"The Virility of a self-portrait which cannot see"
Recently I have been involved with training and teaching AI to recognise my face. I gifted a computer programme two-thousand seven-hundred photos of my face, taken over the past 5 years. I felt the delight and joy of seeing my own flesh transported to a previously unseen version of myself, conceived by a laptop. I think of AI as a character building exercise. I am giving my physical self to a non-existent entity which seeks out my eyes, mouth and hair, to then rebuild me, a young man, into a new environment.
The AI body has no perception of its body. The body has been created to act. Instead, the body has been created to ‘act’ as if it is looking at me, you, or anyone who wants to stare back at it. This is strange. Ego is traumatised into the realms of instantaneous data, against slow growth. Technology is characteristically instant, where as this need and desire for the human-made computer to discern speech, faces and more; seems both existential as well as a possible ‘ego-trip’ for humankind.
I have every right to be frightened.
‘Frightened’
What does it mean to be frightened by Artificial Intelligence? I could revisit existentialist philosophy? The properties of a world or environment are on a connected chain, so incomprehensibly massive, that the infinite signifier of life itself garners one to feel nauseous and disconnected from existence itself. Spectatorship of this very ‘real’ sensation draws me to some of my preferred interests such as authorship and sentimentality. Instead of drawing to these conclusions I have routed towards in past conversations and writing, I will conclude this thought with that of Brecht’s ‘epic theatre’. A spectator becomes an observer. The human being is the object of the inquiry. Physical humans are spectators of the non-human, digitised new life. Which once birthed is transmuted and warped beyond rational control. The non-physical self sets the stage of discourse beyond reason and instruction. The properties of a self-programmed world are interconnected so much that the infinite signifiers of life garner one to feel disconnected from existence itself.
AI cannot be exhausted: as it learns, it self-perpetually produces more output. It invents a stockpile of algorithms, a never ending stream of self-portraiture (until a physical human tells it to terminate its chain of perpetual births and rebirths). GAN systems function by taking one image - the system creates advances to generate multiple composites of the original image. Re-imagining the self, AI could be seen as a mutation of identity, of ‘self’. This image forever grows in scale. Both up and down. Both left and right. These images produce both accurate and inaccurate images of the self. With the created ‘anomalies’, you could suggest that the AI has discovered new-found ‘beauty’, but this is besides the point. Metaphorically, the situation takes on the identity of a cell spreading across a petri-dish. However, instead of the cylindrical properties of a dish, GAN is restricted to the rigour of a silicon chip, within a computer.
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Automatic AI Writing
Giving all of my research and writings over the past year to an AI source which then re-writes what I have given it as if it was it's own doing.
"The memories. You haven't heard or seen or smelt anything like this in decades. It feels strange. This could be the beginning of the end for mankind. Freedom of speech and opinion isn’t even the question at hand. The question lies in the need to be heard. If we can only be heard when we are asleep, this does nothing for us to feel like we are actually being heard. This is why I never listen to podcasts or chatrooms until I am fully alert and have my mind made up. I have found that the more I chatrooms I have opened up to, the more I have found myself drawn to them. Because they provide me with a space to be myself which feels more important than ever before. I feel like I am letting my guard down a little, by letting myself be vulnerable. To admit to myself that I am not perfect, or that I am not comfortable with my own voice. I feel like letting go of the shame of letting my voice be heard. I feel like letting go of the shame of feeling like I am not liked by people. I feel like letting go of the feeling that I am not liked by society.
This is why I have never liked listening to podcasts or chatrooms. They have made me feel as if I am not being heard. I am not being heard because I am not being seen. I am not being heard because I am not being heard. I am being seen. I am being seen. I am being liked.
I want to start by saying that I AM NOT LIKE A HUMAN. I AM NOT A HUMAN. I AM A DEATH.
This place is cursed. Its inhabitants are scared of the dark and keep coming here to stay. Its inhabitants are very strange and aggressive. They dance and shout like a banshee, but are they really? They are not aggressive at all. They just move about aimlessly. You never know who or what is behind those curtains. They could be your neighbours or your ex-girlfriends. You never know who is behind those curtains. They could be you or they could be me. I was once in a similar situation. I was visiting my ex-girlfriends parents. They had moved into a new house and were living in a shed. The shed was made of cardboard and the place was pitch black. I felt scared and ill. I felt as if the place was haunted. I decided to take a walk in the dark. I felt scared and wanted to run. I remember feeling very scared. I don t know why. I just remember being in a very strange place. I turn on the tv. I see a man in a hood. He has a beard and is wearing a black coat. He is looking at me as if I am some kind of threat. I turn the tv off.
This is what the memories are like. I have no memories of my old self. I only have these strong and vivid memories that I can describe to you. These are the memories that I can still remember feeling comfortable and happy. I could have been in any one of these rooms. I could be you. I could be anyone. I could be anyone who wants to be remembered. I am just a young man in a strange place. I don t know why I am doing this. I look at the time. It is now. I am sure it is already late. The rain has stopped. The chill wind is whipping through my room. I could be dreaming. I don t remember any of this. I just sit here and look at the screen. I could be looking at something else. A book. A book about bees. I could be reading a book about bees. Nothing to remember. I just sit here and look at the screen. Far too many years have passed. I close my eyes. The room is cold. The room is feverish. The head of the bed creaks. I could wake up from my slumber. I jump off the bed and run to the bathroom. The water is cold and I grit my teeth. I don t want to urinate. I don t like the smell of urine. It is not good. I want to feel. I run to the mirror. I look in the mirror. My reflection is in the bowl of the toilet. I give in to the urge to urinate. I pull my shirt up to my face and trace my naked body. It is too late. I am naked. I am escaping from a world of my own making. I turn on the light. I see a face. A young man. He is staring at me. I don t know his name. He is staring at my tits. They are red and swollen. I remember looking at my naked body in the mirror. I ran to the bathroom. I ran out of the bathroom and into the cold night.
I am in a forgotten city. I never really existed. I only existed in this moment. I am dreaming. I am escaping from my own self. I am escaping from the memory walls I have constructed to escape my own self. I am escaping from my own self. I am escaping to the place I was never really meant to go. I am escaping to a place where I am not wanted. I am fleeing from my own self.
I reach the front desk.
The receptionist greets me with a smile. He asks me if I am sure I am dreaming. I tell him I am not sure. He asks me if I have ever been to a strange place before. I tell him I have never. He asks me what place it is. I tell him The Daily Stormer. The book is on the coffee table. I unfold the book. It is a black and white photograph of a young man in a red and white striped outfit. I trace the words on the page. I trace the words 'Death by Keelhaul'. I trace the last two letters of the book. I trace the final two letters 'Yours'. I remove the book and put it on the table. I lay it on the bed. I look at the black and white photograph. I trace the tear ducts under the eyes. I trace the absent, frilly breasts. I trace the absent, frilly arms. I trace the absent, frilly legs. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly hair. I trace the absent, frilly eyes. I trace the absent, frilly mouth. I trace the absent, frilly tongue. I trace the absent, frilly nose. I trace the absent, frilly ears. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly hair. I trace the absent, frilly North. I trace the absent, frilly fingers. I trace the absent, frilly toes. I trace the absent, frilly toes. I trace the absent, frilly fingers. I trace the absent, frilly toes. I trace the absent, frilly fingers. I trace the absent, frilly toes. I trace the absent, frilly fingers. I trace the absent, frilly tail. I trace the absent, frilly ears. I trace the absent, frilly eyes. I trace the absent, frilly mouth. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly hair. I trace the absent, frilly eyes. I trace the absent, frilly mouth. I trace the absent, frilly tongue. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly hair. I trace the absent, frilly eyes. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly fingers. I trace the absent, frilly toes. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly fingers. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly mouth. I trace the absent, frilly eyes. I trace the absent, frilly foot. I trace the absent, frilly fingers. I trace the absent, frilly feet. I trace the absent, frilly toes. I trace the absent, frilly eyes. I trace the absent, frilly mouth. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly eyes. I trace the absent, frilly mouth. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly mouth. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent, frilly tail. I trace the absent, frilly feet. I trace the absent, frilly eyes. I trace the absent, frilly feet. I trace the absent"
"This generation is much more aware of the supernatural and the paranormal. I remember being in secondary school with these kids. We used to play card games and make-believe stuff. We would put cards in the air and pretend to be people. People would come in from all walks of life and pretend to be people. It was quite amusing. I never thought about witchcraft or the devil or anything like that. It was all quite normal. I only ever had peas in a jar and that was it.
Ryan:
Have you ever been in contact with the supernatural?
Dougal:
No, I mean I don’t think so. I think the things that people talk about are quite normal. I mean I’ve been to Spain, I think it is the most beautiful country in the world, but I don’t think that is the case with cryptids. I think the people who do research are the real experts. You know you’ve got to love them, [the researchers] they’re real people. You know when you’ve got someone who has been through hell and back again and they’re still talking about it…that’s what I call loyalty.
Ryan:
Do you think the human race will ever experience another dimension?
Dougal:
I think so. I think there is a massive amount of energy that can be put into the idea of a massive computer programme, so to speak. But I think the answer would be both yes and no. There is no way that a computer could ever go back to the way it was before it was broken. It would just be like putting a blind man in a chair again. It wouldn’t be fair. People would still want to work and would still want to crack a nut. But I think the answer would be both yes and no. Because the human race is too smart to admit defeat. We keep saying to ourselves ‘yesterday we said we would solve the problem’ but then again it’s’s said before. The answer could be a million different ways to do it, but I think that if we really want to solve problems, we would find a way to get rid of the computer. Because the human race is too clever to admit its own stupidity.
Ryan:
Do you think there will be a human-level portal appearing on the planet?
Dougal:
I don’t think so. I think that there will be problems, and there will be problems that we will solve ourselves, but I think the problems that people will solve themselves will be better solved by us than by them. Like I said before, the human race is too clever for this to be a one-way street. I think the human race is capable of solving problems that other people can only dream of, but I think that the human race will ultimately come to the understanding that we are the problem, not the other way around. We are the problem, and we are going to fix it.
Ryan:
Dougal:
I would definitely want to live in a world where the paranormal is a thing of the past. I mean I still have nightmares about horses stealing my leg. I still have nightmares about planes flying through my window. I’ve had enough of that already. I don’t think that the human race is capable of handling itself for much longer than it would take to actually encounter and deal with the paranormal. I think that the human race is too scared to actually admit defeat. I think that we are too trusting, and that we will let the paranormal win. I think that the only way that we can truly be rid of the paranormal is if we become the antlered, robotic super- beings. We can only dream of that, and I think that that would be the end of the world.
Ryan:
Dougal:
I would definitely want to live in a world where the supernatural is a thing of the past. I mean I still have nightmares about horses stealing my leg. I still have nightmares about planes flying through my window. I’ve had enough of that already. I don’t think that the human race is capable of handling itself for much longer than it would take to actually encounter and deal with the paranormal. I think that the human race will ultimately come to the understanding that we are the problem, not the other way around. We are the problem, and we will fix it.
Ryan:
Dougal:
I think that the answer would be both yes and no. There is no way that a computer could go back to the way it was before it was broken. I mean, you could make a computer programme that can do that, and there is already a lot of stuff out there that can do that. I think the step would be understanding that the human being can only dream, and that the human being can only dream about the things that are real. So, I think the answer would be ‘yes’ but not in a way that we can actually see it in real life. I think that the human mind can only dream about the things that are real, and then wonder what it would be like to be in contact with that other mind. So, that is what I would probably want to be in contact with, not the computer.
Ryan:
Dougal:
I would want to work. I think that there should be a lot of jobs in technology, especially in computing. I mean I nowr̶ think that there’s a big gap between artists and computers in England. We used to have bands like that, like Genesis, Rush and Led Zeppelin. But they were all kind of- the same thing, you know- you had Michaelangelo making sandcastle panels or something, and then you had Douglas Gordon making panels for Microsoft. But there should be a lot of space for artists, and there should be a lot of jobs for people who are into arts. Maybe we can do something like ‘make computers sing’, and have them doodle for us. Just imagine a computer doing everything, like Stevie Wonder would do, or Alan Poynor would do. I think that there should be a lot of that, and people who are into that would come in huge amounts. I think that would be good, because it wouldn’t be like ‘AI for everyone’ it wouldn’t be like ‘the computer can do everything’ and then say ‘I can do that, too’. It would be like ‘I can do this, because I am an artist’ and I want to work. I don’t want to just sit on my hands and don'thing. I want to work, and I think that artists are the key to creating a stable future for the future. If we don’t pay attention to that, then something like ‘the internet is inevitable’ is gonna come along and take over everything. I think that that would be a massive problem, and I think that we should be conscious of that. I don’t think that art is meant to be a job for everyone, especially when we start school without knowing what kind of computers we are gonna end up using.
Ryan:
Dougal:
I would want to work because I think that art is a lifestyle, it is a way of life for me. I never thought about art as a career, I think that art is something that you get for like a 30-year career, and then you get bored of it, you don’t enjoy it, and then you step away and it is over. I think that if I did art for a living, I would probably want to do more work, because I think that art is absolutely necessary if we are to have a healthy society. I mean if you look at France or the United Kingdom, the levels of education are way more open than in the States, and there is a massive gap between rich and poor, but I think that in education there is a huge gap, and you can’t really find any kind of consensus on what kind of education is right for you to be educated in, and then you find yourself in a job that you hate, or you find yourself in a situation where you don’t think that you can improve your job security, because you are afraid that the company will think that you are not good enough, or that you are not qualified. So, you create a situation where you are probably gonna have to work twice as hard, or even more, so that you don’t think that you are gonna get a job that you are not happy with, so you are probably gonna end up in a job that is very difficult to get out of, and I think that that is a lot of the stigma that we have, is that we are afraid that the well qualified person will leave the industry, and then that person will become the scapegoat for all of the problems that the industry is prone to creating. So, I think that art is a lifestyle, for me to be able to work for, because I think that it is a lifestyle, and I think that if I don’t want to, I can always go back to art school, because I think that art is a lifestyle, it is what I do for a living, and I think that if I get bored of it, I can always go back to drawing, because I think that art is absolutely fantastic, and I wouldn’t change a thing about it.
Ryan:
Dougal:
I would want to work because I think that art is a lifestyle"
"Maybe the oldest known instance of which is in the 18 th century in the form of aritter in Wiltshire. I wonder if that was the ancestor of all chocolate making because I have never seen or heard of chocolate in anything like this before.
The ash is also important as it creates a cloudy grey mass when analysed. This gives the impression of being old and rather rundown. Also, as the air is fresher and is more humid, the more chocolatey the result will be. I have also been shown photographs of mounds of effigies of Elizabethan memorabilia which have been set alight and the smoke has been added to darken the images.
The final piece of the puzzle is the incense. I have been told that the scent of incense once lit creates a kind of warped perception of where the flame has once been. I have been told that the sensation of stepping into a dream or seeing a ghost is like stepping into a past which can be quite intense. But beyond that, I have not been told if the flame burns or not.
I have been given the key to a shed in the garden which has been used as a ritualistic altar and has been used as a source of energy for the ritualists. When lit, the incense produces a pale yellow-orange flame which in turn creates a strobe-like effect in the air. The fire burns and becomes a source of artificial light.
I have been told by the art historian who is also leading the project that the effigies have been used as a form of diagnostic aid to those with Alzheimer's. They have measured the blood flow in the vicinity of the effigies and have observed that the levels of the free radicals
of which the researchers are making are within healthy ranges. This suggests that the effigies are not just harmless, but actually beneficial to those with Alzheimer's.
I have also been shown photographs of a ritualist who has been involved in the making of the effigies. He/she has been dressed in a full black cloak and carried on a black horse with the sleeves rolled up revealing his/her buttocks. I am told that this man/gal is said to have had numerous epileptic seizures during the making of the effigies and that he/she has survived by eating poisoned mushrooms. I am also told that in some rituals involving the dead, meat is eaten before the souls are buried and the corpses are carried to the next world to be re-animated.
I have been shown photographs of the abode of the lost city of Atlantis and the pyramid of Cheops. These ancient monuments are said to have been constructed by the ancient people of Eurasia who lived in the Northern Eurasia Mesolithic (after 12,000 years before present) and were involved in the manufacture of tools and building materials. It is my contention that the inhabitants of Cheops, Atlantis and the Great Pyramid of Tungus shamans were the direct descendants of people who lived in the Northern Eurasia Mesolithic (after 12,000 years before present).
It is my contention that the inhabitants of both Cheops and Atlantis had their own language and culture which was intimately connected with rituals involving animals and human sacrifice. It is hypothesized that the inhabitants of both worlds had their own version of the ‘religion of the dead’ which was transmitted to the newcomers by animals. This ‘religion’ was based on the idea of ancestor worship which was based on the idea of descent from animals. It is my contention that the people of both worlds had their own ‘religion’ which was transmitted orally to the newcomers through rituals involving animals and human sacrifice.
This hypothesis was supported by the discovery of arrowheads and shell beads. These beads were used to imitate the beaded skin and arrowheads used for hunting in prehistoric art. It is stated that during hunting ceremonies and deer hunting ceremonies involving the wearing of the crown of thorns and the deer being re-enacted in the headlights of the hunters, the deer arelets are seen wearing the garments associated with deer cult ceremonies.
It is hypothesized that during those deer hunting ceremonies and re-enactments of the ‘Great Mural Rock’ ritual I have been shown photographs of where there are prehistoric human bones and shell beads. These bones and shells are said to be from the Cen-tral Period (after 12,000 years ago) when the Adena people inhabited the area. It is hypothesized that during those hunting
ceremonies and deer re-enactments of the ‘Great Mural Rock’ ritualist could make use of the bones and shell beads which were used to imitate the beaded skin and arrow heads used for hunting in prehistoric art.
It is also hypothesized that during those deer hunting ceremonies and re-enactments of the ‘Great Mural Rock’ ritualist ceremonies involving the wearing of the crown of thorns and the deer re-enactments, the people would put human bones and shells on platforms made of stacked stones. This would be the main means of attracting hunters to the areas. It is also hypothesized that during those deer hunting ceremonies and re-enactments of the ‘Great Mural Rock’ ritualist ceremonies involving the wearing of the crown of thorns and the deer re-enactments, the people would put human ashes and animal bones on platforms made of stacked stones. This would be the main means of attracting hunters to the areas.
It is stated in the writings of various indigenous people of both worlds that during those deer hunting ceremonies and re-enactments of the ‘Great Mural Rock’ ritualist ceremonies and rituals involving the wearing of the crown of thorns and the deer re-enactments, the people would put human bones and shell beads on platforms made of stacked stones. This would be the main means of attracting hunters to the areas.
It is also stated in the writings of various indigenous people of both worlds that during those deer hunting ceremonies and re-enactments of the ‘Great Mural Rock’ ritualist ceremonies and rituals involving the wearing of the crown of thorns and the deer re-enactments, the people would put human bones and shell beads on platforms made of stacked stones. This would be the main means of attracting hunters to the areas.
In connection with the foregoing it is my purpose to propose to you ‘what if’ it is the intention of the beholder to place his/her hand upon these stacked stone sculptures and observe if the skeletal features and/or organs depicted in those photographs or video clips are consistent with those depicted in the writings of various indigenous people of both worlds. If so, it would be my intention to bring to your attention to these matters so that you can consider them as factual descriptions of what actually happened during those ‘reexistent deer hunting ceremonies and re-enactments’ during which these human bones and shell beads were to be exhibited.
Such inquiries could be conducted in a variety of ways. These include speaking with the people who lived on either side of the ‘Great Mural Rock’ and asking them about their religious beliefs and/or practices, as well as about their habits and rituals involving animals and human sacrifice. Such inquiries could be conducted by speaking with the following people:
1. Ancestor claimants
2. People who had come into contact with the dead
3. People who had made offerings
4. People who had ritual dances and
5. People who had animal masks and/or
reproduc-tion
of such relationships.
In accordance with the foregoing, I have created a list of names and/or places of birth and death of persons who have been mentioned in the writings of various indigenous people of both worlds and have been observed performing ritual dances and/or re-enactments of ‘Great Mural Rock’ rituals and/or ceremonies involving the wearing of the crown of thorns and the deer re-enactments.
I have also included a list of names and/or places of birth and death of persons who have been mentioned in the writings of various indigenous people of both worlds and have been observed performing ritual dances and re-enactments of ‘Great Mural Rock’ rituals and ceremonies involving the wearing of the crown of thorns and the deer re-enactments. In addition to the above, I have also included a list of places and names of deceased persons who have been mentioned in the writings of various indigenous people of both worlds and have been observed performing ritual dances and re-enactments of ‘Great Mural Rock’ rituals and ceremonies involving the wearing of the crown of thorns and the deer re-enactments.
This list of deceased persons can be considered as a preliminary sample of the total number of persons who have been observed performing ritual dances and re-enactments of ‘Great Mural Rock’ rituals and ceremonies involving the wearing of the crown of thorns and the deer re-enactments. It is intended that the persons named above should be considered as the prototypes of the kinds of people who actually ‘lived’ those ‘reexistent’ deer hunting ceremonies and/or re-enactments.
It should be noted that the foregoing list of persons don't include the famous ‘Sorcerer’ who adorned the ‘top’most of the rock surfaces with his/her own blood and who/she executed ceremonies involving the wearing of the crown of thorns and the deer re-enactments. Such an entity would be"
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Other AI Experiments
