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Am I just a phantom waiting to be ripped around on shady ground?
Running this many days without sleep, I find it hard to tell whether I had an insight about creativity this weekend or just reinvented a 101-level objection to LLMs and so-called generative AI, but it ocurred to me that such technologies are not capable of allusions. Their algorithms are not freighted with the same three-dimensional architecture of associations which accrete around information stored in the human cold porridge, all the emotional colors and sensory overtones and contextual echoes which attend the classic example of a word like tree when you throw it out across the incommensurable void between one human mind and another to be plugged into their own idiosyncratically plastic linkage of bias and experience whose least incompatibility may be the difference between a bristlecone and a birch and Wittgenstein has to lie down with a headache, but all of these entanglements form as much of the texture of a writer's style—of any human communication—as the word cloud of their vocabulary or their most commonly diagrammed sentences. It has always interested me to be able to detect the half-rhymes or skeletons of familiarity in the work of other writers; I have always assumed I am reciprocally legible if not transparent from space. I've seen arguments against the creativity of LLMs based on intentionality, but the unintended encrustrations seem just as important to me. By way of illustration, this thought was partly sparked by this classic and glorious mashup.
I was delighted to find on checking the news this morning that a new Roman villa just dropped. Given the Iron Age hillforts, the twelfth-century abbey, the Georgian country house, and the CH station, Margam Country Park clearly needed a Roman find to complete the set. I have since been informed of the discovery of a similarly well-preserved and impressive carnyx. Goes shatteringly with a villa, the Iceni tell me.
I joke about this rock I spend most of my time under, but how can I never have heard of Marlow Moss? The Bryher vibes alone. The Constructivism. And a real short king, judging by that jaunty photo c. 1937 with Netty Nijhoff. Pursuing further details, I fell over Anton Prinner and have been demoralized about my comprehension of art history ever since.
Last night I read David Copperfield (1850) for the third time in my life. It has the terrible feel of a teachable moment. In high school I bounced almost completely off it. About ten years later, I enjoyed the dual-layered narration and was otherwise mostly engaged by the language. Now it appears I just like the novel, which I have to consider may be a factor of middle age. Or I had just read the necessary bunch more of Dickens in the interval, speaking of traceable reflections, recurring figures; my favorite character has not changed since eleventh grade, but I can see now the constellation he's part of. It seems improbable that I was always reading the novel while waiting for chorus to start, but I did get through Hardy's The Mayor of Casterbridge (1886) in the down time of a couple of rehearsals that year. I was not taking either of the standard literature classes, but I had friends who left their assigned reading lying around.
I have to be at three different doctors' offices tomorrow. I could be over this viral mishegos any second now.
I was delighted to find on checking the news this morning that a new Roman villa just dropped. Given the Iron Age hillforts, the twelfth-century abbey, the Georgian country house, and the CH station, Margam Country Park clearly needed a Roman find to complete the set. I have since been informed of the discovery of a similarly well-preserved and impressive carnyx. Goes shatteringly with a villa, the Iceni tell me.
I joke about this rock I spend most of my time under, but how can I never have heard of Marlow Moss? The Bryher vibes alone. The Constructivism. And a real short king, judging by that jaunty photo c. 1937 with Netty Nijhoff. Pursuing further details, I fell over Anton Prinner and have been demoralized about my comprehension of art history ever since.
Last night I read David Copperfield (1850) for the third time in my life. It has the terrible feel of a teachable moment. In high school I bounced almost completely off it. About ten years later, I enjoyed the dual-layered narration and was otherwise mostly engaged by the language. Now it appears I just like the novel, which I have to consider may be a factor of middle age. Or I had just read the necessary bunch more of Dickens in the interval, speaking of traceable reflections, recurring figures; my favorite character has not changed since eleventh grade, but I can see now the constellation he's part of. It seems improbable that I was always reading the novel while waiting for chorus to start, but I did get through Hardy's The Mayor of Casterbridge (1886) in the down time of a couple of rehearsals that year. I was not taking either of the standard literature classes, but I had friends who left their assigned reading lying around.
I have to be at three different doctors' offices tomorrow. I could be over this viral mishegos any second now.
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I hadn't even vectored through Mondrian! The Harvard Art Museums have some very nice Constructivism and should obviously have had the sense to acquire some Moss.
I have read very little Dickens (though I know A Christmas Carol pretty much by heart). I should really give him another try.
I must have started with A Christmas Carol because we had it in the house. I was assigned A Tale of Two Cities in tenth grade, which is a terrible way to introduce students to Dickens, and then the next year I spanged as described off David Copperfield and did not re-try any of his novels for more than another ten to twelve years, after which it turned out that I could glom straight on to Nicholas Nickleby, Little Dorrit, and Bleak House. I seem to have more feelings about various adaptations of Great Expectations than about the novel itself. I have read almost none of his short stories except "The Signal-Man," which I love.