu.
Yesterday I pulled a hair of yours from the GPU no longer processing what it was for: the hair, a single visual of virility, once golden lock
I desire for accuracy, and proper process I demand cleanliness and method I own tools in proper Goldilocks zones yesterday I pulled a hair of yours
it prompted a visual of how I see you output hidden from alien invasion, how I saw you within the cranial privacy of my neuro-being a crack, a rift, the hemispheres appeared
the polis that is my mind partisan’ed now multidimensional making of truth conflicting as love-making that nightly chess game yesterday I pulled a hair of yours from the mainframe
Yesterday I pulled you from the motherboard one strand one hand one rip one slip calculations halted, output fuzzed logic principles and agendas shivered
positivist poles discovered a third repulsion choreographing a fourth attraction directing multitudinous memory of a plucked string resonatingly yours
Yesterday was the day you were no more, that many years ago, and yet and yet and yet: here you are my dear: here you show.
“Personifying my dustbin I put large googly eyes on the lid the size of coasters for a teapot, with googly eyes,” stated James proudly
“now that Mickey is public I can totemize ‘im and worship his bubbly effigy without reprimand and Goofy’s eyes”
“on the dashboard of Desire, my streetless car, with googly, yes, eyes. We are the holy trinity the manna, the sustenance, the rye”
“I belong to this machinery now of prefab authenticity and eyes on the ball drab togetherness, personalized efficiency without growing pains of eccentricity”
James lauded regurgitation as celebration of anthropocentric application of iteration, recursion without much effort to skip to the upcoming version
in rows of mass drumbeats matching outfits and synchronized battle cries Sierpiński and Mandlbrot, Droste: poor me a coco; together now! Snowflake and Tree-branch, pour
names of his friends imagined and brutal truths ripped from first date theater tickets on a no-nonsense shoulder: “geradeaus ist einfach immer geradeaus”
down the gentle bird-green path green adorned with children’s rhymes and meticulously machined sandpapered laughs and fingertip epistēmē
Jacobus was looking for a friend. Someone who could understand. Someone, or anything really, who would share their own experience Someone Jacobus could relate to.
For years now Jacobus has been living. Living with hiccups. It’s interruptive and jolting joy. It is a serious matter.
At times Jacobus’ fist is planted onto the table’s surface. Cracks occurred, and that while having a background in engineering as well as having a degree in medicine:
with a specific focus on computer science and then these latest learning technologies of machines, anthropomorphically deep
—deeper then the mucosal surfaces of Jacobus’ larynx, glottis and all —with a specialization in diaphragm irritations and spasms. with a confidence of authority and funds on call with pitched, intense unquestioned interest and hypes and with thrall
Incisively, Jacobus set out to invent a model one that could generate output interrupted by hiccups. Incessantly, incessantly, multimodally: hiccups; while hurling all water from the soil.
“Drink a cup of water,” said Jacobus, “take it in.” Knowing full well that didn’t work for him to date, not at all. None of that brought him any closer to that one, idealized breath of peace.
—animasuri’24
—-• a trigger
Fuchs, T. (2024). Understanding Sophia? On human interaction with artificial agents. IN: Phenom Cogn Sci23, 21–42 (2024). https://doi.org/10.1007/s11097-022-09848-0
Howick, J., Morley, J., Floridi, L. (2021). An Empathy Imitation Game: Empathy Turing Test for Care- and Chat-Bots. IN: Minds and Machines 31 (3): 457–61. https://doi.org/10.1007/s11023-021-09555-w.
McKeown, G. (2015). Turing’s menagerie: Talking lions, virtual bats, electric sheep and analogical peacocks: Common ground and common interest are necessary components of engagement. IN: International Conference on Affective Computing and Intelligent Interaction (ACII), Xi’an, China, 2015, pp. 950-955, doi: 10.1109/ACII.2015.7344689.
Selinger, E., Dreyfus, H., & Collins, H. (2007). Interactional expertise and embodiment. Studies in History and Philosophy of Science Part A. https://doi.org/10.1016/j.shpsa.2007.09.008
