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AI is Still Inside Out

June 29, 2017 Leave a comment

artmonstern

Turn your doodles into madness.

I think this is a good example of how AI is ‘inside out’. It does not produce top-down perception and sensations in its own frame of awareness, but rather it is a blind seeking of our top-down perception from a completely alien, unconscious perspective.

The result is not like an infant’s consciousness learning about the world from the inside out and becoming more intelligent, rather it is the opposite. The product is artificial noise woven together from the outside by brute force computation until we can almost mistake its chaotic, mindless, emotionless products for our own reflected awareness.

This particular program appears designed to make patterns that look like monsters to us, but that isn’t why I’m saying its an example of AI being inside out. The point is that this program exposes image processing as a blind process of arithmetic simulation rather than any kind of seeing. The result is a graphic simulacra…a copy with no original which, if we’re not careful, can eventually tease us into accepting it as a genuine artifact of machine experience.

See also: https://multisenserealism.com/2015/11/18/ai-is-inside-out/

 

21st century madman’s picture of God

February 25, 2017 4 comments

b21st-century-madmans-picture-of-god

In/out : Electromotive-sensory force ::
Around and around : Gravitoentropic-Magnetic a-motive field

Computation as Shadow of Consciousness

February 5, 2014 Leave a comment

Computation as Shadow of Consciousness

I’m borrowing a (fantastic) image from

Incredible Shadow Art Created From Junk by Tim Noble & Sue Webster.

to make a point about the Map-Territory distinction and how it pertains to simulated intelligence.

Although a computer simulation produces an output over time, that does not mean that it is four dimensional (Time can be an additional dimension on any number of dimensions – a cartoon can be 2D but still last fifteen minutes.) By using the terms N and N-1 dimensional, I’m trying to make the point that no matter how extensive the measurements we make and how compelling their coherence seems to be, it can still be one dimension flatter than the original without our knowing it.

In the case of consciousness, I would say that it absolutely cannot be defined or described quantitatively, so that it truly is N dimensional, or trans-dimensional. Whatever number of dimensions we want to ascribe to some aspect of consciousness, that description will always be n-1 to the real thing. That is, in my understanding, the nature of representation – a destructive reduction of a presentation through a lower level (n-1 or n-x) medium which can be reconstructed by at the higher level if, and only if, there is a higher level interpreter.

Some might object to the metaphor on the grounds that computation is not like a shadow, since changing a computation has predictable effects, while changing a shadow’s appearance does not effect the object. That’s true, but again, in this case, I am using N dimensional phenomena, so that interactiveness is part of the conservation of the temporal, before and after/cause and effect axis.  In such a scenario, the flatland effect itself is modified somewhat and there are more dimensions shared. More shared dimensions = more conservation of sensory-motive agreement, however, there is also more that is not shared (feeling, sensations, colors, understanding, for example).

Some who are more familiar with the spectacular capabilities of cutting edge computation might object to the over-simplification, and say that I am criticizing an older generation of approaches to machine learning. There is some truth to that, but in the rarefied air of higher math, we get into what I call the super-impersonal level of intelligence. By comparison, the super-personal level of awareness could be described as mythic or poetic. Synchronicity can be concentrated through divination techniques like Ouija boards and Tarot cards. The Platonic ‘realm’ accessed through ultra-sophisticated computation are, in my view, a dual of that kind of divination, except rooted in the generic and repeatable rather than the instantaneous and volitional. The computer is an oracle to impersonal truths about truth itself, and can build locally applicable strategies from there, however, it cannot factor in any kind of personal feeling or intention.

The computational oracle is much more seductive than divination, since it does not leave the interpretation up to the audience. The computational oracle’s output is to be interpreted as objective fact…which is tremendously useful of course, when we are talking about objects. The danger is when we start believing what it has to say about subejcts. As correct as the computer is about objective truth, it is equally incorrect about people. In the same/opposite way, the Ouija board is neither correct nor incorrect, but offers possibilities that tantalize the imagination.

Chthonic Tree

January 19, 2014 Leave a comment

chthonictree

(Double Ankh = “Illumination” or “Deeply Examined Life”).

Chess, Media, and Art

January 15, 2014 Leave a comment

I was listening to Brian Regan’s comedy bit about chess, and how a checkmate is such an unsatisfying ending compared to other games and sports. This is interesting from the standpoint of the insufficiency of information to account for all of reality. Because chess is a game that is entirely defined by logical rules, the ending is a mathematical certainty, given a certain number of moves. That number of moves depends on the computational resources which can be brought to bear on the game, so that a sufficiently powerful calculator will always beat a human player, since human computation is slower and buggier than semiconductors. The large-but-finite number of moves and games* will be parsed much more rapidly and thoroughly by a computer than a person could.

This deterministic structure is very different (as Brian Regan points out) from something like football, where the satisfaction of game play is derived explicitly from the consummation of the play. It is not enough to be able to claim that statistically an opponent’s win is impossible, because in reality statistics are only theoretical. A game played in reality rather than in theory depends on things like the weather and can require a referee. Computers are great at games which depend only on information, but have no sense of satisfaction in aesthetic realism.

In contrast to mechanical determinism, the appearance of clichés presents a softer kind of determinism. Even though there are countless ways that a fictional story could end, the tropes of storytelling provide a feedback loop between audiences and authors which can be as deterministic -in theory- as the literal determinism of chess. By switching the orientation from digital/binary rules to metaphorical/ideal themes, it is the determinism itself which becomes probabilistic. The penalty of making a movie which deviates too far from the expectations of the audience is that it will not be well received by enough people to make it worth producing. Indeed, most of what is produced in film, TV, and even gaming is little more than a skeleton of clichés dressed up in more clichés.

The pull of the cliché is a kind of moral gravity – a social conditioning in which normative thoughts and feelings are reinforced and rewarded. Art and life do not reflect each other so much as they reflect a common sense of shared reassurance in the face of uncertainty. Fine art plays with breaking boundaries, but playfully – it pretends to confront the status quo, but it does so within a culturally sanctioned space. I think that satire is tolerated in Western-objective society because of its departure from the subjective (“Eastern”) worldview, in which meaning and matter are not clearly divided. Satire is seen as both not as threatening to the material-commercial machine, which does not depend on human sentiments to run, and also the controversy that satire produces can be used to drive consumer demands. Something like The Simpsons can be both a genuinely subversive comedy, as well as a fully merchandized, commercial meme-generating partner of FOX.

What lies between the literally closed world of logical rules and the figuratively open world of surreal ideals is what I would call reality. The games that are played in fact rather than just in theory, which share timeless themes but also embody a specific theme of their own are the true source of physical sustenance. Reality emerges from the center out, and from the peripheries in.

*“A guesstimate is that the maximum logical possible positions are somewhere in the region of +-140,100,033, including trans-positional positions, giving the approximation of 4,670,033 maximum logical possible games”

Theorelativity: A Scientific Pseudoscience

January 5, 2014 13 comments

22squarespiral

Colorball II Diagram

December 30, 2013 Leave a comment

Image

Key:
Absolute (+∞) :: Anesthetic (-∞)
Entelethetic (+3) ::  Hypothetic (-3)
Aesthetic (+2) :: Exthetic (-2)

Immediate (+1) ::  Etheric (-1)

Protosthetic (+0) :: Pseudethetic (-0)

The new terms in this second version are:

  • Protosthetic (+0), referring to the minimum quality of awareness as well as the quality of minimum awareness. On a scale of +0* to +∞, this level is the +0 because it represents experiences which have been aesthetically masked to appear imperceptible. This can be thought of as the personal unconscious, as opposed to the collective unconscious, which is the Absolute level that is positioned on top of the diagram, but is actually the entire sphere. It’s number would be +∞.
    The entire left half of the sphere can be thought of as a slice within the protosthetic range, just as the greyscale can be thought of as variations on black and white. 
  • Pseudethetic (-0) is the outside-in version of Protosthetic. Where protosthetic phenomena seem alienated or unconscious but are, on some level, a symptom of experience, pseudethetic phenomena are not as conscious as they appear to be. The -0 range is about artifice and simulation, and can include anything from a puppet or stuffed animal to a sophisticated AGI system. Protosthetic would include states in which we are personally unconscious, but can be thought of as that which wakes us up from a sub-personal level.
  • Exthetic (-2) is a term I’m trying out as the public-facing conjugate to Aesthetic. This is the common sense of structure that the real world generally seems to have. It is the sense of concrete exteriority which we rely on to engage with the world rather than in our mind. The sense of fixed mass objects in space and linear causality, and all of the other macroscopic cues that pervade classical physics, as well as all of the hard sciences.
  • Entelethetic (+3) is intended to refer to a level of hyper-aesthetic dreams, symbols, and archetypes. Also knows as the collective unconscious or  Dreamtime, this band of sensitivity is super-natural and trans-personal (yet still private). The word borrows from Entelechy, which has to do with a drive toward self-actualization, which is apt considering the visionary nature of this ‘third eye’ view.

Teleological-Absolute (+∞) :: Universal-Axiomatic (-∞)
Mytho-Poetic (+3) ::  Geometric-Algebraic (-3)
Mental-Emotional (+2) :: Scientific-Mechanical (-2)
Sensory-Motive/Perceptual (+1) ::  Electro-Magnetic/Relativistic (-1)
Proto-Aesthetic (+0) :: Quantum-Digital (-0)

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