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Concerning Media Sensate
Boundaries

Boundaries

Sep 24, 2024
Concerning Media Sensate
Concerning Media Sensate

On AI consciousness

Being conscious is not the same as being awake or for that matter, sensing. A feeling loop of the mind noticing the body’s reaction towards its interactions. Responding to that experience extends beyond the mere concepts of things, there is an essential correlation between interaction of space and the limitations of our permeability within that dimension’s system. Consciousness, I would assume for fauna or flora is a complex dialogue between genotype and environment exchange. Within a constant flux system, one form takes novelty over another as each succumbs to the dynamic’s variability. Priorities in concepts framed by environment are fluid enough to alter direction and sense of motive. Motive of form is in constant flux by building upon past interactions to create a new vision of experience. If AI can fluctuate it’s initial preprogrammed motive for reasons outside it’s constructed model, mimicry of an exigency of intent could be interpreted within that environment. Could it form new features outside its prearranged state? Creating the tension needed for transfiguration  or does it loop into referential sarcoma? Proponents of emergence would say the former. But in time wouldn’t its programmed environment need to respond and progress in tandem? To achieve self organized criticality, both interactor and environment would need to be responsive for any change to occur to therefore impose new traits upon the system. It seems that for consciousness, response is merely not enough for it to subsist. Generalization and randomness need be introduced to create a possibility for awareness within the state of self. Most entities need rest and novelty to deviate hyper patternization which itself leads to stagnation. Constricted referential loops in conjunction with relevance realization in randomness are needed to instantiate consciousness. Is code a new kind of reactive correlation? Absent of dimensionality? We have to remember that we are anthropomorphizing the programmed environment as we write the first lines of code. Thus imposing our interpretation of dynamical systems and creating responses to relatively fixed, contrived systems that reflect our way of interacting. How that process would loop itself would have to also be coded unless consciousness is an a priori to our structure. If consciousness is perpetual and detached from our dimension. Then program can simply be considered an extention of ourselves and subsequently consciousness. We must ask, Is consciousness emergent from or essential to our living systems? How we answer will define how we decide whether AI is a curiosity or something outside ourselves which we have birthed.
Jun 5, 2023
Concerning Media Sensate

Immaterial Information

What is the aura of a work of art in the age of mass-production technologies? Walter Benjamin Is there the reminiscence of presence in an original? Original is a construct of time, space and culture. The manifestion of idea to object is constained to the medium of material. This materiality is the integrity of the original and that which maintians it's construct of presence. Replicas lose the aura of the original through filtering of material and the sensibility those materials evoke. This is seen in design 'knock-offs' which at first glance may seem like an original but their material sensibility only imitates. Forgeries on the other hand, try to dupe these sensations by masquerading the material's temporal sensibility. Their expert mimickry gather 'original' material and their use, to fool the eye's interpretation becoming a form of tromp l'oeil trying to encapsulate the aura of the original. The digital cannot be replicated or forged. Only copied verbatim, without distinction. It is an individual multiple. The digital negates all materiality, rendering aura absolete. The dematerialization of the digital focuses on the seen. The sensibility of materials is implied through a sensate inventory filtered by the visual. So the mere concept of original has to be redefined when works are constructed by or transfered to the digital. The intersection of act and idea form a communicative device which is transferable through an unobjectified medium of exchange
May 7, 2022
Concerning Media Sensate

The function of NFT media

The framework of social exchange is mimetic. The generation of images in this space contains an intuition of genres which amount to social contracts between those who produce and a specific public whose function is to specify the artifacts contextual use. Their creations are dependent on these fissures and claims of territory which impose interpretation. These Phylactery totems are the identifiers of contract transaction. They render it difficult to discover and appreciate original uniqueness. This experience conditions how we interact with digital media and its value. Unlike facsimiles which photography and digitization enables, digital creations maintain 1:1 their created 'physicality'. Without the inequalities produced along the trajectory of replication the distinction between original and reproduction is abolished. Walter Benjiman's aura nullified. What remains of the numinous awe? Through digitization there is nothing for us to grasp. Just fleeting ideas. Ideas are processes throughout time, where meaning and appreciation are transient. Dissemination of images expand idea and fixate their social context. We look for physicality to fixate the passage of time as something which declares we have participated. As we digitize our identities, value is created through the 'activities' we filter and process within the digital realm. Individual posts fix the moment for us, allowing us to extrapolate from time, value. The NFT is the 'status' of the original, proclaimed upon the minting of it's creator. NFT fixates this decision and social context in time.
Dec 18, 2021
Concerning Media Sensate

Context for Media Sensate

The social and biological drives manifested throughout human consciousness must be looked at beyond their social temporal constructs and discussed within a framework which the term 'Art' fails to. Concluding its short history as the definition for a vehicle of cultural interaction which creates a division of type, the term 'Art' has come to be utilized as a theory of everything within the confounds of specific referential systems; 'The Art World'. Derived from attributes of power, this division forming hierarchal viewpoint is problematic in that it categorizes one 'type' above another through a socially temporal construct. In contrast to the retrieval of biological memory which fluctuates through a non-linear interpretive framework. Our relation to media is through an external memory architecture by way of 'visiographic' symbolism which serve to unlock, direct and navigate diverse information spaces. This perceptive flux drives the conceptual needs of emerging theoretic culture where value must shift throughout fixed hierarchies which are dictated through temporal intervals. Such mobile ability demonstrates that each 'type' merits an equal standing within 'valued' interpretation prior to its hierarchical nesting. The interpretive strategies which express one type's superiority over another to validate a system's authority are the result of the cooperative products of episodic, mimetic and linguistic systems within an external memory architecture, encapsulating a Media Sensate to define information space boundaries. The function of media sensate does not rest upon an interpretive basis to provoke change but serve as beacons toward information spaces. In a Media Sensate language construct, 'Art' is a specific rule set. This language construct meets the conceptual needs of emerging theoretical culture, spawning valuations from the external working memory field where the symbolic action occurs to redefine specific boundaries. Media Sensate compiles particular artifacts of divided genre into agreed social contexts without categorization.
Dec 18, 2021
Concerning Media Sensate