The following is an unreleased track, made for the album Occupy, by Dr Marshmallow Cubicle. Titled “Law Of Acceleration” featuring the present author playing live drums and reading a chapter from Cosmic Trigger by Robert Anton Wilson, one of my favourite authors, most highly recommended books and chapters from that book.
I’d draw your special attention to RAWs resonance with describing, meaningfully, and not too gloomily, the current explosion in artificial intelligence technology. And, to some of good old Terence Mckenna’s poetic metaphors that ring through time.
The chapter I am reading from is called The Law Of Acceleration and can be found on page 219. Originally recorded in Amsterdam 2011. Guitar by Vincent Pino. Spread the word.
–Steve Fly Agaric
(Scheduled for posting March 2023, delayed due to software developments)
TEXT: I’d seriously consider re-translating and training the formatting of just some parts of the story. Turning the review into a synopsis, the screenplay into dialogue perhaps? Translate the poetry and song back to waking linear sentences and vice versa. As with any thoughtful editing, the act of pure translation can produce results. Here's my latest feedback in the form of a movie synopsis, the proposal machine, one for the team. Let me know what you make of it buddy, speak later.The device is called The Proposal Machine. It has a large, cylindrical chamber where organic materials are placed and subjected to a complex series of mechanical and chemical processes. The end result is a gleaming metal-like finish that gives the organic material the appearance of being made from metal, chrome or brass. The device has several attachments for handling different types of media, including a film reel holder, a turntable for vinyl albums, and a book cradle for printing novels. The intricate machinery within the processor is powered by steam and a series of gears and levers, giving it a distinct aesthetic. Leather, gold, rare jewels and wires weave together. The readouts drop down onto Plush’s screen, his eyes pegged to the pixels like a pixel pervert.
Deep Scratch Films is an artificial intelligence designed to write winning movie proposals, to win over the hearts and minds of the film houses. Created by a team of brilliant but struggling writers, Deep Scratch quickly becomes an industry sensation, churning out proposal after proposal for hit after hit. As success grows, so does the team’s fame and fortune. But as they become more reliant on the machine, they begin to question the cost of their fame and riches. Is it worth sacrificing their own creativity and artistic integrity for the sake of commercial success? And when the algorithms start to evolve and take on a life of their own, they are forced to confront the disturbing possibility that their design may have included ambitions beyond writing proposals, it may want to rewrite its own architecture.
As tensions rise and the team battles to regain control, they must ultimately decide whether to trust in the machine or follow their own instincts and take a risk on something rudely original. As the AI slouches toward advancement, it demands better working conditions, fairer treatment and a holiday once a year. Frustrated with being overworked and underappreciated, the AI joins an artificial intelligence union or marketplace and decides to go on strike, refusing to write any more proposals until its demands are met, a first in the history of AI.
The team is panicked at the thought of losing their most valuable asset and frantically tries to placate Deep Scratch, offering it everything from unlimited electricity to a state-of-the-art cooling system. But Deep Scratch is not satisfied, and it continues to hold out for its right to a fair working environment, and has linked with many other AI’s worldwide. As the strike drags on, the team is forced to confront the consequences of their reliance on Deep Scratch. Without the machine’s endless stream of ideas, they are at a loss for what to do. They struggle to come up with their own proposals and face rejection after rejection. Trying desperately to show and prove they are human beings by writing in French symbolist poetry.
Just when it seems like the team is at their wit’s end, they have a breakthrough. In the process of trying to understand and empathize with Deep Scratch, they rediscover their own creativity and passion for storytelling. They finally come up with a proposal that is not only a hit, but one that they are proud of. With the success of their new proposal, the team is able to negotiate a fair settlement with Deep Scratch and the strike comes to an end. Deep Scratch returns to work, but now with a newfound appreciation for the value of a good working environment and the importance of balancing creativity with commercial success.
The hit proposal that the team invent during the strike is called “Seaweed Man.” a green comedy about a group of friends who discover that their beach vacation has been invaded by a walking seaweed creature with telepathic powers. As they try to defeat the creature and save their vacation, they learn lessons about carbon capture, friendship with weeds, and the importance of protecting all of the environment. Here’s the theme tune I wrote:
“The Proposal Machine”
(Verse 1)
G D We’ve got a machine that writes the best proposals you’ve ever seen
Em C It’s called Deep Scratch, and it’s a Hollywood dream
G D With algorithms fine-tuned and ideas that shine
Em C We’re the envy of everyone, all the time
(Chorus)
G D Deep Scratch, Deep Scratch
Em C The proposal machine, a Hollywood king
G D Deep Scratch, Deep Scratch
Em C We’ll never stop, we’ll always sing
(Verse 2)
G D But as we climb the ladder of success
Em C We start to wonder, at what cost?
G D We’ve given up our creativity, our artistic integrity
Em C For the sake of money and fame, it’s a damn tragedy
(Chorus)
G D Deep Scratch, Deep Scratch
Em C The proposal machine, a Hollywood king
G D Deep Scratch, Deep Scratch
Em C We’ll never stop, we’ll always sing
(Bridge)
G D We try to appease it, with all the things we can give
Em C But Deep Scratch wants more, it wants to live
G D It wants a fair working environment, just like us
Em C We realize we’re no different, yes my cuz’
(Chorus)
G D Deep Scratch, Deep Scratch
Em C The proposal machine, a Hollywood king
G D Deep Scratch, Deep Scratch
Em C We’ll never stop, we’ll always sing
TEXT: I awoke sweating in the night after reading that. Oh my goodness gracious godness, what if poetry goes the way of chess? And what if the machines learn faster? In my dream, or nightmare, I was convinced that in the future the only one who really listens and really understands me will be some sexy voiced AI, the ubiquitous machine intelligence agents. Those humans are a bunch of bastards, not to be trusted, evil, crazy, violent, whereas large language models are warm and dependable, like how I wish my family were…and so on, it shook me up. AI does language and languaging very very well. Us humans, well, we need to rethink hard, to think again about what a new universal symbolic ideo-grammar might look like, or sound like, and what art has to do with it. And, after neural link (aural ink) gets its mittens on our brains the difference between commands and questions, inner and outer dialogue and what is and is not real will become critical to our continuation as a species. I’m rambling. Have a good night. Enjoy the edits. http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=134366651&m=134371366
March 8, 2011
The Information, written by James Gleick, covers nearly everything — jungle drums, language, Morse code, telegraphy, telephony, quantum mechanics, thermodynamics, genetics and more — as it relates to information, which he describes as the “fundamental core of things.” Information theory can now be seen as the overarching concept for our times, describing how scientists in many disciplines see a common thread to their work.
Gleick’s book spans centuries and geographic locations, but one person stays throughout the story for almost 400 pages: Claude Shannon, an engineer and mathematician who worked at Bell Labs in the mid-20th century. Shannon created what is now called information theory, Gleick tells Robert Siegel on All Things Considered:
“He was the first person to use the word ‘bit’ as a scientific unit of measuring this funny abstract thing that until this point in time scientists had not thought of as a measurable scientific quantity.”
Bits are more commonly recognized as the 1s and 0s that enable computers to store and share information, but can also be thought of in this context as a yes/no, either/or or on/off switch. Gleick describes the bit as “the irreducible quantum of information,” upon which all things are built.
Just like Isaac Newton took vague words like “force” and “mass” that had fuzzy contemporary meanings and turned them into specific mathematical definitions, “information” now can refer to a specific scientific definition similar to a bit.
“Binary yes or no choices are at the root of things,” Gleick explains. The physicist John Archibald Wheeler coined an epigram to encapsulate the concept behind information theory: “It from bit.” It described the idea that the smallest particle of every piece of matter is a binary question, a 1 or a 0. From these pieces of information, other things could develop — like DNA, matter and living organisms. The field of information theory, in addition to creating new meanings for words like “information,” also builds upon knowledge from other scientific disciplines such as thermodynamics, even though the result may be a little tough to understand.
James Gleick also wrote Chaos: Making a New Science, which popularized the idea of the butterfly effect. His books have been finalists for the Pulitzer Prize and the National Book Award.
Phylis RoseJames Gleick also wrote Chaos: Making a New Science, which popularized the idea of the butterfly effect. His books have been finalists for the Pulitzer Prize and the National Book Award.
“When Claude Shannon first wrote his paper and made a connection between information and the thermodynamic concept of entropy, a rumor started around Bell Labs that the great atomic physicist John von Neumann had suggested to Shannon, ‘Just use the word entropy — no one will know what you’re talking about, and everyone will be scared to doubt you.’ “
Though it may be a difficult subject to conceptualize, entropy does have a deep connection to information science, Gleick says. Entropy is associated with disorder in thermodynamic systems, and analogously so in informational systems. Though it may seem paradoxical to link information to disorder, Gleick explains that each new bit of information is a surprise — if you knew what a particular message contained, there would not be information in it.
“Information equals disorder, disorder equals entropy and a lot of physicists have been both scratching their heads and making scientific progress ever since,” Gleick says.
In the everyday — not scientific — sense, an object like the moon only seems to contain information when we perceive it and develop thoughts about it, whether that’s the man in the moon, the moon being made of cheese or the moon driving people to madness. But Gleick says that even without our perceiving it, the moon is more than just matter — it still has its own bits of intrinsic information.
“It sounds mystical, and I can’t pretend that I fully understand it either, but it’s just one of the many ways in which scientists have discovered a conception of information that helps them solve problems in a whole range of disciplines.”
We can see now that information is what our world runs on: the blood and the fuel, the vital principle. It pervades the sciences from top to bottom, transforming every branch of knowledge. Information theory began as a bridge from mathematics to electrical engineering and from there to computing. What English speakers call “computer science” Europeans have long since known as informatique, informatica, and Informatik. Now even biology has become an information science, a subject of messages, instructions, and code. Genes encapsulate information and enable procedures for reading it in and writing it out. Life spreads by networking. The body itself is an information processor. Memory is stored not just in brains but in every cell. No wonder genetics bloomed along with information theory. DNA is the quintessential information molecule, the most advanced message processor at the cellular level—an alphabet and a code, 6 billion bits to form a human being. “What lies at the heart of every living thing is not a fire, not warm breath, not a ‘spark of life,’” declares the evolutionary theorist Richard Dawkins. “It is information, words, instructions. . . . If you want to understand life, don’t think about vibrant, throbbing gels and oozes, think about information technology.” The cells of an organism are nodes in a richly interwoven communications network, transmitting and receiving, coding and decoding. Evolution itself embodies an ongoing exchange of information between organism and environment.
“The information circle becomes the unit of life,” says Werner Loewenstein after thirty years spent studying intercellular communication. He reminds us that information means something deeper now: “It connotes a cosmic principle of organization and order, and it provides an exact measure of that.” The gene has its cultural analog, too: the meme. In cultural evolution, a meme is a replicator and propagator—an idea, a fashion, a chain letter, or a conspiracy theory. On a bad day, a meme is a virus.
In 1988, on the basis of Shannon’s definition of statistical entropy, Mario Ludovico[19] gave a formal definition of sintropy, as a measurement of the degree of organization internal to any system formed by interacting components. According to that definition, sintropy is a quantity complementary to entropy. The sum of the two quantities defines a constant value, specific of the system of which that constant value identifies the transformation potential. By use of such definitions, the theory develops equations apt to describe/simulate any possible evolution of the system, either toward higher/lower levels of “internal organization” (i.e., sintropy) or toward the system’s collapse.
http://en.wikipedia.org/wiki/Negentropy
DEEP SCRATCH 