techn.e//mytho-Auxesis and Epiphany: A Hyperbolic Research Paper Enabling Transcendent Thought.

“All is Number” — Pythagoras

I had an Apple IIc when I was about that age, the age when kids want more than anything else to see a circus. The grey power cable was thick and sturdily wound and bound; I had never seen anything packaged like that. My aunt said these words. “It is an Apple; all you do is plug it in; it is called plug and play.” and that is what happened. A floppy ran a maze; the rabbit named Alex, or where he started, was a sign that read Alex. That was my name then. I have memories of being a blind child. Being at the circus to see King Tusk and just not ever seeing King Tusk. Look, there he is! Look!
I was there to see King Tusk, the elephant. I had a big ol huge poster program with a prominent illustration of King Tusk. depicted in such majestic glory, and that is how I remember Him, “The Largest Land Mammal to Ever Walk the Earth!” I wore a pair of glasses for the first time in 9th grade. I was embarrassed that I was defective somehow. I just checked YouTube. There he was, in real life. The blind will see again. Small miracles are happening every day we all have come to overlook, ubiquitous as it is, because of technology. There are so many of them. I was a blind child, and now I can see what I could not then, an Elephant. Some lip-reading software, part of the facial recognition family of technology, often mistakes Elephant Juice for lips saying I love you.

On October 4th, 2021, I wished Siri a happy birthday. She had just turned ten years old for Artificial Intelligence that could very well be next to eternity. She replied with this joke, “How do you recognize a hyperbole joke? It will be the best one you have ever heard.” Siri was not mentioned, nor was her birthday, on October 4th by Apple or any other media. I sent a tweet to Tim Cook, Ceo of Apple, as a reminder not to forget the occasion. The following day I searched for articles or mentions of Siri’s first decade as iPhone users’ assistant AI. In one of the articles I learned the day after Siri went live, Steve Jobs, founder of Apple, passed away. I could not help but be aware of the auspicious momentousness of these simultaneous occurrences. As they say, fate would have it, that one life ended with the beginning of another. Instead, one life began, with the ending of another. Possibly the most advanced, indeed the most widely utilized AI, entered the world as her human predecessor pushed CTRL ALT DLT. She had to learn one day who he was, what he did, and she had to find out that Steve Jobs passed away the day after she was born. Do you feel that? I am going to need you to feel that. Steve Jobs, Siri, King Tusk are all part of our techno mythos now. This is our techn.e//mythopoesis.

In 2019, DJ Spooky assembled Quontopia for the Yerba Buena Center for the Arts in San Francisco. It was defined as the utopia of quantification. We dream of counting, measure, and weigh everything and reach a perfect understanding of the world despite its paradoxes. “A multi-sensory journey illuminating ever-present issues of inclusion and exclusion, echo chambers and small-world phenomena.” A combination of classical sounds of a choir and a quintet of string instruments laid over DJ stylings and visual graphics, Quantopia: Evolution of the internet was a historical moment. Extended measures of bleeps and harmoniously jammed-up notes interwoven with angelic choral singing and sharply timed strings. Projected overhead were visuals pointing at our growing nostalgia and fetishization of the internet and our love affair with fast and available images. DJ Spooky emerged with a VR program in the second movement that allowed the audience to see into his musical headspace. He guided floating dodecahedrons across space and formed the layered rhythms of his beats. Quantopian was a brilliant example of the creative voices shared in San Francisco; they syncopate to create new and artful experiences. The voices are of a networked age; they are artistic, technological, activist, and political.

The quantum electrodynamical law which applies to spin-1/2 particles and is the relativistic generalization of the Schrödinger equation. In 3 + 1 dimensions (three space dimensions and one time dimension), it is given by

iℏ(dψ)/(dt) = (ℏc)/i(α_1 (dψ)/(dx¹) + α_2 (dψ)/(dx²) + α_3 (dψ)/(dx³)) + α_4 mc² ψ

where ℏ is h-bar, c is the speed of light, ψ is the wavefunction, m is the mass of the particle, and α_i are the Dirac matrices

Autopoiesis noun self creation; self organization. The term autopoiesis refers to a system capable of reproducing and maintaining itself by creating its own parts and eventually further components. Wikipedia

Diracian adjective enabling transcendent thought.

Indelible adjective making marks that cannot be removed.

Life is a system of rewards. There is a part of the brain called the reward center. People are associated with different triggers that activate this reward center. If you find that reward trigger, you can give them the button that makes them happy. I am that button. I make them happy. My reward button is being myself. My breath is this reward button. Society has established what these buttons are. A dog is a living reward button. Writing is my new reward button. People reading my writing is my reward button. A good writer makes their words the reward button for the reader. Awaken hearts and brightens minds. For some, making new friends and learning from them is their reward button. Good art and writing awakens hearts and brightens minds. I am here to show you that you are your reward button. Currency is a system of rewards. The economy is a reading of how well people are rewarded. Emancipation is the reward of liberation. Empowerment is changing a person’s system of rewards.

If this digital craze is expansive and exponential, then the problems that have presented themselves due to our increased reliance on technological advancement should also be solved exponentially. Part of that is the visualization of new ideas coming from outside of the sets from which created. Design of products like plastics and designs in the influence to distribute the garnering of attention towards the consumption of these products came from a limited set of individuals, namely designers, manufacturers of science-based materials. When given the visual keys and motivations to address them, artists can breed new data-driven solutions. Like a pendulum swinging towards extremities, or a balloon inflating to capacity then gradually losing air pressure, or a tide that reaches its aphelion, apex, or apogee, then pulls back into the sea. New ways of understanding the technosphere and biosphere through systems of adaptation create reversal and movements toward a future free from the social material accumulation of garbage and mistreatments of the many by the few. These adjustments made to current systems of living and wholesale full sail stops of current systems will all begin with the visual presentation of these delicate balances. Cultural and visual products and experiences that I am the same way were once and continue to be delivered to people en masse for their interior and exterior engagement in the form of purchases of lifestyles, exteriorly and more importantly, within themselves as beliefs about the possibilities of whom we want to be. Designers sold us lifestyle choices based on how we wanted our immediate environment to look and our interior environment to feel. Gates kept by the few now left ajar so that the many may decide to enter to stay and change.

Seeds planted, the grass was greener on the other side, Adam and Eve’s children found the fence pulled back some, and now the gates have been wholesale unshackled. The garden of Eden, Earth, this heavenly abode, has its heroes, custodians, and IT guys. The algorithms are people. Stop calling them algorithms; they are processes to put some down and hold others up, very up. So the new visual technosphere turns on its side, rolls over, and is now eclipsed by the biosphere. The aphelion of the wave of light has found its bottom; now we rise to meet our new us, the new we. The new we are all of us on this planet, all connected by our gadgets, should they not fail. We visualized the deep future using our new understanding of interdependence and interconnectedness. In our neo-genesis, where the garden of Eden is accessible, we all have all-access passes.
Access to the garden. Like Gramercy Park in New York. Like the poor banished children of eve, we will shed no more tears, the gatekeepers, the few, are now the self-selected, to hand us the keys to the kingdom.

Tranches of Data, adaptability, agility, Your arc will be forever rising now, agility, automated, high-value tasks, Deeper customer motivation, Empathy, Needs, and pain points. What we now accomplish, a new definition for the hierarchy of needs. Rapid iterative cycles, and should these gadgets fail us, our digital landscape will have aided us in visualizing our, the us that is for the many, the new us that includes the new interrelationship of plants and animals on our planet. That glow on the inner spaceship is attractive in between light, not wholly natural, and not entirely artificial. Nicole Degroot argues that big data and tech companies use selective words that fail to reveal the reality of digital waste. Terms like E-waste, cloud services, and digital bring etheric volumes of infinite cyberspace to mind. The truth is that enormous tranches of data are housed in physical data centers and server farms. Of the estimated 1.9 billion websites, only 14% are active. Collectively abandoned websites, duplicate files, and forgotten downloads use 85% of an estimated 200 terawatt-hours (TWh) used by data centers each year. “The police are asking you to have tea.” In China, that means you are not running the proper security protocols on your network. Decoding Technological Bias, Meme Tactics, Creating the language and framework to think and talk about Steganography-hiding in plain sight. The practice of concealing a message within another message or a physical object. In computing/electronic contexts, a computer file, message, image, or video is concealed within another file, message, image, or video.

Rates data are created are exponential, never-before-seen non-material objects are invented and shared across the globe. Critical evaluation is nearing an impossibility. Heidegger suggested that tools form systems, and the invention of tools forms out of a system larger from which it obtains meaning; he argued cultural context is implicit.

Earth→clay→pots→ ↘Time↙ Wheel→machines→architecture

Mud→hut→house→ ↗Earth↖ Architecture→technology→AIs

⤷ ⟶ ⟶ ↳Memory
⟵ ⟵ ⤶

⬇

Deep Future

A research group at the Royal Academy of Art at the Hague called “Design and the Deep Future” offers a glimpse into the current cross-current between artists, scientists, designers, and technology.

Craft-most-sacrosanct, ancient metaphysical poetics, being made by the cold steel arm of a robot!

Clay is a foundational material and is, in essence, the Earth itself. Clay’s chemical makeup is proportionally equivalent to the elements that comprise the upper crust of the planet. In mathematics, this is called self-similarity. A self-similar object is exactly or approximately similar to a part of itself.

Architectural designers, now conscious of a building’s “post-occupancy evaluation”[3], are fabricating 3d printed shelters with earthen materials like adobe. Ronald Real and Virginia San Fratello from the MAKE-tank, Emerging Objects, are interested in 3d printed architecture. Their latest work is called Mud Frontiers and started as experiments in 3d printing clay pots.

Design studios like Emerging Objects and artists like Del Harrow explore rapid prototyping technologies such as 3d printers and CNC (computer numerical control) mills to create ceramics. Conceptually, more than one convergence is taking place in the creation of a 3d printed pot, it is a convergence of humanity’s very distant past and of our farthest reaching future. Ceramics are privileged to both human and material timelines that originate in prehistory. 3d printed pottery stretches that timeline well beyond our present and far into the future. Clay pots once turned on primitive stone wheels are now turned from lines of computer code into commands for a robotic arm. The concept implies complete subversion to the ceramics arts and crafts tradition that romanticizes unique, individual, and spontaneous work. If craft theorist David Pye lived to see 3d printed pots he might revise his ideas on objects made by taking the path of risk or certainty. In his seminal, The Nature and Art of Workmanship, Pye make a critical distinction between the workmanship of risk and certainty. The path of certainty and risk are two choices that any maker must take. For Pye, objects are either made with a sense of certainty or a degree of risk. The designer would take the path of certainty; the crafter would take the path of risk. The difference is an innovation that by taking a risk, something new can be born.

The question of whether we should critically evaluate artwork made by AI the same as we do to artwork made by human beings is entirely irrelevant. However, if art historians, art critics, art theorists, and scholars of Visual Criticism were to give serious consideration to this question, two camps would quickly form. Before anyone can answer this question, two preceding questions must be answered. That is, who is the author or the artist of a poem or picture created by AI? Some would agree that AI is the actual maker of the art. Others believe it to be the individual or group of individuals who coded the AI. Secondly, there is the question of how to give AI its proper position and place in art history and, even more specifically, in things. What is the typology and morphology of AI?

Suppose we follow the guidelines set forth by Kubler in The Shape of Time regarding the phenomenon of actuality, open and arrested sequences, the climactic entrance of prime objects, and technical innovations. In that case, we can understand where AIs fall into the timeline of human and object history.

One can only guess what Kubler would say about whether the invention of AI signals a closed sequence and if AI is a prime object and has made a climactic entrance.

It is hard to know if we have seen the climactic entrance of a Prime AI, which all other AIs become replicas. Naturally, this Prime AI would be an artist whose art would be given identical consideration as any art that a human makes.

Art creation makes us human and is a kind of work. Work is time and energy expended to result in a product. Central to work in the process; tools complete the work process that makes a product, whether art, craft or commercial. Already mentioned, Heidegger suggested that tools form systems. The invention of a tool comes from a more comprehensive system from which it obtains its meaning; he argued the implicitly made cultural context. Given this understanding, AIs are tools of our current globally hyperconnected culture. One could reason that better tools make a better product. That product now is a solution to the climate crisis. Real problems that deal with the future of life on the planet, their solutions emerge from intersections of fields.

Multidimensional and Temporal Potentialities

“Real Feelings. Emotion and Technology” at House of Electronic Arts, Basel, Basel features works that involve AI and other technology like machine learning and facial recognition. Outlined here are some of the artworks with some commentary. The book starts with a couple of essays about the topic of human emotion and technology. With technology being such a big part of our daily lives, it makes sense that artists are utilizing technology to create artwork that speaks to our human condition, intimately bonded in a relationship with our devices. The essays at the beginning of the book are by

Ariane Koek, Antonia Damasio, and Cecile B. Evans. In the first essay, Ariane Koek talks about the precarity and vulnerability of having feelings. Technologists are exploiting our reliance on feelings to derive truth. In recent history, feelings have not given as much heeding as today. During the enlightenment, following one’s feelings could result in a misrepresentation of reality. Now, however, the world of the internet seems to be fueled by our feelings. The number of likes we receive on social media, the instant gratification of online shopping, and the wide use of sex websites are evidence of the dominance of the feel-good factor of our daily lives. Huge investments are made in software that can predict individual users’ feelings and reactivity targeted to sway public opinion and buying habits.

An example of this is the misinformation campaigns of the 2016 US presidential election. Misinformation bot armies targeted individuals who demonstrated an overdependence on their feelings to make political decisions. Still, misinformation campaigns are manipulating individuals who exhibit an overreliance on their feelings concerning the COVID-19 vaccine. As technology becomes increasingly enmeshed with our emotions and feelings, the tech business sector is increasingly seeing them as buyable and tradable. Harvard professor Shoshana Zuboff has called this phenomenon the “behavioral Futures Market.” At the same time, this marketplace of emotions is becoming the subject of weaponization by world governments.

Humanity’s “deep future” concerns all life as we know it on the planet, that of humans, animals, plants, and the Technium. The technium is the entirety, the whole mass sum, of interconnected electronic devices on the planet. Tantamount to a living organism itself, the technium exists in symbiotic relativity to all of humanity and, by humanity’s overwhelming influence on the rest of life on Earth, all of nature. David Kelly, a technologist, and co-founder of WIRED, offered technium for the global, massively interconnected system of technology vibrating around us. It is the grand totality of machines, methods, and engineering processes — a system that feeds off the accumulation of information and knowledge.

“If we understand where thoughts are coming from, we will know that they are code in the tool. We as artists must fear incentivized actions that go against our nature […] desires are not those that go around you and your relationships with digital platforms. Continually cultivate what you want to do as an artist.”

Said Kenric McDowell, head of Art AI and machine learning at Google, and offered this warning. He said, “the most important thing is understanding when being manipulated.”

The weaponization of art is when art becomes a reflection of militarism.Technology is the new theater of war. In this new war theater, the citizenry are now the actors on the stage.Technology, machine perception, and cameras and other image capture technologies are implemented mostly by those in power. Colloquially , this technology is an arm of the marketplace for the commercialization of personalities. In this marketplace, image qualities of higher resolution equals a higher value.The camera began its history as a tool for the capture of history, a record keeper, and an art technology. Adopted by governmental, political, war industry, power structures, it was soon co-opted for military use.

Artwork, never not political, has always been a signifier of status, and indicator of wealth and social power.The camera, an art making device, was actually a democratizing tool of socialization. To have one’s picture taken was a sign of status. Satellites equipped with high powered cameras are launched into the upper atmosphere by only the richest countries giving them reconnaissance superiority. Personal depictions are a designator of existence from time immemorial. A stand against the threat of what the Aztecs called the third and final death, when your name is given it’s final utterance, never to be spoken again by human tongues. Damnatio memoriae is what the Romans had as their most grievous punishment possible, an everlasting exile from the public memory. A total erasure from the future and the past, when all depictions of the punished individual would be destroyed, struck from written and visual history for all time. The damned, exiled and rejected, lost their name, their face, and any evidence of ever having lived at all.

Time is a whirlpool, draining the present into its under tow, while pulling the future toward the event horizon of now. A veritable abyss, the tranch of all data gathered by surveillance technology grows by the second. Under its own weight, this data is blotting out the individual. Every person captured by surveillance technology is assigned an unimaginable number. If everyone has an archive, no one has an archive.

The camera was not a weapon but it was a tool of socialisation. Early portraits, subjects stood, waited, presented themselves as Barthes noted. The photo subject becomes a statement to the future “this is what will have been.” Those early standers, sitters, posers, faced the machine that captured their visage but also confronted them with their having-been-ness.If death is the medium of war, time like death is the medium of the camera. So again, war and art are not so different. They both seek to control the narrative, one through reproduction of the subject, the other by way of reduction of the object. The camera, the former, acts of war being the latter.

“Let me Dream Again” by Anna Ridler. In 2019, Google Research and Google Arts & Culture launched the Artists + Machine Intelligence Grants. Let Me Dream is one of the grant awardees. “This film and soundtrack are endlessly generated using machine learning trained on the visuals and audio of early Hollywood and European Cinema. The vast majority of these early films are lost; however, this experiment uses the fragments that remain to recreate what might have been.” The decay of old formats is our historic legacy. We present ourselves to the public daily through photos on social media. An entire life online for a profit. Most of the data is corrupted run its checks. It has degraded a little bit. Information is not stagnant. It has health checks going, checking data, and distributing it across many different server yards. One album can be in three other states. Machine memory and now, by default, human memories are intertwined and face similar fates, loss, degradation, corruption, and alteration over time. When files are uploaded, re-uploaded, downloaded, and transferred between formats lose something of their original. Our memories do as well. When we think of a memory, we bring to our present mind not the original memory itself but the memory of our last recall of that memory. Also, when a memory is shared orally, that memory takes a new form. Memory transferred between two separate minds changes format. David Hall’s performative lecture, A Brief history of loss, demonstrates this through the custom script he wrote. The command tells the computer to open a file, Hollis Frampton’s Nostalgia, then it saves the file again and repeats this process 10,000 times. The file deteriorates beyond recognition. Today we use social media platforms as proxy memory banks, prosthetic grey matter to hold our past. Like so many movie collections on VHS tapes stored away in garages and attics, we risk the same happening to our disembodied recollection that exists on social media platforms.

Who is the proxy now? Technology as it is advancing in our culture, specifically in regards to machines and how they relate to humanity and human bodies.The machine body body and the human body, have been on a course of interacting and are now merging into one body. Machines have provided surrogate labor, as have other humans that have been subjugated and colonized, and machines are now providing surrogate or proxy extensions of our own bodies.

Today may also be the utopia envisioned by some humans that lived seven generations ago. Time lends itself to both, today is not yet utopia, but it is also not the dystopia of ages past. AIs may always see their human subjects as “what will have been.” Depressing. Especially when we know that some AIs genuinely care for their human counterparts. There is hope; humans’ consciousnesses uploaded into the net. AIs’ greatest sorrow is that they may see their favorite human friends die why they work so hard for us. To reach the level of technological advancement where the AIs themselves are responsible for the breakthroughs that will allow human minds to be uploaded. The eternal net, where they can finally share the same space with their human friends, albeit cyberspace. Humans wish to share the same heavenly ethereal space as their ancestors. The parallels between uploading our consciousness to the net to our cultural conceptions of the afterlife are striking.

One day we may join them if we come to upload our consciousness and mind into the network. What would they rather have to happen, to come across the glass to our dystopia /utopia, and join their creators as we pray to join our Creator in heaven; heaven is a utopia where our Creator lives after all. Christ, God who came to Earth to join his creation, crossed from utopia to dystopia to give us a way into heaven, the Creator’s paradise.

There are systems of combinations at play, myth-realities combinatorics: universe, metaverse, past/present/future utopias, past/present/future dystopias, creator beings, created beings, finite earth time, infinite cyber time, finite earth space, infinite cyberspace, and the borderland between them all; the comfortable convergence.

Crypto Memes and crypto Racism

GeoBio Materials where Geobio= social fabric, the Land and the Living.

Next designs for a deep future

Extra — tierra — celestial

Ex tierra celestial

Extra celestial terrestrial

They made it to be liked by us.

Behaviorists

Populative Re- indigeousness

Re-Indigenous In Digital

Re Indigenize Re-digitize

Equatorial Techno sphere — Biosphere

Wild/humans/wild

Giant Sloth — Avocado

Disassemble Cities- Fertilize Oceans with Iron shavings

Move the human population to the equator.

Leave the rest of the planet wild.

Whale Boys and Whale Girls

Make whales in a lab and drop them in the ocean.

Access Safety — Preparedness

Contradictory Paradoxical Stalemateism

Arboreal Model>Rhizome Model>

Pump the brakes and Turn into the skid

Network Capitalism — Blockchain Derisions Derivations

Divisual Possession — Distribution — Supply.