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"We are allowing the proliferation of a technology which will not destroy humanity but will destroy its thought."

"We are allowing the proliferation of a technology which will not destroy humanity but will destroy its thought."

Everything I've written about AI so far is all wrong. It's all metaphors. From the start, the self-portrait, I was trying to find the perception in which the AI works, the perception of which it is the technical embodiment. And therefore answer the problem of AI,

digest

⑦ Enduring Dreams: a note on cinematic time (sections 16 – 18)

⑦ Enduring Dreams: a note on cinematic time (sections 16 – 18)

DURATION HAS THE QUALITY OF A MELODY If it glitches out it is no longer that melody. Any alteration in the intervals of time brings about qualitative change. The melody no longer makes sense or it makes a new kind of sense. He talks about a bell tolling. He hears

⑥ Enduring Dreams: a note on cinematic time (sections 14 – 15)

⑥ Enduring Dreams: a note on cinematic time (sections 14 – 15)

⑤ Enduring Dreams: a note on cinematic time

⑤ Enduring Dreams: a note on cinematic time

④ Enduring Dreams: a note on cinematic time

④ Enduring Dreams: a note on cinematic time

③ Enduring Dreams: a note on cinematic time

③ Enduring Dreams: a note on cinematic time

② Enduring Dreams: a note on cinematic time

② Enduring Dreams: a note on cinematic time

introducing ① Enduring Dreams: a note on cinematic time (sections 1 – 9)

introducing ① Enduring Dreams: a note on cinematic time (sections 1 – 9)

theory

Thus, the AI on embodied perception in Minus Theatre

Thus, the AI on embodied perception in Minus Theatre

Prompted to consider Minus workshop 4, part 1: embodying emotion a working out in practice of the themes of actual perception in duration, emotional association and virtual imagination, against habits of recognition, conditioned response and representation (theatre, according to Peter Hallward, being the art of representation par excellence) ChatGPT 5

human virtual multiplicity and AI’s singular expectancy

human virtual multiplicity and AI’s singular expectancy

a tree imagines it's a tree

a tree imagines it's a tree

Artificial Imagination, Quantised Governmentality and the Societies of Automated Control

Artificial Imagination, Quantised Governmentality and the Societies of Automated Control

a note on the social space: further to living in the time of AI

a note on the social space: further to living in the time of AI

Living in the Time of Artificial Intelligence

Living in the Time of Artificial Intelligence

On the advent of AI

On the advent of AI

journal

Minus workshop 5, part 1: what for therapy is the cause for theatre is the effect

Minus workshop 5, part 1: what for therapy is the cause for theatre is the effect

Minus Theatre at AUT was all about the encounter. It went from Deleuze to Lingis: in the first is the shock of the encounter which breaks us out of habit, the event; in the second is the imperative of acknowledging the elements supporting us presupposed by the encounter. They are,

Minus workshop 4, part 2: embodying emotion

Minus workshop 4, part 2: embodying emotion

Minus workshop 4, part 1: embodying emotion

Minus workshop 4, part 1: embodying emotion

Minus workshop 3 at EMC, or...

Minus workshop 3 at EMC, or...

Minus workshop 2: a tree imagines it's a tree

Minus workshop 2: a tree imagines it's a tree

Minus—a theatre like no other—at & in collab with EMC: workshop 1 & HI (Human Imagination)

Minus—a theatre like no other—at & in collab with EMC: workshop 1 & HI (Human Imagination)

The Secret Commonwealth, Philip Pullman – his dark precursor to the work on the imagination

The Secret Commonwealth, Philip Pullman – his dark precursor to the work on the imagination

poetry

some lines after Jim Moore*

some lines after Jim Moore*

Jim Moore writes, Sometimes the world won’t let itself be sung. Can’t become a poem. And Sometimes, REM sing, everybody hurts and cries sometimes. I know the world is wrong I know sometimes a man is wrong, sings David Byrne, and—Michael Stipe, Hold on Take comfort—whereon

moieties*

moieties*

A Piece of Fabric, Tell it to the birds & lying in long grass - for my parents

A Piece of Fabric, Tell it to the birds & lying in long grass - for my parents

enantiomorphosis: the messianic | Danaë, or resistance

enantiomorphosis: the messianic | Danaë, or resistance

a journey (2016)

a journey (2016)

fr. Sweetheart, over____ (2006)

fr. Sweetheart, over____ (2006)

the pieces of ... soap

the pieces of ... soap

otherwriting

moving image: theory | context: lecture 10

moving image: theory | context: lecture 10

The last lecture raises two questions. One of them I hope to have made at least a partial answer to by the end of this lecture. One of them will be left more or less open. The question of the assassination by visual effects, CGI, of film: sounds criminal. But

moving image: theory | context: lecture 9

moving image: theory | context: lecture 9

moving image: theory | context: lecture 8

moving image: theory | context: lecture 8

moving image: theory | context: lecture 7

moving image: theory | context: lecture 7

moving image: theory | context: lecture 6

moving image: theory | context: lecture 6

moving image: theory | context: lecture 5

moving image: theory | context: lecture 5

moving image: theory | context: lecture 4

moving image: theory | context: lecture 4