Category Archives: visual | poem

<< Stories in Silences >>


When
they who came
before me, and you, and we,
immersed the temple,

centered
in our town’s square,
with thousands of years
told as eagle-eyed eons

of culture
and our human
utterances and acts,

with there

the executions
against
its outer northern wall:
blue

a birth
below
its southern colored stained glass:
red

with

its rebuilt
after
the great fire:
green

and

then again
following
the dreadful invasion:
indigo

there

might be
a yellowing narrative
or two

I or you could distill in stillness, white

in an expansive sense,
from its walls and artifacts
and curved brown whisper-walls.

However,

it has remained eerily quiet,
not one grayish word,
yet to reply us

in vocalizations
of English, French,
caramel Cantonese,
or x, y or z.

Neither

the ant colony
under
its thousand years old tree

nor
the tree
have spoken to us

nor
the decaying
lady’s slipper

stuck
beneath that thick crusty root.

And yet, and yet,

stories
sprout and stream
as richly colored

as Blue Tango
or Hawaiian Hibiscus
into our brain
when we simply

swirl our eyes
listening across this scene
where silences

became

artifice and art
as a loud landscape
of paused hush

—animasuri’23

Thank you, Ms. Borg, for bringing silence, paused in between and at endings prolonged.

<< Seriously >>


Do dying stars still play?
is a black hole the universe’s
giggle with farts at her other end?
are planets gamboling a new ball game?

does the grass frolic in the wind?
do grains of sand?
is microscopic pond life noodling with drops?

play
is moving spaces in-between the unaware
not locked down in time, as play on one ground
it is physics and mathematics yet unmeasured
yet beyond, let through and jet around the defined and numbered
it is the cusp, liminalities in flux, play is the Way
in-between matter and what does not

the humane as play with shared distinctiveness
prancing around a pedestal for idiosyncrasy alone
an embrace of the overwhelming and the unknown
the uncontrolled in flow, relationally played

Play is seriousness
breathing out
unspoken: it’s all ok, human, it’s all ok

                                —animasuri’23
                                        Beijing
<<seriously>> . animasuri’23

<< Morpho-Totem >>


Decomposition 1

my hammer is like my_______
my car is like my______
my keyboard is like my______
my coat is like my_____
my watch is like my______
my smart phone is like my______
my artificial neural network is like my______
my ink is like my_______
my mirror is like my________
my sunglasses are like my______
my golden chains are like my_________
my books are like my_________

Decomposition 2

my skin is like a_______
my fingertips are like a_______
my fist is like a_____
my foot is like a_______
my hair is like a_________
my bosom is like a________
my abdominal muscles are like a______
my brain is like a__________
my eyes are like a________
my genitalia are like a______
my dna is like a______
my consciousness is like a______

reference, extending
to the other desired thing
not of relatable life

—animasuri’22

<< The Prescriptorate >>

I am told therefor I am
measurably what I like
what to expect

how to move
where to go first
what to do next

I am liked therefor I am
measurably of status
valued to be gazed

Timed to be visited
thumb-molested
and index-probed

I am ontologised
and machined
to be the measurably real

my captivating information
not for knowing
not for thinking

by the digitized flâneur
for having wielded The Real
The Measured Prescribed Best

before I was; reinterpretable
I am voiced-over
archived, retrievably non-forgettable

now I am datacyborg; formatted.

—animasuri’22 

—-•

Pervertedly note-taken from Éric Sadin’s de-, pre-, post-scribing talk as collected and archived under the title La Era de la Digitalizión | Charlas del Futuro 2020, as suggested, via LinkedIn, by Prof.  Dr. Dagmar Monett.

Last retrieved 23 July 2022 from  https://www.linkedin.com/posts/monettdiaz_%C3%A9ric-sadin-la-era-de-la-digitalizaci%C3%B3n-activity-6956243533766787073-NDRs?utm_source=linkedin_share&utm_medium=ios_app  and from youtube

The poem was consequentially machined and automutulated (a present order of automation). With this I was informed how it could be written and visualized, respectively via https://www.craiyon.com/  and https://quillbot.com/ .

The output by craiyon, based on the input of the above poem, is uniquely disturbing. Yes, it is technically justified that faces are especially difficult to render, and yet…

tech initiatives are going from the aesthetic perversion (as in the visual renderings) deeper and deeper into our surrendered and delegated (not) being and (not) knowing. 

—-•

Quillbot’s prescription (notice its restructuring from 3 to 2 lines per stanza):

Therefore , I am told, measurably what I prefer and what to anticipate. 

What to do 

what to do next and where to go first 

I am seen as having a status that is worth looking at since I am loved. 

scheduled for a visit to be index- and thumb-probed 

I have been ontologized and created to be the quantifiably real. 

the fascinating details I have 

not for thinking, nor for knowing. 

for having used The Real The Measured Prescribed Best by the digitized flâneur 

I have voice recordings that are stored, retrievable, and reinterpretable. 

I have been formatted; I am a datacyborg.”

—-•

Craiyon’s visualized prescription of the poem:

<< Ubuntu & "(A)I" >>


there seem to be about 881000 “registered” scholarly “robots.” It seems not that obvious for them to be intelligently understood, and accepted as robots, by the one that rules them all

…perhaps lack of (deep & wide & fluid & relational) understanding could lead to undesirable impositions?

—-•
“Ubuntu & (A)I” | “I am a robot” . digitally edited digital screenshot —animasuri’22

—-•

ai #ailiteracy #aiethics #totalitarianlogic #wink #ubuntu