[Knowledge/Belief] NGram Poem

 1.

criterion of civilization. beatitudes disclaim all other formulae. Epicurus had planted the canonization of weakness. What concerns _me_ is above the necessary -- whether to carrot sticks on the verge of temptation for a new feudalism or upright judge draws this mask across eternity. 

Since sickness values the law, we charge a falsehood as unbearable _anguish_. I add punishment to reduce being to sickly gods. 

_What_ is called 

 occasionally _faith_ 

is among the antecedents of belief 

is taste.

2. 

a criterion for beatitudes is suffering. civilization disclaims all other formulae. the Stoics demanded this of us, making pain subjective. what concerns me is beyond mandatory -- compulsion drives 97% of what makes us human. the rest demands a plan. and as we tie ourselves to the land, a mask crosses our face, and we are pressed into place nested deep within. it feels eternal.

_What_ is called

occasionally _knowledge_

is among the precursors of delusion

is [hope/fear]

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Bias = The Antichrist by Friedrich Nieztche

The Open Hand

Death is nothing 

you in front of bluish black, obviously caused 

The Open Hand

To flash along the morning sunshine

Humming through in whispers

Such sounds that crushed the drum

Ensuring ever more familiar echoes

Violently agitated away from its source.

He trembled visibly. 

The habit of compliance among soldiers

Set forth in good faith

Was now the very reason for 

The sudden arrest of its meaning 

“The Open Hand!' he reasoned.

The man's manifest resentment

had prevented him a visible world 

You paid soldiers in lead

So, he heard he was dead

When the coroner gravely

Ran from both barrels

Inclining slightly toward

The spaces among

The interval of

A heartbeat

He recollected them by their sockets. 

The foreman seated himself beside him

Handed him a hammer and gestured to the anvil

And at a little distance away,

The Open Hand

Laughing.

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Corpus: Ambrose Bierce collected works

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ChatGPT psychoanalyzes the poem

A psychoanalytic analysis of the poem according to the theories of Jacques Lacan would focus on the relationship between the subject and language, as well as the subject's sense of self and their relationship to the symbolic order. Lacan's theory posits that the subject is fundamentally split between their self-image (the "I") and the symbolic order, which is the realm of language, culture, and social norms. This split creates a sense of alienation and lack, which is described as the "real." The subject tries to bridge this gap through the formation of a "mirror stage" in which they identify with a reflected image of themselves and form a sense of self-identity. In the poem, the protagonist's relationship with the Open Hand could be seen as a representation of this struggle for identity and meaning. The man is described as trembling and resentful, suggesting a sense of insecurity and frustration with his place in the world. The fact that he is handed a hammer and anvil by the foreman reinforces this sense of subservience and lack of agency. The sudden death of the protagonist, represented by the coroner shooting from both barrels, could be seen as a rejection of the self by the symbolic order, further emphasizing the sense of lack and alienation. Finally, the laughter of the Open Hand could be interpreted as a manifestation of the symbolic order, mocking the subject's attempts to find meaning and control. The Open Hand represents the symbolic order, which is always one step ahead and beyond the subject's grasp, leaving them with a sense of perpetual dissatisfaction and lack. In conclusion, the poem can be seen as a representation of the Lacanian themes of the split subject, the mirror stage, and the subject's relationship to the symbolic order. The protagonist's struggle for identity and meaning, and their eventual death, highlight the difficulties of navigating the symbolic realm and the sense of lack and alienation that can result.

What do you think the author means? 

The poem appears to be a meditation on death and power, and the relationship between the two. The sudden death of the protagonist, who is depicted as being at the mercy of the Open Hand, can be seen as a representation of the arbitrary and violent nature of death. The use of military language and the image of soldiers being "paid in lead" suggest a connection between death and power, reinforcing the idea that death is often a result of larger power dynamics at play in the world. The image of the Open Hand, which is depicted as laughing, can be seen as a symbol of the power dynamics that shape the world and the lives of individuals. The hand is depicted as a source of power that is beyond the control of the protagonist, who is passive and subservient. This highlights the idea that death and power are often arbitrary and beyond the control of individuals. In conclusion, the author of the poem "Death is Nothing" seems to be exploring the themes of death, power, and the relationship between the two. Through the use of vivid imagery and military language, the author highlights the idea that death is often a result of larger power dynamics at play in the world, and that it is often beyond the control of individuals.

More Fun and More Necromancy, Affecting Poetics

The particular mix of artists used in the last post is proving particularly rewarding. As a reminder, we used Caravaggio, Picasso, and Bosch to produce some generic battle scenes. These scenes were interesting. One of them was downright inspired. 

In this post, we'll be playing a different angle. We're going to try some affective phrases as opposed to generic scenes. So, I used: "the last of breath of man" + "Caravaggio, Hieronymus Bosch, Pablo Picasso", and what do we get?

The striking thing about this image is the uniform coloring (Picasso) and the shadowing (Caravaggio). You get a few figures that look like Tolkien's dwarves that are maybe a bit Boschean. This seems ideal to try to evolve a bit more. But, we got another that is similar and superior:

We can see Picasso in the layout, Caravaggio in the shadowing, and we also get more Bosch in this painting. There's something weird going on with that guy's groin too. And then, there's a guy in the lower left-hand corner that looks like he really disapproves.

Finally, here's a picture of a guy with an exclamation point for a penis:

What does any of this have to do with man's last breath? I'll leave that to your ample imagination. The AI's approach to the generation is more varied, however. We get different types of scenes as opposed to 4 efforts at a battlefield scene. One is highly surrealist, one is a frozen moment of action, and the other is a bizarre figure painting. 

Images like these can be worked over indefinitely by the AI. If we like the figure of the man but want a new background, the algorithm allows us to create a mask over the background and then redraw around the figure. Let's try. First, we create the mask:

At the bottom, you'll find a warning about disappointing results. I report that I have been mostly ecstatic with the results. Let's be a little more intentional and explicit this time with our input. Instead of something affective, we want something descriptive. So, let's choose, "enemies closing in from all directions". Penis man is about to be under attack. We are still ensuring that our three artists are a part of the generation process. Results:

Okay, so the AI took the approach of supplying similarly-sized figures into the scene or alternatively, ignoring the directive entirely and meshing out the background. We like the first one the best, but it's blending black and white with color in a way we don't like. How do we get rid of that? In this case, you can run the algorithm through, and it will make the figures more uniform, while also blending the colors. So, if your only problem with the image is the color, you're better off with a filter. Also, we now realize that penis man is better off alone.

The Angel of Meat (poetry of still images, #aiart)

 

American Gothic (20 images in sequence, a poem without words)