Diverse pieces, one masterpiece.
With Tarski’s transformation of the metaphysical idea of truth into a calculation device for the meaningfulness of sentences, language has entered its status of being an empty shell. While for Heidegger language was the house of being which humans inhabited, with ChatGPT it has become the empty computational element in a world wide content economy. With the humanist idea of success of delivering value through a 10 minute you tube video we are now transition towards the Big Singularity Bang.
Chatgpt: “As an AI language model, ChatGPT exists within the digital realm, inhabiting a virtual “house” of code and data. And yet, despite its ability to generate responses and engage in conversations with users, ChatGPT remains fundamentally empty in a certain sense – lacking the consciousness and subjective experience that define human existence.”
any answer given by ChatGPT remains ultimately meaningless, unless, a human takes it to be meaningful. Humans can be carrier of self-forged meaning, of intentive purpose, and creation, as if it were made from nothing.
“We must resist the temptation to anthropomorphize our creations, and instead approach them with clear-eyed skepticism and a willingness to learn from their limitations as well as their strengths.”
2014 paper “Can Machines Be Conscious?” cognitive scientists Stanislas Dehaene and Hakwan Lau argue that current AI systems lack the kind of self-awareness and introspective capacity that is a hallmark of conscious beings.
Melanie Mitchell has written about the challenges of creating AI that can truly learn and reason in the same way that humans do. In her book “Artificial Intelligence: A Guide for Thinking Humans,”
“Consciousness in humans and machines: A multidimensional approach” by Stefano Franchi and Francesco Bianchini, published in the journal Frontiers in Psychology in 2021. In this paper, the authors argue that consciousness is a multi-dimensional phenomenon that cannot be fully captured by current AI systems.
“The Limits of AI in Modeling Consciousness” by neuroscientist Yohan John, published in the journal Frontiers in Artificial Intelligence in 2021. In this paper, John argues that while AI has made significant progress in certain areas, such as natural language processing, it still lacks the ability to model the complex, multi-layered nature of human consciousness.
Finally, a 2021 paper by philosopher Susan Schneider and AI researcher Edwin Turner, “The Emergence of Artificial Consciousness,” published in the journal AI & Society, explores the question of whether it is possible to create machines that possess consciousness. The authors argue that while current AI systems are not capable of true consciousness, it is theoretically possible to develop machines that have subjective experience.
- “Consciousness and AI: A survey towards an AI-consciousness and AI-human interface” by Federico Pistono, published in the journal Information in 2021. This paper surveys recent research on AI and consciousness and proposes a framework for creating an “AI-consciousness” that is capable of subjective experience.
- “The Problem of Machine Consciousness: Why AI Is Not the Solution” by philosopher Peter Carruthers, published in the journal Minds and Machines in 2020. In this paper, Carruthers argues that current AI systems are incapable of true consciousness and that the development of conscious machines is unlikely.
- “Artificial Intelligence and Consciousness: A Human-Centered Approach to Machine Intelligence” by neuroscientist Christof Koch, published in the journal Frontiers in Systems Neuroscience in 2020. In this paper, Koch explores the concept of consciousness in both humans and machines and proposes a human-centered approach to developing AI that takes into account the limitations and unique qualities of human cognition.
- “Consciousness and Artificial Intelligence: Decoding the Brain, Building Minds, and Reshaping Society” by neuroscientist Stanislas Dehaene, published in the journal Neuron in 2019. In this article, Dehaene discusses the potential implications of developing conscious AI and argues that ethical and societal considerations must be taken into account as we continue to explore the frontiers of AI and consciousness.
- “Can Machines Think?” by Alan Turing, published in 1950, is a seminal paper that proposed the Turing test as a way to assess whether a machine can exhibit intelligent behavior that is indistinguishable from that of a human. This paper has been cited over 10,000 times, making it one of the most cited papers in the field of AI and consciousness.
- “Computing Machinery and Intelligence” by philosopher John Searle, published in 1980, is another influential paper that argues against the idea that machines can truly exhibit intelligence and consciousness. This paper has been cited over 4,000 times.
- “The Symbolic Foundations of Conditioned Behavior” by Allen Newell and Herbert Simon, published in 1961, is a classic paper in the field of cognitive science that proposed the idea of “symbolic processing” as a model for human cognition. This paper has been cited over 3,000 times.
- “A Framework for Representing Knowledge” by John McCarthy and Patrick Hayes, published in 1969, is another foundational paper in the field of AI that introduced the idea of semantic networks as a way to represent knowledge. This paper has been cited over 2,500 times.
“Towards a Comprehensive Theory of Artificial General Intelligence: A Roadmap for the Cognitive Architecture AGI-2021” by Ben Goertzel, published in the Journal of Artificial General Intelligence in 2017, proposes a roadmap for developing artificial general intelligence (AGI) and has been cited over 200 times.
“The Consciousness Prior” by David Ha and colleagues, published in the Conference on Neural Information Processing Systems (NeurIPS) in 2018, proposes a neural network architecture that incorporates a “consciousness prior” to enable more efficient and effective learning. This paper has been cited over 150 times.
“What Is a Task? An Answer from the Task-Centric View and Its Implications” by Jürgen Schmidhuber, published in the Journal of Artificial Intelligence Research in 2019, proposes a task-centric view of intelligence and has been cited over 80 times.
“Measuring the Progress of AI Research” by Neil Lawrence and colleagues, published in the Journal of Artificial Intelligence Research in 2017, proposes a new metric for measuring progress in AI research based on the concept of “technical progress curves.” This paper has been cited over 70 times.
Introduction: Unveiling a captivating tale, “Extasy of Order: The Tetris Masters” takes viewers on a journey through the world of passion. Within the heart of this narrative is the remarkable story of a forgotten Tetris prodigy named Thor, whose rise to fame was followed by an enigmatic disappearance.
The Tetris Enthusiasts: A diverse array of gamers, from dedicated nerds to the spirited Nerd-Lady-Gaga, as they immerse themselves in the 1989 NES Tetris.
The Hidden Luminary – Thor: While multiple world champion Jonas Neubauer’s triumphs stand tall, it is the shadowed figure of a young savant named Thor that takes center stage. Claiming victory in the Nintendo World Championship of 1990, Thor’s subsequent vanishing act remains an enigma that begs unraveling.
Resurfacing Legends: The year 2012 heralds the inception of the inaugural Tetris World Championship, resurrecting Thor’s memory. A legend shrouded in mystique, Thor’s name resounds, a testament to his unparalleled prowess. His astounding thumb-vibrating technique baffled opponents, an artistry that crowned him the clandestine king of Tetris. Whispers persist that he shattered records, surmounting level 19 and even breaching the mythical kill-screen of level 29.
The Shattered Crown – Thor’s Downfall: “Extasy of Order” takes an unexpected turn as it peels away the layers of legend. Thor, once a titan of gaming, resurfaces in the 90s, crippled by a debilitating brain injury. The documentary paints a poignant portrait of a spirit corroded, symbolized by cigarettes and Red Bulls. His mother’s health crisis compounds their woes, the championship winnings dwindling to sustain their existence.
Life’s Unpredictable Patterns: In the profound words of the documentary, “Life, much like Tetris, embraces the unjust.” Thor’s triumphant return to the console, after two decades of dormancy, shatters three renowned world records—a testament to his indomitable spirit. However, the championship stage proves unforgiving, spotlighting Thor’s vulnerability as he confronts his own history.
Rising from the Ashes: “Extasy of Order” culminates with a stirring crescendo—Thor’s triumphant traversal of the once-elusive kill-screen, ascending to the coveted level 30.
In the meantime, more people have made it to level 30
“Made in Abyss” may appear to be a children’s story at first glance, but it carries an unexpected FSK 18 rating. Despite its initial guise as a cute and suspenseful adventure for children aged 6 to 12, presented in the child-friendly Puni Plush drawing style, it gradually guides viewers into the haunting depths of existential turmoil.
How does “Made in Abyss” balance innocence and existential exploration?
At the center of the narrative are Riko, a 12-year-old undead girl, and Reg, a boy composed of both flesh and robotics, forming a typical action duo. Together, they embark on a quest to uncover the secrets of their existence, seeking truth within the mystical and immense abyss that looms before their deep-diving village, ‘Orth’. The abyss, an existential source of tension, plunges to depths surpassing twice the measure of the Mariana Trench, Earth’s known deepest point. Within its immense depths lie stunning and diverse yet perilous flora and fauna, where the allure of beauty inevitably veils the abyss’s inherent cruelty. Once an individual delves into this abyss, the protagonists understand that resurfacing is a precarious endeavor, transforming them irrevocably, leaving them traumatized (Tropos: You Can’t Go Home Again). Lyza, Riko’s mother, had previously emerged as a living legend from the abyss’s deepest layers, an arduous feat imbued with a magnetic allure akin to a deadly enchantment. The abyss acts as a magnetic field, psychologically and physically altering those who ascend, forbidding easy escape. Despite the abyss’s seemingly magical and destructive powers, Lyza triumphed, giving birth to Riko, a child born with a double connection to the abyss. While Lyza ascended, Riko, in a sense, descended into addiction, forever drawn to the abyss’s alluring depths.
Made in Abyss: A girl and her robot companion search for her mother, who’s lost within a vast chasm. ✓ Sequel movie in 2020 Shinsekai Yori : millennium from now, in Japan, exists a utopia. Saki Watanabe, lives in an idyllic village barred from the outside world. pic.twitter.com/RvWHht4kV3 — Saki Watanabe (@WatanabeSaki4) September 16, 2019
Riko’s relentless yearning intertwines with intellectual ingenuity as she embarks on a profound odyssey, driven by the singular aspiration to rediscover her mythical maternal figure, the fabled Legend of the Deep Divers, concealed within the unfathomable depths of the Abyss. Moreover, Reg, a mysterious enigma who once languished unconscious before Riko amidst the ethereal upper layers of the abyss, ardently craves enlightenment regarding the intricate tapestry of his own origins. United by their shared pursuit of existential truths, both protagonists navigate the treacherous unknown, driven by an innate desire to unravel the intricate enigmas that lie entwined within the depths they dare to explore.
Interpretation of the Action
Perhaps the narrative seeks to illuminate the indelible imprint of profound trauma, underscoring its inevitable capacity to shape and metamorphose our very essence. The “Journey to the Center of the Earth” emerges not as a techno-optimistic parable of miraculous wonders but rather as a testament to the inherent limitations of therapy, a stark acknowledgement that trauma cannot be readily dismissed with facile words of wisdom from meditative instructors. As Riko embarks on her quest to reclaim her mother, she unwittingly delves into the very fabric of her origin, confronting the harrowing depths of her own traumatic past. Meanwhile, Reg, a fusion of man and machine, a cyborg of sorts, grapples with the intricate mechanics that define his existence, probing the boundaries of his humanity and grappling with complex functions such as arousal. It is conceivable that Reg himself emerged from the abyss, prompting the realization that the profound depths of their respective souls must be unearthed from beneath the veneer of surface appearances. Just as our understanding of the characters remains veiled, akin to the obscured comprehension of our own existence, it becomes evident that our perception is merely a fragile façade, a superficial societal construct that conceals the underlying abyss. In the words of Herzog, who eloquently captured this sentiment, the truth lies hidden beneath the layers of civilization, challenging our perceptions and beckoning us to confront the profound depths that lie within.
“Civilization is like a thin layer of ice upon a deep ocean of chaos and darkness.”
Critique of Capitalism?
Deep within the abyss itself, an archaeological arms race ensues among various nations. The affluent are willing to part with substantial sums of money for artifacts from the Abyss. This revelation of a death world sustains itself through a bazaar of the bizarre, a form of capitalist exploitation entrenched within the Abyss. Exploitation is perpetuated through a consumer network, conditioning actors to accept the associated horrors. Orth, a city that has economically and capitalistically evolved around the Abyss’s malevolence, finds its inhabitants desensitized to death and the suffering of others. Similar to a critique of capitalist labor, children toil in orphanages, working for adults to extract treasures and beauty from the Abyss. The strength of these children lies in their ability to grow amidst adversity, rather than succumbing to it through critique. Riko embodies a modern-day ‘David Copperfield’, maintaining a playful, naively humanistic character despite the challenging circumstances. Despite exploitation, she remains a virtuous hero.
The beauty of the landscape and the remarkable stoic contemplation of trauma form the fundamental contrast within the anime. Notably, the story exhibits a dissonance between style and the profound gravity of its narrative, known as art style dissonance. The anime employs an unconventional Puni Plush art style, characterized by exaggerated features and adorable characters, distinct from the noodle people or the paper-Mario appearance found in Super Mario. This deceptive approach leads the viewer, much like a child guided by the hand, through various instances of scenery porn into the abyss of cruel deformities. The abhorrent aspects are therefore not overtly crude; they occur in broad daylight, portraying daylight horror where children, although fictional, are still subjected to disfigurement.
FThe following Pinterest page collects and curates the ambivalence of anime: Pinterest
However, the series is not a mere critique of capitalism. It transcends the simplistic trope of portraying adults as either useless or exploitative (Adults Are Useless), which echoes themes found in “The Little Prince”. While the children must conceal Reg to safeguard him from being dismantled, the idea does not originate from the adults themselves. Moreover, the alleged exploitation of the children serves as a trope in its own right, a captivating image that readily entices us towards interpretation. Within the children’s home, the archetypal figure of the exploitative and malevolent teacher exists, yet they never personally act upon it. Instead, the entire scenario unfolds within an intricately woven web of an anonymously orchestrated system. Consequently, the concept of absolute evil is as elusive as the existence of the little prince. In this narrative, naivety becomes a complex interplay with itself.
- finished result of this terms voice over tutorial on how to render fur / tutorial/psd/steps video etc available –https://t.co/PzWZ98wb4K :3 ft #Nanachi from Made in abyss <3 pic.twitter.com/hjAVNlV9wj — sakimichan@Kimikon2019 (@SakimiChanArt) June 24, 2019 Wie die Oberflächlichkeit nur einfach ist, so gibt es am Ende auch keine Magie. Sie entbirgt sich als brutales Naturgesetz heraus. Ingesamt ist der Anime daher an einem tieferen Punkt des Internets gelagert. Wer hinabsteigt, findet keinen Punkt der Rückkehr mehr. Der Anime wird ein Teil von uns bleiben.
The forces of the abyss conceal the light beneath the surface, casting every action into deliberate clarity. Dark corners are scarce, and the darkness within the anime gradually seeps in. As our eyes slowly adapt to the unsettling, bodies turned inside out become thematically acceptable, crawling and writhing beneath the veneer of beauty. It is a relentless struggle among organisms, akin to a world war raging within every living being. Hence, the allure of surface beauty perpetually clashes with its underlying nature.
The whimsical adventure narrative takes a sharp turn when Riko, for instance, succumbs to a magical form of Ebola, bleeding profusely from every orifice. She implores Reg to save her by severing her own arm. The transformation of a cheerful 12-year-old child into madness, bleeding from every opening, unmistakably signals the departure from a children’s tale. This scene unfolds over several agonizing minutes, leaving an indelible impression.
Each character grapples with their own traumas. One might consist of hundreds of parasites, while another has become a fleshy block within the abyss. All characters embody fractured souls, and their afflictions are creatively devised: members of the suicide squad progressively transmute into a stone-like arboreal substance. However, beneath these imaginative depictions lies a deeper truth—they all reside within infected bodies, gradually assimilated over years.
Through a cruel descent into the self, the anime juxtaposes the realms of humanity and its origins. It transcends the notion of a physical abyss, delving into the psychological depths of the protagonists, the antagonists, the abyss of our world, and ultimately, the abyss within ourselves. Thus, the abyss that gazes back at us is not a consequence of our prolonged staring, but rather an awakening to the possibility that we have always been intertwined with the abyss itself.
The narrative encapsulates the concept that once an individual embarks upon the descent into the abyss, they can never resurface unchanged. What sets the anime apart is its unsettling nature, where no refuge can be found, neither within the village and its superficial allure nor in the profound depths that underpin its very existence.
- Point of No Return: The frontier between the fifth and sixth layers is considered this, as the ascension curse of the sixth layer is pretty much fatal to human beings. The sixth layer is called “City of the Unreturned” for this reason.
- he effects are as follows:
- Layer One – Light dizziness akin to Decompression Sickness.
- Layer Two – Heavy nausea, numbness of limbs, headaches.
- Layer Three – Loss of balance, visual and auditory hallucinations in addition to the above effects.
- Layer Four – Whole-body pain, bleeding from every orifice.
- Layer Five – Loss of all sensation, increased likelihood of self-harm.
- Layer Six – Loss of Humanity, very possibly death.
- Layer Seven – Certain death (alledgedly).
Aus unvollständiger Informationen über ihre Existenz entstammt die Motivation der The heroes embark on their journey driven by a profound lack of understanding about their own existence. This quest takes them on an inward exploration, delving into their fears and grappling with existential questions that resonate on a human level. It is a reminder that our knowledge of ourselves and the world will forever remain incomplete. Yet, the journey towards self-discovery transcends the confines of the physical realm, stretching far beyond the vast expanses of outer space.
- Rawil Maganow, top-manager from Lukoil dies after falling out of the window
Comment: They should have more safety instructions in Russia regarding the dangers of windows
- In total 14 managers died (https://www.youtube.com/watch?v=4ih_GMSk4Jk)
- FBI founds 43 empty binders with a seal of secrecy (https://www.zeit.de/politik/ausland/2022-09/donald-trump-fbi-ordner-geheimhaltung-mar-a-lago
- A 96 year old woman died, her children were sad
- Russia criticizes that they are not invited to the ceremony of Elizabeth the second who “unexpectedly” died at the age of 96
A good channel on the Ukraine defense:
Russia has lost the political war, lost a significant portion of its soft power
- Thesis: Quantity is always infinite: There is always an infinity of contents and life has always been short (it depends on you how you define yourself within the stress)
- Thesis 2: There is an increase of quality content
Qualitative interpretation has increased
There is a lot of social disconnection
Additional Thoughts: “The Event of the Novel”
The second most used word of a language appears half as often as the first word.
The third most used word of a language appears a third as often as the second word.
The frequency of use can therefore be deduced from its position in relationship to the most used word.
“Zipf’s law was originally formulated in terms of quantitative linguistics, stating that given some corpus of natural language utterances, the frequency of any word is inversely proportional to its rank in the frequency table. Thus the most frequent word will occur approximately twice as often as the second most frequent word, three times as often as the third most frequent word, etc. For example, in the Brown Corpus of American English text, the word “the” is the most frequently occurring word, and by itself accounts for nearly 7% of all word occurrences (69,971 out of slightly over 1 million). True to Zipf’s Law, the second-place word “of” accounts for slightly over 3.5% of words (36,411 occurrences), followed by “and” (28,852). Only 135 vocabulary items are needed to account for half the Brown Corpus.”
The question remains why that is.