<< Hygge >>


I concede. I felt a memory reminiscent of hygge, Gemütlichkeit or gezelligheid. That feeling of my childhood when we used to eat around a table somewhere in a private garden on the Flemish flatlands. 

abbey beer and red wine, cheese and thick pea soup with thicker slices of bread. Fish still sizzling from the smoke box with oyster mushrooms plucked from in between the bushes behind us. 

surrounded by trees, grapevines, grass, birds, elephant hawk moths and white butterflies. A peacock or two irritating the neighbors. There, that’s my mother’s trained sparrow. Throw a piece of bread. it will swoop it away; mid flight. 

Laughter and loud speaking with multiple conversations occupying the same space. If I had to compare it to a rawness I would call it a feeling of dark crunchy wood and thick grey woolen socks. 

I felt this gezelligheid when my children were trying on some plastic shoes at the department store; here in Beijing. We sat on a bench peacefully void of rush trying on sizes 36, 37 and hopes for soonness with 38. 

Knowing that the plastic of their shoes would one day end up in my and their bloodstream, was strengthening our bond and togetherness, for they too shall carry on and own their share of memory. 

—animasuri’22 

—-•
Long form:

<< cyberhyperhygge in a plastic world >> 

if “hygge” were one of humanity’s highest aspirations, would we have to (commercially) cling on to it —or on its translated variations— as if it were the last of the relational and relatable imaginations, not yet delegated to the transnational automated, measurable, artificial, virtual or synthetic? (or has it?) 

I wonder, how will “gezelligheid” translate into a measured metaverse, gulping energy as dark red wine? Will it be transcoded into customizable statistical models and (in)discrete crudeness of alienated interaction?

Were Second Life or WoW any hint of what to eagerly continue to expect (as to human forms of interaction rather than the techno-centric innovations alone)?

Will we gradually prefer elaborations based on the interfaces suggested in “Existenz”, redefining the plasticity of “Gemütlichkeit”, its ecosystems and its seriously human and nomadic play? 

And, or, are these opportunities for re-informed reinvention, for wonder (as too often masked and forgotten by confrontations with overwhelming complexity), and for exploration, toward an acknowledgement of the unwavering grittiness of shared joy of shared life, even when the odds might not seem in one’s (collective) favor? 

The future, as I agree with some, remains open. 

I concede. I felt a memory reminiscent of hygge, Gemütlichkeit or gezelligheid. That feeling of my childhood when we used to eat around a table somewhere in a private garden on the Flemish flatlands. 

abbey beer and red wine, cheese and thick pea soup with thicker slices of bread. Fish still sizzling from the smoke box with oyster mushrooms plucked from in between the bushes behind us. 

surrounded by trees, grapevines, grass, birds, elephant hawk moths and white butterflies. A peacock or two irritating the neighbors. There, that’s my mother’s trained sparrow. Throw a piece of bread. it will swoop it away; mid flight. 

Laughter and loud speaking with multiple conversations occupying the same space. If I had to compare it to a rawness I would call it a feeling of dark crunchy wood and thick grey woolen socks. 

I felt this gezelligheid when my children were trying on some plastic shoes at the department store; here in Beijing. We sat on a bench peacefully void of rush trying on sizes 36, 37 and hopes for soonness with 38. 

Knowing that the plastic of their shoes would one day end up in my and their bloodstream, was strengthening our bond and togetherness, for they too shall carry on and own their share of memory. 

—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:

<<γνῶσις>>


I seem to be against all institutionalised, ritualised, and mediated forms of religion. 

and yet,

“G*d” is a Pythagorean cup for everything I don’t understand
I’ve been given an endless supply of this ambrosia

and then,

When rising toward in-sight
I become flushed

—animasuri’22

the three visuals of seemingly “antique plates” were created in the liminality between text and tech: artificially with craiyon by using the above humanly-composed poem as input. Of the latter, and preceding feeding it to craiyon, the first line was perversely, yet with a human in the loop, substituted with a paraphrased version, artificially iterated with quillbot .

<< Erudite >>


Don’t talk to me about things you understand
anything less is a lack of imagination
anything more is self-conceit.
Silence erupted on public spaces

Democracies crumbled
church towers, temples and minarets tilted leftward, crosses and symbols dangled
children lost their nighttime stories

Humans tasted freedom with bitter aftertaste
understanding became underrated
rating became irrational
merit meant even less: understanding swallowed

The erudite felt oppressed with their tridents made of words, words that lacked understanding beaconed as
the mean, beaded with speechlessness

even though never experienced,
it is a happiest moment in memory,
words eaten in clarity of acid subtext
destroying the clean surfaces of white confabulation

people becoming erudite, in silence
people understood, when unheard
people dehumanized, in enlightenment
passing off learning, before speaking

Their facility with understanding:
hesitant, discrete and halting,
disassociated with their taste for life
remaining meek, submissive words

leaving numbers as plots graphed for truth
startling moments of tenderness
leaving immigrating meaning inwardly:
the more we knew the quieter we became

—animasuri’22

Perverted note-taking of Ma, Ling. (July 4, 2022). “Peking Duck.” Online: The New Yorker. Fiction July 11 & 18, 2022 Issue. Thank you Dr.WSA for pointing out.


Visual output created with DALL-E by inputting the first stanza of the above poem.
Visual output created with DALL-E by inputting the first stanza of the above poem.
Visual output created with DALL-E by inputting the first stanza of the above poem.

<< Full >>


The eradication of death
would be an invitation of shackles
as a subscription to incessant hunger,
eagerly exploited
in manipulative exchanges of labor for food

Many want to live forever.
Yet, we should want to shed
the necessity for eating

Perhaps we could still nibble,
stimulate tastebuds,
texture experiences,

odor and sound
as hors d’oeuvre aesthetique
as the art cuisine can be

Then we shall be free
to freely relate with others .
We won’t hunger

We will embrace
our mortality in peace
without greed for the puppeteered noises for more, more, more

Then and only then
shall we rival your God.
For your God needs not eat

—animasuri’22

These nine visuals were automatically created by feeding the above human-written poem into a machine, craiyon, transcoding text to artificial, unsettling, haunting, and yet possibly poetically-accurate visuals.

<< contraContext >>

Hushing until we no longer see each or one self is the ultimate silencing of an ego. Though not one of spiritual enlightenment, more one of imposed dilapidated zombification. And yet, and yet and yet then there is one or other hidden stage, squeekingly behind, in-between, a digital seamless door, which one can identify and carve open, with screams of surprise or a kind whispered silence of the written rapprochement and of that what needed no restoration: the Viennese Barbarian. — animasuri’22

<< Wàzi's Chinese Sock >>


Why is it that some words
can make me
uniquely not
feel their meaning?

‘Nonesuch.’ It sounds as Narcissus,
while withering his last beauty,
looking out onto
a dried out river bed

of a father and his nymph passed on
A bed that is echoing back
forward-thrown dumped waste
from all such passerby’s: sanitation

A bed not for sleeping but
for wasting away;
nonesuch place to hold
one’s head high

‘Salivation,’ on the other hand,
smoothly
runs off the tongue
onto the paw

It does not make me
anticipate any thing
but no food
for thought.

Does salivating have meaning
for nonesuch dog
smelling,
the roses : salvation

lifting a leg
to the head-hanging
white and yellow
flower: salvation

reminding some
of Zappa and Huskies
pulling one’s leg
into a shade of nefariousness

Relating there then
‘Gregarious,” sounds
dangerously lurking,
unraveling the social fabric,

Readying the claws
to whisk
into the snow-bright
yellow light

capturing pray:
that presumptuous
once-littering
pedestrian: deliverance

a ‘scrumptious’ meal
of meaning
eaten away: ‘manducation,’
is not a man’s learning feast vacation

in pleasure and yet
sounding
unsoundly
distasteful,

preferably exited
rather
than ingested
undigested rather than indigested

So too is ‘but’
not as ‘and yet’
and yet it is somewhat
euphemistically so.

Why is it
that some words non-orderly
do not feel
their meaning?

—animasuri’22

<< Non-transparency >>


Some of us (I included) request transparency while various attributes & processes are narrated in our lives in a manner to allow comfort in a lack of transparency

As humans some of us are open, & to some extent enabled, to allow both simultaneously. Some can accept adaptation & change, depending on various influencing vectors

Collectively we built entire institutions around lack of transparency. We created these because they allow us a substitute for difficult to understand or difficult to accept results of the process of transparency. Or to control that what “must” be understood by others

Over the hundreds of thousands of years, our species created work-arounds & “pervertedly” took note of (understandably) avoided transparency via narration. Here “pervertedly” means “having altered the direction away from its initial course, meaning or state;” one can think of change, fluidity, dynamics, innovation, transformation or myth

This previous (ie the human, shared & individual histories), & the suggested “perversions,” quickly (in astronomical scales) started to be convoluted with control, & this via any narration which has been collectively embraced. Some of our transparency-hiding narratives are not falsifiable. This creates tensions & harmonies. Request or imposition for corroboration is, at times, systemically opposed, unless the imposer is relentless

We delegate transparency into a blackbox by a different name, while shining bright & sparkling lights upon it, & while collectively dancing around the bonfire lit in its name

Santa is real; the proverbial one & the one living on the North Pole. Arthur C. Clark said it eloquently. I will remain opaque as to which of his 3 laws I am alluding. & yet, Arthur, Santa & I have one thing in common: the joy for aesthetics, poetics & compassion toward the other; at least to bring them moments of uplifting escapism or support

The human choreography is one where we consider the balancing act of when to stimulate transparency & when to obfuscate. If all needs to be simple, clear & straight, we are equally doomed as when we tell blissful stories irrespective of the potentially disastrous or undesirable outcomes to oneself & the relations of oneself with any other; human & non-human

#Transparency & #understandability are interlinked. With these, so are #auditability & #explainability. Eg: by allowing us physical, emotional, intellectual, imaginative, relational & spiritual access to augmenting our senses with a highly powerful microscope or telescope of any engineered types; be these scientific &/or poetic. These nuanced balancing processes can be found in relations with technologies, spouse, students, citizens, communities, markets, policies & larger ecologies. Alternatively these relations can be shattered, brushed under the carpet, crudely abused or unwarranted guarded for the sake of guarding & no longer for the sake of #compassion for life as evolving in complex, paradoxical, diverse relations

<< The Unreadable Book >>


The sixteen from Jiǎhú qìkè fúhào wallowed into the bedraggled barn my attention is. It’s a small barn, often void of substance never emptied on spirit. The sun does shine there.  

Through the cleavages spectating the revisioned bordered off sides of this devisioned thought outbuilding: yellow ray’ed air, specked with other’s memories as floating dust particles. Now I count sixteen rays. I recognize them yet so not understand. Read lite unread light. 

She shines as non eating down on my physical skin here today. There are many new suns in my life. Each are unreadable, pages as bursts, negative space as shadows, cyphers as rays. Non are nonentities. They have mass and then not. They are only absent if imagination falters as the last of the dimming fireflies. 

That vastness of unspoiled scapes, I neither escape from, nor into, are a set of bodies beshining the promise of hidden enlightenment in plain sight. I know you mean something. It is I who cannot read you. You call out, you beckon as if lushly willing to undrape meaning, I know you won’t. The obsession with literacy is a mouth eager to gush control onto these burning words. 

The sixteen from Jiǎhú will ever last. 

—-animasuri’22 

thank you WSA

thank you, “贾湖契刻符号”