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theory

the painter of mental scenery

the painter of mental scenery

The title comes from Bergson's Matter and Memory. (Translation, N.M. Paul and W.S. Palmer for Zone Books, p. 170; the online searchable copy p. 69 (yes, they pack a lot in).) The title recalls Baudelaire's essay "The Painter of Modern Life." (see

AI Perceptual Ontology: better AI through better metaphysics by turns

AI Perceptual Ontology: better AI through better metaphysics by turns

This question has two parts which belong to exploring Bergsonian themes with AI-perception: Part 1 concerns what Yesim Saydan calls a "custom ChatGPT" and Part 2 the connection between perception, in this case machinic perception, and memory, in this case the training and 'customising' data used

Bergson, Deleuze & Cinema (to be contd.)

Bergson, Deleuze & Cinema (to be contd.)

Enduring Dreams: a note on cinematic time CINEMATIC TIME In their introduction to Henri Bergson: Key Writings, Bloomsbury 2021, John Ó Maoilearca and Keith Ansell Pearson offer in answer to Bergson’s solution to Zeno’s paradoxes Bertrand Russell’s own: A cinematograph in which there are an infinite number

freedom, distraction, the interval & emotion

freedom, distraction, the interval & emotion

On page 29 of (Andrew Goffey's translation, Minnesota 2018, of) David Lapoujade's Powers of Time: Versions of Bergson (French: Puissances du temps, 2010) we read: The free act is the integral of the whole history of the person—the integral of its sentiments, its thoughts, and

Minus workshop 7, part 1: naturalism / gesture

Minus workshop 7, part 1: naturalism / gesture

The following was written when I was without power and what goes by the term connectivity—without power I had no easy access to water but could at least heat what I carried in pots from the smaller of our two tanks that collect rainwater from the roof—because a

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

Marc Anton recently posted on facebook that most of its users couldn't care less what is said in criticism of AI such that he doubts any amount of technical or philosophical demystification is going to change perception or behaviour. In "Never mind the botlickers, ‘AI’ is just