<< Type Writer Fauna >>

Put a snake at a type writer
You’ll eventually read something
that stings

Put a horse at a type writer
You wait and see from
canter and gallops winnings appear

Put a monkey at a type writer
You suddenly have to justify
Shakespeare

Put yourself at a type writer
you become a silence monkey-horse
slithering well-formed minotaurs

among words with sweat, flow
as pearls for noses toil
against the forest’s floor

—animasuri’24

<< may May, may Flower >>

Here’s the villain
there’s the victim

and who am I
for casting them?

I’m a villein
tenant subject

to the force
for land, horse, rotten

and a Danish with coffee
on the pantry’s floor

crumbs for
the cleaning crew of three

dare I write ‘lady’
to clean up after hours

or shuffle it under
the water dispenser

as if a legionella leaf
of a wintering tree

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

<< Torn Conversation >>

“yes,” he answered,
“as there is ‘peace
to be found,’
empty-handed

looking upright
into the sunlight-shadow
play on the book
cover there

on the bookshelf, there,
in an early morning
at the cusp of
spring’s agitations

of birds
in trees
out there
and but

purchased
with my
hearing
here

an no one
but one, perhaps two
realizing the trigger of
conversation preceding.”

—animasuri’24
thank you Mr. D.

<< Humanely Contextualizing ‘AI’ >>

set: 000x

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.

—animasuri’24

<< Artificial Sensualities >>

if the friendly colors
and beautiful things as

a prompt injection risk
are concerned with models

for data in the nude
dating toxic hallucinations

thus lies spread before me
spanning space:

handing visualization
and lying with statistics

there is physical harm to be had
when revealing confidential points

on the data corpus
and its improper usage

if junkmail were colored
by the numbers and decaying paper

self-publishing at the input
of recycled sensuality

of a naked typo
of style collage flippantly

inject and sort a snort
it is all the hype again

—-animasuri’24



triggers

Levy, D. A. (1969). the Buddhist Third Class Junkmail Oracle. August 1969. Online: Ubuweb.
https://ubu.com/media/text/vp/buddhist_third_class_junkmail_oracle_aug_1969.pdf

IBM. (2024-03-27). Prompt injection risk for AI. IN: IBM Documentation. IBM Cloud Pak for Data 4.8.x. AI risk atlas. https://www.ibm.com/docs/en/cloud-paks/cp-data/4.8.x?topic=atlas-prompt-injection

<< Men Conducting Artifice >>

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.

Garcia-fons, Renaud. (2010). Fortaleza. IN: Méditerranées

Fitzgerald, E., Pass, J. (1976). Nature Boy. IN: Fitzgerald and Pass…Again

Lhamo, Yungchen. (1998). Happiness is… IN: Coming Home.

Mingus, Charles. (1963). Myself when I’m Real. IN: Mingus Plays Piano.

Namchylak, Sainkho. (2016). So Strange! So Strange! IN: like a Bird or Spirit, not a Face.

Vito, Acconci. (2001). The Bristol Project.

Waits, Tom. (1999). What’s he Building? IN: Mule Variations.

<< The Bug of War's Cold Called Love >>

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.

                        —animasuri’24

<< Copy Paste Pastors >>

“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

James is content now,
James is whole.

                     —animasuri’24