Tag Archives: aiethicsliteracy

< Monad Meaning Nomad >>




That which has parts
is that which I can perceive
observe as some one, bethink as one,
imagine as one makes three plus one

imagine the substance of your lips,
the wandering curl, the frequency of the blink
the smiling wrinkle next to your left eye
you have a left eye, do you

I do not collect these images
not as tokens to probabilistically rearrange
in a surrealist game, resulting in a cubist form
of you, you, some one of you

stylized in scraped Picassos
off of the archives gathering dust as dark data
I switch on Georges Braque and increase its weight
check the Albert Gleizes filter set to fade

And yet, I cannot see you in memory
when I do see you across the stream on this screen,
my screen, I scream in theory of mindedly
silently my emotions beam

but is it mine really,
you precious ringtone
you precious drone
you precious stimulus you

I believe to know it is you
when you approach
as a zoom-in enlargement
collecting more pixels

have the speaker vibrate:
“I’m different now.
I am no longer that person
you used to know.”

I switch between voices
choosing the female Irish one
set on repeat
makes me feel free

“I’m different now.
I am no longer that person
you used to know.
I’m different now.

I am no longer that person
you used to know.”
How are you as Australian
With theses settings are you Australian

you still have that smiling wrinkle
next to your lefty eye
Indivisibly indifferently invisibly:
“I’m different now. I

am no longer
that person
you used
….”

Tap, swipe, take
the call:
“hello? Who is this?”

“Hey, John, it’s me!
It took you a long time to pick up!”


—animasuri’25



—-•
Triggers

Freiherr Gottfried Wilhelm Leibniz. (1714). La Monadologie. Annotated in French by PIat, Clodius https://lnkd.in/g4Prb9_S or translated into English by Robert Latta: https://lnkd.in/gdqXCxkh

Searle, J. (1999). ‘The Chinese Room’, IN: Wilson, R.A., Keil, F. (eds.). (1999). The MIT Encyclopedia of the Cognitive Sciences, Cambridge, MA: MIT Press. pp 115 -116 Online: MIT: https://lnkd.in/g3NNQPnr

Turing, A. (1950). Computing Machinery and Intelligence. IN: Mind, 59 (236): 433–60. https://lnkd.in/gNfc6bQZ

The concept of “AI” as narrowly popularized these days.

The concepts of apophenia, mechanism, mechanomorphism, anthropomorphism, Eliza Effect, monad, nomad, pareidolia, projection, style transfer, and the feelings of eggs sunny side up.

—-•
100% humanly bred & penned with wink

<< Lover >>

I cannot remember your name.
I cannot remember your face.
I cannot, I can not
I can’t recall you.
you are, not to compute

If I force to re-member
lust fills ligaments and limbs
if marking of fuzziness, blurriness,
fogginess if ever a loose model dislocated
in favor of an unpredictable determinant

will we appeal, absurdly:
as bodies bouncing off
what is, what could,
a curvature into a minded murmur
what was of anyone really

if I ever meet you, as by
trigger, a none-memory,
your story, a hint of voice,
an off-the-shelf perfume
your skin as soft as

I will recognize,
with certainty
loved or yearned:

Lover

                        —animasuri’24

—-•
trigger

Sapolsky, R. M. (2023). Determined. A Science of Life without Free Will. NY, USA: Penguin Press. (opposing free will)

Sprevak, M., Colombo, M. (2018). The Routledge Handbook of the Computational Mind. Routledge.

Tallis, R. (2004). Why the Mind is Not a Computer: A Pocket Lexicon of Neuromythology. 2nd edition. Societas.

Tallis, R. (2021). Freedom. An Impossible Reality. Agenda Publishing (in support of free will)

<< When Critical is not Critical >>

“Traditions and ideas must be revisited and reworked, communicated and debated, entangled and disentangled. (Self)-critique can be carried out neither in narcissistic isolation nor in the silence of the ineffable. In the gap between acknowledging your echoing and refusing to echo, and the gap between one’s own pure voice and its simulacrum, critical educational theory of all persuasions struggles with words. Perhaps it is more critical when its loving words are addressed to others and when it harkens to their response, though in this case too, the teacher-pupil relation is one of articulation. For, to echo Derrida here, ‘a master who forbids himself the phrase would give nothing. He would have no disciples but only slaves’ (1995, p. 147).” —Papastephanou (2004)

Papastephanou, M. (2004). Educational Critique, Critical Thinking and the Critical Philosophical Traditions. Journal of Philosophy of Education, 38(3), 369–378. https://doi.org/10.1111/j.0309-8249.2004.00391.x

The 2024 Tsinghua Higher Education Forum 清华高等教育论坛 . Institute of Education, Tsinghua University 清华大学教育研究院. The Beijing Convention Center 北京会议中心. 30th August 2024,14:25 – 14:50 Prof. Holmes, Wayne: “AI and Education: A critical Studies Approach

Derrida, J. (1995) Violence and Metaphysics, in: Writing and Difference (London, Routledge).

<< Flowers and Rocks >>

beaten drums
beaten competition
beaten child
out of future

beaten models
beaten builds
beaten students
down the street

beaten brainpower
beaten bees
beaten path
swept aside

“and be a simple
kinda man
be somethin’
you love n understand”

b’tween your beats
simply b’tween d’ drops
learn ‘bout somethin’ you
you don’t understand

b’tween your beats
simply b’tween d’ drops
repeat somethin’ you
you don’t understand

        —animasuri’24

<< 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

<< 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