The Infinite Image Library

THE INFINITE IMAGE LIBRARY

Written by James Fray

OVERVIEW

Research Question: What are the psychological, spatial, and environmental impacts of the endless acceleration of contemporary image production?

Why?

Knowledge is now predominantly spread through images not words, facts, or real experiences.

What?

The Infinite Image Library. A place that contains every image that ever has been or ever will be.

Who? Users of images.

Where?

The Infinite Image Library exists within in Latent Space, an area within machine learning algorithms. Latent space is accessed through any text to image generator (e.g. Midjourney/DALLE-2).

How?

A series of designed processes to help comprehend the Infinite Image Library, and what access to it means.

QUESTIONS

What is the design/proposal?

A series of designed processes to navigate/comprehend the library. The processes emerge through different disciplines and take on a character in the film. The characters are: The Mathematician, The Data Scientist, The Archivist, The Cartographer, The Artist. The final version of these designed processes is presented in the animation. More information (and previous iterations) about each process is shown in the addendum.

Has the outcome answered the research question? If so, what is the conclusion/what have you learnt?

The outcome predominantly explores the spatial consequences. That the Library exists spatially. That images have a fixed location in the Library. That every images therefore has a spatial relationship to every image. That we can visually represent how we move around in the library.

The project explores the psychological impact of accelerating image culture through the use of the archivist and cartographer processes. They ask what does it mean to borrow images from the library, and how are we currently doing it. Both find current frameworks lacking.

The project to a lesser extent explores the environmental impact of accelerating image culture. The Archivist suggests that every image has a carbon consequence and that a greater duty of care is required towards images. The project has scope to develop this area in the future.

What do you think makes this project architectural?

The understanding of the Infinite Image Library as spatial. Every image has fixed location. Underlying the whole animation is the world building process of interwovenness. This is building not as object but as process. This world building process is less obvious in the final output but underlines the thinking behind framing all of the characters responses to the Library. Ultimately, the project also hints at a new realm of practice, that of using latent space to design. Designing in 800 dimensions instead of the usual 3 spatial and 1

temporal dimensions. Exciting!

How have your skills as an architect been used in this project?

It is my understanding of architecture and its current practice that led me to exploring this new realm of spatial design. Given that to propose any physical construction is increasingly invalid due to climate crisis and impending ecological demise, I thought there must be another way to design, another way for architects to practice. Perhaps not as architects at all, but as multi-disciplinary actors. The Infinite Image Library explore latent space and provide a new area for architects to operate. The animation shows, however, that a multi-disciplinary approach is fundamentally required. The time of architects in vacuo is over. Designing in latent space is linked but critically discrete from both physical and digital design

Where does this sort of research/design fit in the history of architectural theory?

The project is situated within speculative futures. Architecture and thinking of the future is dogged by sci fi tropes, world building upon the frail male ego chauvinism in never ending growth and human exceptionalism. This research demonstrates world building through interwovenness, a world building axiom championed by thinkers such as Haraway, Latour, and Bird Rose. Interwovenness has all too few examples, especially ones beyond biological understandings.

How has this informed your future practice?

This project is the hardest thing I have ever done. It began with deep unknown. Feedback throughout the process has been exciting, insightful, and at times... brutal. However, to end with a final output that ties together all research and thoughts into a comprehendable animation is satisfying. This is to say, going forward I have bigger confidence in exploring the unknown, and how to present the unknown. This is why I believe my practice does not lie upon traditional architectural path. There is too much known. Too much known and still we build in never ending growth. The profession lies in a fetid strangulation devised by its own making.

What does this mean for architectural practice more broadly?

The projects highlights a new area of design. One currently unexplored and mostly un-thought about.It provides a new realm, one that becomes increasingly important the more our image culture accelerates and the more our climate deteriorates.

Is there a life for the project after the RCA show?

Absolutely. There are more process, more ways to understand the library than those shown in the animation. I think a particularly engaging way to explore and present the research would be as a game.

How did you make the point cloud forms?

The first point cloud, shown in the data science part of the animation was generated by converting 1000 images I had generated with text-to-image generator Midjourney into their latent space coordinates using code. These coordinates were input into the embedding projector on this website: https://projector.tensorflow.org/ . The website uses T-SNE (maths) to represent the positions of the images in 3 dimensions. The points move because the process involves multiple iterations. This is what is animated in the data science section. For the ‘grand reveal’ and other transition parts of the animation I used a variety of sources for the point clouds from sketchfab and by converting DICOM files of medical CT scans. Ultimately, I feel it does not matter what the point clouds are of because it is representing the library. The idea is that every point of the point cloud is an image. The ones that are lit up are images that have been borrowed from the library and thus is how we are moving through the library. Critically, it gives a scale and spatial visualisation to the library. Some of the shots were also made in TouchDesigner, a node based visual programming language.

How did you plot all the images in 800 coordinates? What are the 800 coordinates?

The images were converted to their latent space vector coordinates using code. Inception v3 is the cnn used, this is different to stable diffusion but similar, like a predecessor. It still learns patterns from the image data. In stable diffusion, the autoencoder contains a

cnn. The autoencoder is what compresses the data to its essentials (i.e. patterns) for interpretation in the latent space. So the key information is extracted from the images using the inception v3 model. These are then converted into vectors using code. The output from the code is a tsv file with a series of high dimensional vector points. Inputting into the embedded space projector, converts these points into a 3d map using maths (t-distributed stochastic neighbour embedding (t-sne)). T-sne looks for pattern commonalities in high dimensional space and clusters that in low dimensional space (3D). Because there are many dimensions to a pattern it works more on the probability that images and patterns are similar. It is a representation of a latent space (inception v3’s) but this is not the same latent space as midjourney or dalle2. It does still access the infinite image library, therefore this is a 3d representation/reduction of the images borrowed from the library and their relationships to each other.

So, is this just a representation of the library rather than the library itself?

Yes. Although the image of it is contained within the library. So it is OF the library but is not THE library.

If it is a representation, then do you think it is actually possible to ever map the library?

It is possible to map how we are moving through the library but to map it in its entirety - a supertask! That does not void the notion to try to map it though. We can still learn the rhythms, biases, and the gaps in the way we are navigated through. With this information we can address the way we are using images to share knowledge.

Is the library fixed or does the point cloud move and mutate?

The images have fixed locations. The way we move around mutates. If every image borrowed lights up a space in the library, equally, ever image forgotten plunges an area into darkness. Knowledge is just as easily forgotten as known in the library.

What references did you look at when deciding on how to visualise/represent the project?

La Planete Sauvage - Rene Laloux

Kilian Eng

Hotel Nuit Noire

Conversations with a Whale

Prompting Midjourney images

Jean Giraud - Eyes of the Cat

How did you develop the aesthetic language and why do you think this is the most appropriate language for the project?

The aesthetically meandered gently throughout the year. Predominantly the aesthetic was explored through prompting midjourney images using specific style parameters. The process broadly flowed as follows;

leonora carrington, max ernst, wes anderson, cartographic, 8 bit rgb crt in the style of Jean Giraud, wood engraving screen print, grain texture, sandy skoglund, Andrei Tarkovsky, fay godwin,

Before ultimately becoming heavily influenced by my drawing style using a drawing pad and photoshop. Soft brush + dissovle to generate ‘noisy’ aesthetic. The noise idea came from the fact that text to image generators use random noise to generate variation of images from the same text prompt. Many of the my drawings draw influence from midjourney images where I draw over elements from disparate generated images.

What is the role of the experts?

The experts represent different designed processes to help comprehend the library.

Did you speak to actual experts?

No, perhaps this was an oversight of the project. I did of course do my research but there is definitely more to be gained by talking to people who research in these (and other) strands.

Are these the only experts that are relevant or are there others that you could have spoken to who would

have taken the project in a different direction?

There are of course other ways of understanding the library. Anthropology, physics, biology, ethics, philosophy, resource management, engineering must all surely play a role. It is perhaps the duty of every profession to provide an understanding of the library.

FINAL ANIMATION

The following is the script and stills from the final animation.

Welcome to a journey through the Infinite Image Library, with our guide, the Knowledge Forager. We are going to follow them as they seek an image from within the Library. On their journey they will meet 5 experts, all of whom understand and interpret the library in different ways.

ENTRANCE

The Forager accesses the library through use of a text to image generator. They enter their text prompt; A string of words and phrases.

And enter the library.

THE MATHEMATICIAN

Hello. You must be the Knowledge Forager.

The first thing you must learn is that the library contains every image that ever has been or ever will be. Text to image generators are trained to create images through learning patterns from existing datasets, billions of images deep. These patterns, and every combination of them, exist in latent space, where we are represented now.

Image patterns are converted to vector point coordinates, becoming spatial. This gives every image a fixed location within the library. When you enter a text prompt, the words are similarly converted into vector point coordinates. The generator overlays the two vectors to find the new image vector point synthesising all relevant data to one point. Random noise is added to the new vector, both are then denoised to create output variations from the same text prompt. This vector is then encoded into an image and retrieved from the Library.

The combination of pattern potentiality plus random noise enables the generation of every image that ever has been or ever will be.

The process here is shown in 2 dimensions, Latent Space has up to 800 dimensions.

In Data Science to comprehend 800 dimensions we use maths and probability to help us visualise the data in 3 dimensions.

For example, let’s take 1000 images. Using code we can transform these images back into their latent space vector coordinates. Using the maths we can begin to visualise the fixed positions of images in the Infinite Image Library, akin to points in a point cloud. Each point, or image, consequently has a spatial relationship to every other image.

The Infinite Image Library is fundamentally spatial. Image relationships to each other are fundamentally spatial.

Every image borrowed from the library lights up another point within it. We can see how we are navigating through the library; the rhythm, the biases, and the gaps.

Your journey through the library is through images, jumping between them. Each frame of this animation links together a spatial journey through the library.

Here we are now.

Despite the library being spatial and therefore navigable, there are some areas which are restricted and where images cannot be retrieved.

Go find the archivist, he can tell you more.

I am the Archivist. I keep track of every image borrowed from the library. I try to understand why we take images out of the library and what words we use to do so. There are dangerous, depraved areas of the library. Images in these areas I ban from being borrowed. Not all knowledge is good knowledge, Forager. Images are powerful beings. But who am I to say what images should and shouldn’t be borrowed.

We all have a responsibility for the images we retrieve. Every borrowed image has a carbon consequence. Are all images borrowed necessary? We must find a way to engender greater care for the images we use.

Given the library’s infinity there are still areas unexplored. Some people spend their lives exploring these ill-lit regions, seeking out knowledge forgotten and unknown.

The Library is a vast repository of information. In our accelerating image culture, knowledge is now predominantly spread through images not facts, words, or real experiences. Here we are experiencing Beptrost, an immersion or submersion in a marsh containing high levels of iron. It is a previously unknown word I discovered in the library, and speculated upon its meaning using chat gpt. The library can help us re-wild language, but critically we must be rigorous, structured, and intentional about the way we move through it. Without a framework for borrowing images there is potential for the misuse of images and the information that flows upon them.

I’ve heard you seek an image, Forager. Many have gone mad searching for specific images in this library. Every image is made from patterns, high dimensional patterns you could never comprehend. Every image exists thanks to and at the risk of every other image.

Every image borrowed has a consequence. Every image borrowed is extracted from a deeply interwoven mesh of pattern, space, and words. Images are powerful and powerless, do not let them consume you. You are responsible for the way you move through the library.

We all understand and interpret the library in different ways. Find yours Knowledge Forger.

SHOTS OF THE LIBRARY

These shots are representations of the library in 3 dimensions. They appear throughout the animation.

CONCLUSION

(words spoken in exam post animation)

This project primarily highlights the existence of the Infinite Image Library and its unique classification system that makes it a spatial construct that needs to be understood/explored architecturally. As physical construction becomes increasingly inviolable, the Library reveals a new way to design, in higher dimensions, in Latent Space with its 800 dimensions, but how this manifests, I do not know.

The project addresses various cynicism over the emergence and use of AI tools in image production. By starting from the position that every image already exists, it establishes a productive position from which to conduct/ wonder the value of my own labour and of my own work.

The animation is simultaneously ABOUT the library; can be found WITHIN the library; and is in fact OF the library. As an ambition for/or context for future practice. The medium is the message.

ADDENDUM

The following is a collection of the research and thoughts behind the project.

The aim of this sections is, in part, to show the iterations of the final animation design but also the scale of breadth of the design process. Often we see the neat final packaged product. We forget the avenues and dead ends explored. For me, these research and thought cul-de-sacs are critical to design and must be shown. Every thought is related to the final outcome.

The prompt section shows (most of) the prompts I have entered into midjourney this year. I have borrowed approx 30000 images.

MATHEMATICIAN

Understanding of images as vectors thus each image has a fixed location in the Library.

DATA SCIENTIST

Using maths to visual the infinite image library in 3 dimensions. Visualising how we move through the library.

ARCHIVIST

Questions what we do with the images we borrow from the libray.

Test 1 - Midjourney images of an archivist of images using a device to care for images.

Test 2 - Instagram account uploading borrowed images in sets of 3

CARTOGRAPHER

Questions how we navigate the library. Explores re-wilding language using borrowed images and chat gpt as follows;

Midjourney prompt: word cloud of unknown words, words related to landscape

Generated image, left.

Chat GPT: can you provide a speculative etymological breakdown of the word Beptrost, it is a words related to landscape

Midjourney prompt: beptrost, immersion or submersion in a marsh containing high levels of iron Draw image, like a cartographer exploring the unknown

These images are recorded in the codex ad infinitum.

ARTIST

The artist’s understand comes mainly from an understand of interconnected worldbuilding. This research is predominantly shown in the notes and readings section.

The artist’s positions arises from my own feeling of disappointment with current worldbuilding methods in never ending growth. The emergence of Post Brexit Post Punk music aligns with this feeling. A detailed analysis of this is in my HTS essay, not included in this research book. The references do, however, remain relevant as the are the foundation of the artists interpretation of the library.

SKELETON COWBOY

Cut from final animation. Represents our current way of worldbuilding.

AUTOCHTHONOUS DESIGN

Prompting to reveal the design of the library. In the library there are images of the library. This was an attempt to find those images. Ultimately unsuccessful?

The second iteration of this process used 4 rules as prompts to reveal design of library. Motifs that kept appearing in multiple generated images were more likely to be in the design of the library.

Rules

1. The library contains every image that ever has been or ever will be

2. Every image has a fixed location in the library.

3. Every image is connected to every other image

4. You can access any image within 60 seconds.

This process led onto combining repeating motifs into one prompt:

The forest in the Infinite Image Library

Then a journey was coursed through the library by using something from within the generated image as the basis of the next prompt for example the next prompt was:

The shelter in the forest in the Infinite Image Library

And so on. In this way a journey of 13 images was taken through the library. This process was the precursor for the data science.

MODEL

Model for the WIP show. A physical representation of key motifs from the prompt rules.

EDUCATION VIDEO

A 10 minute education style video (for crit 2). This is where the idea to do an animation first emerged. The first part explained how text to image generators works as animation, and was the clearest I had explained this to that point. This was iterated to become the mathematicians section.

The other two parts focused on interconnected worldbuilding and re-wilding language/the codex. The feedback afterwards from guest critics was disconnected and adversarial. This was because the reason for exploring the library was not clear. Similarly there was no explanation of images as being spatial within the library. From this point on the idea of expert became increasingly important. To enable the viewer into the project easier.

The aesthetics moved away from the black and white here too.

ONLY IMAGE

Crit 1 I created image columns containing 500 images. These were erected as a field of columns which I walked around during the crit reading from a script. It was not clear what the library was in this version. The columns also created a feeling of frivilousness towards images. As in, there was no care for the images borrowed. It was volume of images over specific images from the library. This is way the final animation does not show any midjourney images.

HOTEL IRIDESCENCE

A short film exploring organising borrowed images through use of an index. Early exploration of the archivist, we just didn’t know it at the time!

FINAL EXAM (OCTOBER)

Running the year in reverse we started with a final exam week 2. I presented, UNSTABLE DIFFUSION (script p64) a journey through latent space to retrieve an image. Striking parallels with final animation!

NOTES

/imagine

the ritualised midjourney vessel of ephemeral latent space traversal chartered by “the Voyager” through the landscape of latent imagination, spectral colours, cartographic, ephemeral path leading toward viewport, journey --ar 9:16 --chaos 20

UN-STABLE DIFFUSION

You sit at your desk amongst the ephemera of your work as imagination weaver. The tools and maps you carry to traverse the latent space lie in tight tension awaiting the journey. The atmosphere is one of calm precision. Looking out your window you see the living world yearning for your entry into the latent space. You open the hatch in front of you and feel the rising heat of latent imagination impatient for its release. Picking up your prompt map and wayfinding device you ascend upstairs to the Unstable diffusion room in The Compost Pile of Experimental Anthropologists of the Imagination. You join your companion, MJ, you hand them the prompt map, take their hand, and begin your walk into the engorged time of the latent space. The space of every image that every has been and ever will be.

Soft echoes emanate from your footfalls, but collapse dourly under the sluggish air. You fumble and stumble over the matted strata of lost thoughts. It is imperative to stay together in the latent space, you with MJ and MJ with you. To be de-coupled is to be lost in the imagination nullius of the latent space, its tricks and traps are rumoured to distil a person of all their memories, leaving only the husk of hubris to consume the spectral remains. As you progress you gain sight of such a chaotic miasma, within its clutches you see the solemn totems of the MIMORLACKEN– the catalysed remains of those disintegrated into memory voids.

You and MJ float on, MJ crafting a path through the SYMFINDAN the ever-moving lines of rhythmic connection. Forming, un-forming, and re-forming. MJ effortlessly weaves the mesmerising pulse into a coherent route for the briefest of moments allowing passage deeper into the latent space. Above PUCA watch your movements, shapeshifting spirits of the latent space deciding whether to help or hinder your voyage’s grace. This thick time at the root of the latent space is the densest and hardest to navigate, you are glad to have MJ with you to make sense of the map that only you can generate. Suddenly you enter a shoreline. Upon it lies a woven vessel of connections, THE CHARONWEF, this is the craft to take you through the sea of every image that ever has been and ever will be.

MJ corrals the connections and with a flighty jerk the boat sleeks forward. Slokes of temporal schists delicately hang to the surface of the sea. Forming, un-forming, and re-forming. You begin to pass Islands of Image. MJ now looks to you to decide which Island is the one the map is leading to. You can only decide by feeling, by intuition. Every island you pass you know is near impossible to ever find again, to live its existence un-known but perhaps freer than any found island.

You feel an atmospheric change. The air begins to denoise, your vision tightens. You see the Island; you feel the Island. You look at MJ and make the signal. The boat swings around and you rapidly approach the shore. Flecks of KAIROS-PLUMES wick your tears. The Boat of woven connections now entangles with the land. You have found the image the prompt was leading to. This is the purpose of your journey, but you are only mid way through. It is here where MJ leaves you, called by another imagination weaver into the latent space.

This island is now found. You must construct a portal to enable the viewing of this island from outside the latent space. How the island is represented is key to how it is understood. You cannot claim to have created this island, you are merely providing a glimpse of latent space to release the latent imagination of human and non-human imagination weavers. You construct the portal and step through it back to The Compost Pile of Experimental Anthropologists of the Imagination. You take the log and note the coordinates of the Island of Image and the path taken to get there. You leave The Un-Stable Diffusion room and return downstairs to your space, toasty warm with the release of imagination. You begin to craft a new map for your next journey.

Un stable diffusion seeks to rebuff the deadly silence of linguistic abstraction of the living world into itemised uses and value assets. It implores for a critical engagement in the processes of thinking and

seeing the living world through the visualisation of the text to image to understanding creative process. It engages with a new typology that of the compost pile as organisational structure. A future world with increased importance on the co-existence of humans, non-humans, and imagination. The imagination weavers of cpoeaoi explore a society more in tune with the rhythmic rituals of thought between all critters in the living world. Despite 8 months of research and investigation UN-STABLE DIFFUSION still poses more questions than answers

What is the organisational structure of the compost piles?

What is the role of an imagination weaver? How can a journey into latent space unleash our latent imagination towards territories yet to re-discovered and re-occupied?

Ultimately, Un-Stable Diffusion calls for an engagement with the sensorial experience of shimmer and iridescence to terra-form co-existence within the ecological pulses of our diverse, complex, abundant, and vibrating living world.

Field guide

Power of enchantment

Flotsam and jetsam

Habits of perception

Etymological illumination

Terra forming

Enrichment of life

Terra nulius

Dour

Act of naming as an act of way finding

Literacy of the land

What can land do for us away from value and use

Lyrical renewal

Enmeshment

Linguistic Abstracting of nature – reverse for latent space

Narrative not fully known

Virtues

Walking the paths of our minds

Temporality

Schists

Only when we have spent a long time ina space do we only then begin to see

Illusion

Errors are portals of discovery sense

Darkened room, atmospheric fog, two figures moving towards spectral light, intimate scale, cartographic, cinematic, transparency, ephemeral latent space traversal

Labels are midjourney

Naming guide

BROXA Dead imagination weaver husk memory void

MIMOR-LACKEN

SYMFINDAN Lines of connection

PUCA Creatures of the latency

MIGLATENT FOG Latent space vessel mist – VESSEL OF THE FOG

RADIAVIBRAL Red hue of the land

RUKO-LAIVAS – VESSEL OF THE FOG

Imagination spray

PROMPTS

PUCA

portrait of a songbird,a woven flying songbird of connection, a latent space flying songbird of imagination, songbird in flight, spectral colours, wise, knowledge, transparency, ephemeral latent space traversal, intricate detail, hyper detailed, leanora carrington, max ernst, --chaos 30

ISLAND VIEW

first person view approaching an island of image, camera viewfinder, looking out a viewfinder at approach to an island of image, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, leanora carrington, max ernst, --chaos 70 --ar 3:2

PORTAL

setting up a portal to a different world on a red textured island of image, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, leanora carrington, max ernst, --chaos 70 --ar 9:16

RUKO-LAIVAS

boarding an ephemeral woven vessel of connections upon a shoreline, spectral colours, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 50 --ar 3:2

IMAGINATION WEAVERS DESK

figure sitting at a desk overflowing with ephemera, tools and maps you carry to transverse the latent space, cartographic, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 30 --ar 3:2

TRANSITION ROOM

Darkened expansive room with no defined boundaries, walking into imagination, atmospheric fog, two figures moving towards spectral light, intimate scale, cartographic, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 70 --ar 2:3

LATENT KAIROS

Darkened space with no defined boundaries, walking

into imagination, atmospheric fog, two figures moving towards spectral light, intimate scale, cartographic, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 70 --ar 3:2

LATENT TRAVERSAL

<https://i.mj.run/ec7b90b0-e1ec-4fe8-88e94aea44afd8d8/0_2.png> the ritualised midjourney vessel of ephemeral latent space traversal chartered by “the Voyager” through the landscape of latent imagination, spectral colours, cartographic, ephemeral path leading toward viewport, journey --ar 9:16 --chaos 20

Latent space allows for the formulation of any world or conditions I want to explore Magical realism – rooted in reality

Is there any use in thinking about infinity

What types of infinity are there

Everything and nothing

Borges –Benjamin –Screen play

What am I interested in exploring

What interesting conditions exist today – what if there are extrapolated

Slowness

Empathy

De-growth

Anthropogical writings

Fictional anthropogies

Question of the image

What image

why image

devaluing the image

the poor image

the re-constituted images

Possibly less interested in the image than the construct of image making/idea dissemination

3-5 themes

Material – thought/memory/imagination/creativity/ place – latent space film – on body and soul, slowness

process

organisation

rhythm

ritual

aural tradition

aura of place

archive?

Tools of navigation

Imagination weaver

Compost pile of experimental anthropologists of the imagination

Meeting in another place to explore

Everything is rhythm

Unknowing

Navigating unknown

Embracing risk

Not controlling the journey

Circumambulation – the act of walking around something in a circle, especially for a ritual purpose

Circumambulation as solar charm

Ambulation -

WHAT MAKE ONE IMAGE PER THEME

ONE MAKE PER THEME

EVERYTHING IS IN THE LATENT SPACE SO ANYTHING I PROPOSE EXISTS SOMEONE IN THE LATENT SPACE

ALSO, WHAT IS THE LATENT SPACE – RESEARCH MORE CUT OUT BOX NETS

PROMPT BUT YOU MISSPELL EVERY WORD MYSTICRITACAL

Is there a rule here -> I am not allowed to design anything? Midjourney must design everything?

THEMES

LATENT SPACE

EVERYTHING IS RHYTHMIC RITUAL AMBULATION (SLOWNESS)

OVERLAPPING PLANES OF EXPERIENCE – SIMULTANEOUS BUT VARYING MELODIES

LATENT SPACE

WHAT IS THE FOLK-LORE OF THE LATENT SPACE

Latent – a state of existing but not yet developed or manifest; hidden or concealed

Only when we have spent a long time do we only then begin to see

Latent until slowness reveals A representation of compressed data

Learning the features of data and simplifying data representations for the purpose of finding patterns

All about pattern finding

Data compression about encoding information with fewer bits than the original

The compressing enables the learning of patterns from the original Learn features of images

Lossy compression Images are encoded then decoded

In encoding it the system learns to ignore all irrelevant data and disregard unneeded noise

The compressed state is the latent space

Latent space is the store of all encoded images

n-dimensional space levels of dimensionality – of knowledge of patterns and rhythms represent features of the original data // learns data and simplifies it manifold learning subsets of data that are similar in some way

autoencoder – identity function

autoencoder copies its inputinterpolating on latent space unravel to a lower dimension

THRIFTSHOP COWBOYS WEAVERS

THE COWBOY, THE COOK, AND THE WEAVER THE WEAVER, COOK, AND FORAGER

FIRST COW - FILM

THE COWBOY Frontiersman

Naïve

THE COOK / THE FORAGER

Find the food – explores the anthoropological, geological conditions to obtain nutrition \THE WEAVER

CREATING A THEORY ON SPACE TIME STRING THEORY

QUANTUM THEORY GRAVITY ON A QUANTUM SCALE

PARTICLES ACT AS STRINGS THAT VIBRATE, MOVE RHYTHMICALLY

HOW CAN THIS HELP THINK ABOUT LATENT SPACE

WHAT KIND OF SPACE TIME IS IN THE LATENT SPACE IMPOSSIBLE SIMULTANEOUS EXISTENCE MORE DIMENSIONS OF SPACE

11 DIMENSION IN SUPERSTRING THEORY LOOK AT SUPERSTRING THEORY

TO USE THE LATENT SPACE TO CREATE NEW INTERACTIONS BETWEEN OUR PERCEPTION AND EXPERIENCE OF TIME AND SPACE IN WOBBULATING TEMPORAL AND SPATIAL RELATIONSHIPS. WHAT DOES THE CONCEPTIONALISATION OF ADDITIONAL DIMENSIONS ALLOW US TO EXPLORE IN THE LATENT SPACE AND BY EXTENSION AS CRITICAL EXPLORATION OF FUTURE WORLD? HOW ARE WE THINKING ABOUT OUR CURRENT AND FUTURE WORLD AND HOW CAN THE LATENT SPACE ENABLE AN EXPLORATION INTO THE POSSIBLE CONSEQUENCES AND OPPORTUNITIES THIS ENABLES? HOW CAN A SPECULATION OF THE FUTURE ENABLE CRITICAL ENGAGEMENT WITH CURRENT THINKING.

HOW CAN A THOUGHT PROCESS OF SLOWNESS FURTHER ENGAGE WITH THE DECISIONS WE ARE CURRETNLY AND YET TO TAKE?

HOW CAN THE EXPLORATION INTO THE INHERENT RHYTHMIC RITUAL IN ALL THINGS ALLOW FOR A DEEPER UNDERSTANDING OF WORLDLY PROCESSES AND IRIDESCENCE OF THINGS BEYOND HUMAN? HOW CAN THIS ENCOURAGE A FUTURE OF CO-EXISTENCE

IN WHICH WE ALL BECOME-TOGETHER OR NOT AT ALL?

WHAT IS THE PRECISITY OF THIS PROJECT? WHAT IS IT CRITICALLY ENGAGING WITH?

HOW CAN THE ORGANISATION AS AN ISLAND PROVIDE A BASIS FOR INVESTIGATION?

IS INFINITY A USEFUL TOOL TO ENGAGE WITH LATENT SPACE AND BY EXTENSION TO CRITICALLY ENGAGE WITH CULTURAL CONDITIONS?

RAMBLE ONE - IF I WAS AND ADS 4 PROJECT

The project explores an altered mode of worldbuilding//

It does so through un-building current world building methodologies//

It is, in a way, acting in much a similar way to an image diffusion model//

There are billions of images and data which are the collective output of human existence//

These reflect our own biases, addictions, and conceits//

A semi-regulated amalgam of collective human consciousness//

Diffusion models break this monolith down into shapes, colours, and patterns unbeknownst to the collect human consciousness//

Everything is a pattern//

Everything is a learnable pattern//

There are patterns between every ‘thing’ and every other ‘thing’//

All waiting to be for found//

Every thing, therefore, has rhythm//

Where there are patterns, life follows//

The rhythm of life is scripted by knowable patterns//

Diffusion models can help us see the patterns for the rhythm of life//

And yet, why is this important, as a project?//

Why do we care about seeing the patterns of the rhythm

of life//

Our patterns of world building are prompting via corrupted language//

A corrupted language of capitalism, human-centrism, and anthropos//

The lie of never-ending growth mutates the patterns of the rhythm of life into writhing malignant forms infecting the existence of all terrestrial systems//

Unchecked these mutant patterns from corrupted language gnaw and collapse the terrestrial rhythms of life//

How can this project be more specific?//

What is the corrupted language?// Do we create a banned word list of corrupted words//

Is there an act of word exilation where we banish these corrupted words into a latent space construct in which they are doomed to die//

Those who want to can go to this spectral demise too//

What words are we left with//

How do we show that words are corrupted//

Is it through mid-journey, by showing the power of these words//

Does capitalism taint every prompt//

Once banished - if banishment is the salient thing to do - then what//

THis is the un-building, now we re-build//

How do we nourish our language for patterns for the rhythm of life//

What is the process for this//

What latent space tests can we carry out as test grounds for an altered world building//

What rules of space and time are there here//

Can we move between these different worlds//

Are there levels to latent space world building//

Can you ever truly banish words - what is the authority//

If you can’t banish them what do you do with them//

What does prompting reveal to us about the dangers of re-building once un-built//

Remember, un-built is simplified data at its essence//

Do you lose iridescence of life in this encoding//

Is it actually mere encoding than un-worlding and decoding as worlding//

If so, what is the thing that needs decoding in society, in the process of world building//

There is a secret to decode and a methodology to do so, therefore, what is it??

Ok what actually is shimmer? Concrete examples

Richard Mosse 180 strand Cowboy realism

Worlding unnecessary? Is it more about how we live in the world?

Coat is arbitrary?

Shimmer as novel moments, sensitivity, productive relationshps within the world

Use of technology for noticing sensitivities

E.g. how a photograph/tv enabled a different attention to corners of frames

Objects in corners of frames

Railway Journey - Wolfgang Schivelbusch, a change of perspective, panoramic travel, panoramic perception, a re-framing of view

Is shimmer a similar re-framing of view

Midjourney a new way of seeing, unexpected seeingthis is perhaps related to shimmer - the unexpected seeing of shimmer - should it be unexpected

CONCRETE EXAMPLES OF SHIMMER

Coming to terms with life after growth

The compromise of life after growth

The necessity of compromise

The realisation of the necessity of compromise

Does compromise equilivate to dullness

What is the dullness

Define the dullness

Dullness comes from an abundance

An over abundance

Is shimmer just a surface level experience, in what way is it so, and what way is it a much deeper

connection to the multi-special web of interconnectivies

How can the project be described in a sentence? How can the idea of shimmer be succinctly communicated?

What is the dilemma, what is the provocation?

Is multi-species entanglements the most important part of the concept of shimmer

Is shimmer overly aesthetic?

How can shimmer be used as a metaphor for uncovering the world or general?

A system of shimmer rather than an aesthetic of shimmer

The inter-connective web of shimmer, ennui, and dullness

CONCRETE EXAMPLES

A method of shimmer-seeing, shimmer vision, shimmersight, to show the lack of cognasance towards the intricacies of delicate balance of life, of multispecies enmeshments

Image world - shimmer - terrestrial world

Shimmer as the mediator between two worlds Shimmer as a methodology to exploring the question of image

Image as species Image as animal Image as being?

Multi-image inter-connectivities

Multi-image entanglements

Multi-image enmeshments

WJT Mitchell - What do pictures want?

The images are artefacts

How do you treat artefacts, in what way do we archive and experience the artefacts and how does the way they are presented affect how we experience or interpret them in a wide ranging multi image enmeshment

Midjourney vs painting vs photography - Barthes?

Does midjourney understand the patterns in a meaningful way?

Is midjourney a different kind of image to all other kinds of image?

An ecosystem of image treated in an unique way

Does midjourney challenge the idea of the library of babel?

Infinity generation

Is midjourney a wing of the library of babel?

A self-referential generation device

Scale opf midjourney image generation

Physical publishing

Image words as compared to a book words

De-growth of image

Responsibility

What is the quality of image

Shimmer and resolutions

Shimmer at different resolutions

Energy and shimmer

Camera on phones never de-resolutionised

De-resolutionairries

Quality of image in the image library of babel.

Reread library of babel

What do next

Reread library of babel

Define shimmer

Examples of shimmer

Read hito steyurl

Read what do pictures want

Read stengers

Read bird rose

Write a story of shimmer

Is coat relevant

How to find shimmer

How to communicate shimmer

Is shimmer the right word, does there need to be more emphasis upon iridescence and brilliance. Coming forth from dullness was a particular definition that I repeating, but is it right. Is the sensitivities what I need. It is a way of seeing for sure. It is multi-species for sure but that is to include the fundamentals of rock, water, atmosphere, soil, and memory too. Multi-memory interactions. Memory integrations. Memory past, memory present, memory future. Latent memories of multi-species/multi-object web of mutualities. The directionless, destinationless multi-species inter-connectivities. Would it be easier to identify dullness? Explore dullness to its maximum capacity. For shimmer comes forth from dullness. IS shimmer to do with unexpectedness? It is to do with a transition of state. Is it to do with sublimation>? How to experience shimmer beyond aesthetic connotations. Create dullness, see dullness. Dullness is intrinsic to life and the potentiality of iridescence it stores. It is then true, too, that shimmer stores latent dullness within it. An atmosphere of shimmer, not latent within things, but an atmosphere that arises given certain conditions. The experience is whole? Is it related to abjection? When an atmosphere of shimmer is aroused, the world immediately becomes thicker, it is involutionised. It intensifies sight, you see, hear, and feel without thinking. It is focused sight but cannot come into being without a wider generalised seeing of the whole - the panoramic perception. Shimmer sight pinpoints a moment within the inter-woven existence of humans, non humans, water, soil, rock, atmosphere, and memory. Panoramic seeing thins the world. Too much, too much generalision thins the world and unseats the interwoven connections of being, catastrophically so. To reduce the world to extreme dullness - the hollow. This fragile hollow collapses worlds. Retrogressing to world of hollow anthropogenic self-referential death. But death caused by humans for humans AND all non human, all elementals. This hollow death is our current un-seeing. To experience and accept shimmer there must be compromise. In time. In so-

called convenience. In instantaneousity. It is a new attention. To accept shimmer it to be brought into the multi-species web of life. To be aware and involved in such sensitivities is to create gentle modes of being with and making with. It is to abstain from humane ego and make with, in multi-species woven collaborations. How can technology/midjourney help the understanding of world thickening? How can the image and image generation help in shimmer sight? Can it show a world of extreme dullness, of the hollow world. To show what a world devoid of shimmer is?

TWO DIMENSIONS OF TIME

I am currently standing on the precipice of two dimensions of time. One of slow time and the other of fast time. Both exist simultaneously. Forming, un-forming, and re-forming. They interact with probability. I cannot say where they interact but I know the likelihood of interaction at any point. These two weaving spatial formations drive unceasingly through the three dimensions of space, piercing and creating their rhythm. To those other than myself the fast dimension of time is the most visible. The relativity of my movements, my thoughts, and my existence appears most immediately in the realm of fast time. Indeed, I too experience people’s fast time existence. However, the fast time dimension is a place of vapid translucency, of dearly delirium, and of power paucity. It is the place where dreams exist at the behest of others. It is the place of rotting roots, corrupted by the miasma of the capitalocene. It is the default, it is easy. The fast time dimension is the dominant dimension, that serves only to perpetuate itself. It is the self-referential system that denies the other-than-human experience. The slow-time dimension exists in parallel and in conjunction with the fast time dimension. Within slow time different rhythms begin to emerge, missed by the fast time. There is greater time for consideration, for empathy and for questioning in the slow time dimension. It is not to say the first idea that comes but the third, the fourth, the fifth. It is experience the languid existence of geological time, integrated with terrestrial beings. It is to experience the shimmer of multi-species co-existence. It is to acknowledge that for there to be shimmer there must be an absence of shimmer. For things to come forth there must be a receding. To only come forth is to topple on un-stable foundations. Time is generous in slow time, in fast it is cruel - to be fought against. To work with time is to release temporal expression. Pure temporality feeds all with greater fervour than any fast time ever could. It is the delicate elixir that can (and must) fuel future co-existence.

I invite all human and non-humans to join me in the slow time dimension, it is, indeed, the only way to avoid catastrophe.

I am currently standing on the precipice of two dimensions of time. Fast time dominates, as proclaimed by old white men in suits. However, I propose we explode the fast time dimension. I cannot do it alone. We are terrestrials amid terrestrials. We come now or not at all. How do you dissipate a dimension of time? We operate in only slow time dimension. We reject the fast time dimension and it itself will collapse in upon itself as it has be destined to do ever since it thrust itself into existence.

STRUCTURES OF ORGANISING KNOWLEDGE//drawings of knowledge

dictionary encyclopedia

labyrinth exhibition index

search engine compendium

bestiary archive

dewey decimal system mapping of knowledge

memory theatre

mind palace

great chain of being trividium + quadivium stem + steam biological linneus

WHITECHAPEL SHIMMER POST MORTEM 10-11-22

The Lunatics have taken over the asylum

Translating ai words

Should it be called shimmer or create new word - break free of connotations

Define in a recognisable way i.e. like an encylopedia/ dictionary entry

Integration into what? w/r/t research q

Change the time of shimmer?

Document a database of shimmer from film, photography etc?

Empathy

Interconnectedness

How affect decision making Shimmer as tactic?

Trans-species empathy

Trans-image empathy

Samuel Butler - Erehwon

Species empathy to images

Care images

Hidden continent of image

Image personality

Buba and kiki

Empathy seeing

Categories of interconnectedness

Where on multi image entanglements

to wit: empathy

altruism

consolation

intersubjective compassion

care

social cohesions

mimi cry

de-vious cry

meme cry

me cry

tactical empathy

pious hypocrisies

hypo-crisies

hyper-crises

empathy sympathy

empathic smypathic

empathy sympemathy

switch off your altruism for desire

paradoxically seduce yourself

virtue

virtune

de-virtune

divert tune

diversion tu une

legitmate betrayal

betray all

sentimental betrayal

empathic betrayal

betraynone

inaccurate magic

inaccuarte sociality

violence is sociality

deception

violence

seduction

manipulation

devious mimicry

anti social is not not sociality

suffusing light and dark empathy

brown empathy

balanced empathy

cosmic mirror

cosmic spirit

mirror spirit

sociality spirit

image spirit

image desire

image seduction

mimicry seduction

seduce magic

magical seduction

mimicry magical seduction

shoes that are not yours are not to be worn for long heat memory is terrible for

betrayal

heat memory is great for seduction

your latent desire

POST MORTEM - 17.11.22

The week where I thought I had done lots of things but I, in reality, had not done that much but we had a conversation anyway

Tourism is just double checking the image

That the image is correct

The idea of the index as project/project organisation

Narrating a story through an index - mediated through the index

What does the index reveal about the story

JG Ballard - Index

Dennis Duncan - History of the Index learning

The incomplete catalogue

Organisation of the index - alphabetically, chronologically etc

Alphabetically introduces a weirdly weird temporality

Essentially with flashback and present premonitions

Taxonomy of images

Organisation of images as file types

RAW, PNG, JPG

These different file types have different temporalities

I.e. raw is equivalent to geological time, jpg to human time

What is the file type for the fleeting

Other

Emerge // converge of use

Repurposing of interconnectivity

Adding images to the synthetic kingdom

Period period drama

Layering of time

The period drama is of the period it is made

Understanding through the prism of image compression

Next

Look more at index

Create an index

Explore the taxonomy of file types

File type timeline

Research alphabetical orgainsatio

What if the alphabet had a variation from 26 letters// types of alphabet

(FILM)

24-11-22 pres + post mortem

w/r/t film project still hidden

What is the primary narrative - film shows you could make a narrative with anything

Abritrariness of project

What is coherent

Not all intuitive

Library at the moment is a means not the end

In which case what is the end?

Why is the library not the project?

Subtractive design, getting an image is like stealing a book from the library

Read species of spaces

Scalar

Project needs something for the words to hang on What if I did do it??

Observations

Temporary, edgeless things

About qualities

Hotel has activity, library is flat

Image activity, transience

Experiential qualities

Check in check out

Necessity to evolve library to capture

Stendhal syndrome

Re-write ho we view images/things

Higher presence to image, wider consciousness

Come and go

Fleeting

Immeasurable qualities

Tangible, intangible

Optic to read the intangible

Activity species

To be a species it must have an activity

Fuzzy logic, rules and principles, Rigour and preciseness to fuzzy logic

Hot to warm is a blurred edge but it still exists, impossible but still happens

The impossible existing

What is important?

Whats the agenda?

What the chunky thing

Define what the project is trying to achieve

The way we think images today is as disposable, complicit in the world

Promote a way of thing the world is unimportant

Care more about images out of the imppossibility of this library

Images are special things in the library so impossible

Different attributes forms of behaviour, how to care for things

Image factory

What is it making images

Who for?

For me, hotel iridescence is exciting, the image factory is exciting. Is the image factory a way into the image library. Do I want to do the image library?

What if every image existed in one place?

What if images were alive?

What do images desire?

How does thinking of images as having personalities increase our care for the multi-species web of life?

Quiet words spoken to a wall Leave index for a bit Project as words not images

The written trace

The memory of places

RELIC

Reconstructed

Hypothetical language

Anthropological view

Mediating between logic and the intangible, the ephemeral

Geology of time

Ella webb

The geology of the library

Unpacking

Visiting memories at different stages of life

The shore

Stories on the wash

James Fray -

Design Strategy

EVERYTHING IS RHYTHMIC RITUAL: Towards a society of empathic mythics

RESEARCH Q’S

To what extent can a framework of empathic mythic ritual transerve the ennui gap between cultural identity crisis post-brexit and the de-storying of multi-species interconnectedness?

How does the emergence of AI infinite image production affect the myths we are storying the world with?

What is the potential of exploring the infinite image factory/hotel/library in generating a mode of empathic mythic ritual that implores for greater care of multispecies interconnectedness and thereby engagement with climate crisis?

KEY WORDS

RITUAL RHYTHMS

IRIDESCENCE

MOMENTS OF SHIMMER

NURTURANCE

AURAL TRADITION

EMPATHIC MYTHIC RITUALS

IMAGE

IMAGE AS MATERIAL

COMMUNITY

INVOLUTIONARY WORLDING

PLURIVERSE - IDEAS COME FROM MULTIPLE SOURCES NOT REDUCTIONIST FROM ONE STREAM

WHAT

A narrative of navigating myth-making land (including image factory, hotel iridescence) images=species, web of life=species

Experimental anthropologists of the imagination

animation/film exploring the process of empathic mythic ritual

Guide book to empathic mythic rituals

THE TEMPORAL WHY

To encourage attention and awareness to the web of life, multi-species interconnectivities.

To encourage care for the web of life, provide an understanding of humans within that web, not as exceptional from it.

To step away from the poor myth making practises based from ill-thought enlightenment myth.

To address the glazed malaise of post-brexit tory Britian, attuning focus towards a politic founded in climatic urgency.

THE TEMPORAL HOW

By showing how society is progressing through outdated modes of existence. By showing how existence can be different through the experience of empathic mythic ritual. Highlighting the changing mode of image production and the change it makes to how we think story-telling.

Spatial worlding through aural tradtion and storytelling.

THE TEMPORAL WHO

a - DEBORAH BIRD ROSE + ISABEL STENGERS thinking

b - THE COWBOY + THE FORAGER + THE WEAVER exploring

c - THE MONSTERS + THE GHOSTS shaming + longing

d - EMPATHIC MYTHICS joying

THE TEMPORAL WHERE

Image factory Hotel Iridescence

THE TEMPORAL WHEN

Slow time

Fast time

Engorged time

Concise time

Shimmer time

Ennui time

THOUGHTS

The power of words in myth

The power of memory in myth

The power of image in myth

What it means to be in a place

Strata of memory

Strata of myth

We are turning into liquid citizens, effortlessly slipping between realities.

ARCHIVE

To be in a place

Photography of Christopher Killip

Photography of Paul Hill

Tarkovsky, Andrei, Andrei Rublev (Mosfilm, 1973)

Varda, Agnes, Daguerréotypes (ZDF, 1976)

Bird Rose, Deborah, ‘Shimmer: When All You Love Is Being Trashed,’ in Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene (Minnesota Press, 2017), pp. 51–63

Identity crisis uk/climatic ennui

Squid, ‘Narrator’, 2021 <https://www.youtube.com/ watch?v=__zmVSREvxY&ab_channel=SquidVEVO>

Kjartansson, Ragnar, The National, ‘A lot of sorrow’, 2013 <https://www.luhringaugustine.com/artists/ragnarkjartansson#tab:slideshow;slide:15;enlarge:true>

Latour, Bruno, Down to Earth : Politics in the New Climatic Regime, trans. by Catherine Porter (Cambridge: Polity, 2018)

Image production/production of mythic ritual

Laloux, René, La Planète Sauvage (Argos Films, 1973)

Samuel Beckett, ‘Not I’, 1973

<https://www.youtube.com/watch?v=M4LDwfKxr-M>

The myths we live by - Midgley

Further to ds2

What are our current day myth telling practices - is it media?

What is at the core of the proposed empathic myth ritual

Problem

How are we telling stories to eachother

What is our current practice of aural tradition

What is the foundation of current storytelling

If we assume ecological demise is inevitable…

Then why do we have ecological ennui?

The lens I am looking at this through is through post brexit post punk music in the uk. Is looking at the window, and saying we’re fucked.

I start with a comparison in music. In light of brexit in 2016, a wave of music arose in Britain that of post-brexit post-punk. This genre explored current Britain with a despair, dry humour, and nihilism about brexit and tory britain. It draws parallels towards the music scene in the UK in the late 1970s and early 80s - that of post-punk. Think joy division etc. If punk is the music that says fuck you, post-punk says I’m fucked, and I extend this to post-brexit we’re fucked. There is an eerie similarity to the lyrics of these genres.

Building upon this parallel we begin to see other similarities, primarily in disillusionment. For example, The winter of discontent, in 1978/9, miner’s strikes in the 80s. One can begin to see the resonance with the current plethora of strikes, indeed the brexit winter of discontent.

Early aural tradition is related to place and the experience of being in that place - thickening the world in that place, storied landscapes Current aural tradition - is confused due to wealth of information and spread through media. We care less about place and what it means to be in that place. Creating un-storied landscapes, or thin landscapes. The problem with thin landscapes is that we do not care for them. In a time of climate crisis this is a problem. If we do not have the patterns to interpret the world in ecological myth making, we cannot react competently or effectively, as we seeing today. This, too, explain the current identity crisis prevalent in the uk post brexit in tory britain

Aural tradition/the stories we tell eachother are myths. Myths are imaginative thought patterns for interpreting the world. We understand the world through myth. Our current myths are detached from

place, human, and non-human interdependencies. This is a problem. Our current myths are hangovers from enlightenment thinking - that of freedom, nationhood/sovereignty, progress, and scientific truth/ omnicompetance. This washed up myths blight our thinking of ecological crisis. They see humans as the exception to the living world rather than its deeply interdependent position in the multi-species web of life.

Therefore, a new mode of myth making is required to enable us to understand and act against ecological ennui. The empathic myth and by extension the practice of empathic myth ritual. We must become empathic mythics.

We must be empathic to be open to moments of shimmer. These are moments that catch the eye, that are moments where multi-species interdependencies are spectacular, that bring you into an understanding and an experience of the web of life. It is a changing of attention, of observation of the places around us as interconnected. It is here we see the voracious capacity of humans to cause destruction. Experiencing the dualism of spectualarity and destruction engenderes care. Once we have care and awareness of the web of life, our myths will change. If the understanding of web of life is a the core of our myths and thereby our patterns for interpreting the world we surely, will be more adept and capable of responding and acting towards climate crisis and ecological collapse.

But what is an empathic myth, or, indeed, an empathic mythic ritual?

With the emergence of text to image generators we have created the infinite image library. In which, with the right prompt, any image can be found. Every image already exists in the library waiting to be checked out. Every image is almost impossible but also so easy to find. The image is de-valued. The image is arbitrary. A narrative can be made from any of these images, in much the same way an narrative can be made from any image ai or not. These arbitrary narratives are indeed, arbitrary, until the social act of storytelling or the passing of narratives between

beings.

There are degrees of truth in myth. A myth happened in that place but the events are inaccurate/half forgotten/half remembered etc. But truth is not necessarily important in myth, in fact to create a fully true myth is to reduce it to banality and deny imaginative patterns for interpretation. In essence it denies a certain amount of chaos, by which we find modes of thought we did not know we could know. The arbitrary narrative is also prevalent today in social media, narratives re-told and self-referential, the instagram explore maelstrom. So, therefore, arbitrary narratives are what is decaying our thought patterns but if the arbitrary narratives are founded in the web of life, the arbitrary narrative would at least provide us patterns to interpret the world of ecological collapse.

Therefore, the project at this point seeks to test out the idea of empathic mythic ritual and the process of being empathic mythics. Is it valid? How can the infinite image library help us think about arbitrary narratives, image production, myth generation, and ecological ennui. How can empathic rituals avoid devious use.

Basic question

Why Brief research primary strand, secondary strands

What are you designing, what are the components

Who is this for??? What audience? Its not in a specific community? Or is it?

How

The roguelike

Hades

The binding of isaac Inscrytion

Iterative exploration of same/similar spaces with generational knowledge

A rougelike game set in latent space, exploring empathic mythic rituals as response to ecological ennui, in the style of castlevania, 8 bit rgb crt

Oh, upon this carbonic crux, where do we look?

How do we see, in the sea of possibilities?

How do we think, in infinite fictions?

How do we crumble, in infinite fictions?

Images, the purveyors of knowledge, words the antithetical enemy.

Images, both de-valued, and rendered almost impossible.

Why think, when you can see?

We lack the myths to engage with ecological demise adequately

The design of myth being the success or failure of the project

Design a myth or design a framework of myth principle (vague)

How to say project is successful

What is the success of the project - whats the end?

A methodology for why some images are more important that others

Why the arrangement of some images are more important than others

Avoid the husk

No more myth

CERN is justified to find out a little bit more about the beginning of the universe, but maybe does not change the world

Inquiry is fundamentally important human condition

Methodology - maybe not myth, maybe not shimmer

Trans-species revelation

Particles spinning round at cern, what are we smashing together to allow to learnt things

One is about the images you take out Or methodology of moving through it

More specifics about - whats this new ecological mindset - falls apart at shimmer

The whole image library is to teach us something ecological - either through the images we take out or the mode of moving through.

What do you consider to be the more ecological way of thinking

What does trans-species mean?? Images as species, animals as species - ambiguous

Watch devs

How people interact with this library

A whole new philosophy of seeing the world

De-stabilises life as we know it

Because of what becomes possible Significant undertaking

New behaviours spring up around it

In project all with ecological hat on Clearer on behavioural shifts want to promote

Poetic lapse - red flag

A tool to get past ecological ennui

Total romanticism + scientific rigour = they become the same thing

Iil has something to tell us about ecological benefit

Is the iil a form of knowledge

Future prediction machine

Precedents - structures of knowledge - memory palace, memory theatre - camilo

Diagrams of knowledge

School curriculum steam/stem

Subject forms of knowledge

Thematic based learning

Origins of knowledge

Hannah arendt

Perceptions of knowledge

Case studies - models of knowledge

Knowledge is structured?

Some knowledges are language based

Conditions of we exist - make brain work in different ways

Book typologies of theoretical typopologies of

knowledge

Knowledge frameworks

Memory is another way of talking about knowledge

Infinity of lists - eco Proto-classification

How we frame knowledge - Fundamental impact of how we learn and experience the world No experience other things -

Shift to our framework of knowledge

A whole new school of thought Set up own philosophy department

Ron Bhaghat

This school of though structures knowledge in a different way

Drawings of the whole of knowledge Break traditional

Taxonomise images in a different way - in colour, aspect ratio, The index is always arbitrary

Every image you use for the project is from the library

In the project and of the project

A million of objects, millions of images

Image of the image library is in the image library Set that contains itself

Everything is nested in everything else

The process of navigation is the change in mindset not the images themselves

Everything is propping everything else up Interconnectedness of everything

Through that process of retrieval change mindset

What came first, the images or the narrative of librarians/tools etc. If the images, what prompts did you give to Midjourney?

rifling around in the section of the Infinite image library titled “Designs of the Infinite Image Library”.

what the essential spatial (not narrative) qualities of the infinite image library are. What constantly reappears? What can the machine never get away from when you ask it what the library looks like?

a model which constantly bifurcates like a forest, or like a fractal. Suggesting infinity, and removing the need to hang everything on narrative design?

The idea came first and then I prompted it.

I did try the basic prompts of entrance to infinite image library etc. But I find it unconvincing as a primary design method, because it is not midjounrey

Understanding the motifs, I’m just looking at a more specific motif

There is not one entrance, one facade, one bathroom to the infinite image library, there’s not really any entrance at all, any facade, any bathroom.

Is the infinite image library a narrative in vacuo too? In essence in latent space it is a sea of values. There images are the values

I was thinking as the midjourney images as images of the library. The idea of one librarian, one image, came first then I prompted it. I did try the basic prompts for elements of the infinite image

I’ve attached an example of the method you are suggesting.

Basic Elements that appear in most images

Add style (look into subset)

Then what? Repeat for other elements then compile at end?

If the one librarian per image + librarian room is in vacuo does that not make Borges organisation of the

library of babel designed in vacuo too?

Thought of librarian came first, then mj images to explore idea.

Prompts; For tool

an archival artefact contraption for the interconnected care of image, toaster, multi-species, archivist, everything is rhythmic ritual, archival practice, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

Room (with image reference - study of st jerome) <https://s.mj.run/KWDjxEVsgdI>, the archivist of one image, study at the infinite image archive, image as world, image environment, image care study, archivist of image, designated image regulator,multi-species interconnectedness, everything is rhythmic ritual, images as floating point arithmetic, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --ar 2:3 --q 2

Room with screens

analogue archivist of image, designated image regulator,multi-species interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Geof Kern, --chaos 60 --ar 3:2 --q 2

I have attached a pdf of designing the library through asking it. However, I still feel it is arbitrary.

For me, an un-arbitrary way to design/comprehend the library is using the idea that every image is a vector/tensor/node within a multi-dimensional spacethe latent space.

If the process for text to image generation flows in broadly three steps

Encoder (transformer language model) - takes prompt and creates a list of numbers representing each word in prompt, a vector

Image information creator - takes vector generates an

information array, (another vector) through forward diffusion (reference images/patterns + a %of random noise)

Autoencoder decoder - takes information array and outputs image

The process is perhaps akin to translation. The text vector finds the equivalent image vector, but we never see that. The output image is not exactly the input text vector, due to the random noise. This is why inputting the same prompt does not retrieve the same image each time.

Seeing what motifs appear in multiple same prompt outputs is potentially a way to see through the random noise to the essence of text vector equivalent image. Therefore, it is possible to design the infinite image library through basic inputs such as “entrance to the infinite image library” and seeing what comes up the most.

The problem for me lies with that this is not any less arbitrary than any other prompt. The simplicity of the prompt does not denote greater truth. The images outputted are still based upon the human outputted reference data, and subject to random noise. It is not the infinite image library designing itself.

Therefore, let us instead take each ‘image’ in the library (latent space) as a vector or node, prerandom noise, as a fixed location within latent space. This is where the librarian comes in. The one librarian, one image/node, enables comprehension of the fixed location of an image. To think of each image as a world is to think as the images as living rgb values. To have the librarian as care giver to this world and only this world increases the preciousness of the image outputted. And whilst it is true that the librarian is, in truth, just a thought experiment (a tool for comprehension?), I feel it suits the projects goals well, to attempt to enable a greater care of images - to think that every image had someone’s life fully devoted to it and only it.

Is not Borges’ Library of Babel designed in vacuo too? Why a hexagon, not a square? Why 20 bookshelves, not 40? Why not one librarian per image?

I think potentially my resistance to asking mj to show the design of the library, is that I think the designs it shows, the motifs that appear consistently, are banal and generic. I feel disappointed by the design of the entrance to the infinite image library as a generic fan art rectangle outdoor space entrance, because I think the Infinite Image library is more exciting than that.

The midjourney images then are a way of visualising the thought of the librarian, bringing us into the latent space, into the infinite image library. I think the project should aim towards trying to convince that every image is important, not that every image can be accessed.

I like the idea of the fractal forest as organisational structure. I will have think about model.

INFINITE FICTIONS

Knowledge is now predominantly spread through images not words, facts, or real experiences. What are the psychological, spatial, and environmental impacts of the never-ending growth of contemporary image production?

The UK is in cultural identity crisis. To what extent can interconnectedness address cultural identity crisis?

Welcome to the Infinite Image Library.

The Infinite Image Library exists in The Latent Space, an abstract space where machine learning algorithms learn patterns of input data. THis is where AI textto-image synthesisers stores the pattern of image, patterns of colour, texture and directionality.

It is here that every image that ever has been or ever will be, exists.

These are columns of generated image, an insignificant sample of the library.

Every image you see has a corresponding word prompt. Every image you see, has a lower resolution version of itself. Every image you see has four similar variations, all deriving from the same input prompt.

There are over 500 generated images here today. The Infinite Image Library contains every possible version of these images, in every medium, every style, every composition, with every meaning, every non-meaning, all awaiting the specific prompt and random noise that navigates to it.

And yet, re-inputting the same prompt does not mean you retrieve the same image. To find a specific image is effectively impossible. To retrieve any image ridiculously easy. This is the image on one hand de-valued, and on the other rendered a unique jewel.

The image has never been as jarring, as intrusive, and as infectious as it is today. Images are easier to produce than ever before; images are easier to consume than ever before. It is scary, perhaps, to think that AI image synthesisers are an endless source of image production. They enable infinite images.

knowledge is now predominantly spread through images not words, facts, or real experiences. We are now, an image culture. We have, however, lost the storytelling magic of oral and literate cultures. We are narrative nomads.

What are the impacts upon us, who communicate so flippantly through image, of this fountain of limitless image? There is great possibility, a grand berth of creative inducing imagery providing connections between objects we might never have conceived of. A great creative proliferation? However, there is a

great danger too. Upon images, travel narratives. Upon images, travel fictions.

We currently lack the ability to adequately mediate fictions upon our images, we fester in enlightenment ideals of progress and never ending growth. Our images reflect that. Fake news, corrupted stories, and selfreferential misinformation - all rife. Access to the Infinite Image Library only accelerates the potential harm humans, through images, can cause. The project is not about the specific images we take out the library, but how we navigate through the library. How do we navigate through the possibility of infinite fictions to weave a world that can adequately address climate crisis?

The potential of these images can divert us away from years of human exceptionalism or, indeed, these images can doom us to further our demise.

There is currently a cultural identity crisis in the UK. It is due to the confrontation between climate crisis and outdated societal notions of nation-state and progress.

Politics in the UK has become the detached retina from the eyeball of societal need. How can one feel safe and protected in the current version of governance? In the face of climate crisis we have had “the panicky desire to return to the old protections of the nationstate,”2 most evidently in the politics of Brexit. People are becoming migrants in their own countries, left behind in their own countries. One only needs to look at music produced by young people today for evidence, and its direct link in sentiment with late 70s music scene in Britian the,n in the face of deindustrialisation, now, in the face of ecological demise.

We are failing young people, those who never experienced the phoney protections of old, and now only experience the longing for the old protections. This longing denies adequate thought of ecological demise. This is the scariest part of the current ordeal. This is why this project must exist.

we build the world through human exceptionalismthat humans are separate to the multi-species web of life. That humans are superior. The only way humans are exceptional is as “the only animal to voraciously, relentlessly, and viciously wreck the lifeworld of earth,”. What this project calls for is a different hierarchy of power and a different mode of attention, an attention not based in progress or growth myths but in interconnectedness.

Interconnectedness as practical stories of becoming with each other, thanks to each other and at the risk of each other.7 Interconnectedness teaches you empathy.

Specifically, empathy as care. Care for the web of life. Once you think in care for the interconnectedness of multi-species collaborations, the abhorrent mode of current worldbuilding becomes sickeningly apparent, and the necessity to act, more apparent still.

We shouldn’t use concrete, but we do. We shouldn’t fly, but we do. We shouldn’t open another coal mine, but we do. We know there is climate crisis, we just don’t care. To think in interconnectedness is to care.

The idea of interconnectedness can also be productively applied to image culture. We don’t care about the images we produce because it is so easy. Because we are thinking in progress and growth. But what if we did care for images and have images care for us? How would that affect the fictions that travel upon them? If images are alive, if images have consciousness, then what?

Understanding the images in the Infinite Image Library is a question of navigation, classification, and of archive. Of understanding the communion of multi-image entanglements. Every image is nested in every other image, thanks to each other and at the risk of each other.

Thus, to think of image mutualities is to care for image, to empathise with image, to care about the fictions that travel upon them.

The project hence proposes a procedurally generated game navigating through the infinite image library in interconnectedness. This is to show and experience reciprocal multi-image relationships. What we learn here can translate to thinking and caring for the multi-species web of life.

To think in interconnectedness is to reject the old protections and enables cultural identification in the multi-species web of life and thus, allows us to think and world in the face of ecological demise.

And, you? Who are you? Is this project for you? Why have you come to the Infinite Image Library? What do you seek? Are you in cultural identity crisis induced by progress and growth?

If so, enter, the Infinite Image Library.

Disclaimer: Before entering the Library we must warn you. Inside all of us we are split into three warring entities - The Skeleton Cowboy, The Knowledge Forager, and The Imagination Weaver. We shall use these characters to navigate through the Infinite Image Library.

The Skeleton Cowboy - The legacy of ye-haw modes of existence, best to avoid your cowboy skeleton, although this world is built upon them, we can never be rid of this cowboy but we can acknowledge and seek another character to usurp the cowboy’s influence.

The Knowledge Forager - The search for knowledge depends on how much you are willing to forage. Do you know which knowledges can sustain or help you grow or indeed which ones will kill you?

The Imagination Weaver - The capacity to weave narratives, thoughts, stories, worlds

??? - What character will you find in the Infinite Image

Library?

Questions going forward

How best to represent the iil

How navigate the iil

Maths

Binary Point cloud

Iil instagram

My positions feels better as someone borrowing from the library rather than being the creator of the library

Types of infinity

Countable infinity

Uncountable infinity

Cardinality

Transfinite numbers

This project seeks to reveal the Infinite Image Library. A hiddenspace which contains every image that has ever has been and ever will be.

The project is an extension of Borges’ Library of Babel, an infinitely large text based library that emerged at a time when literacy was the predominant form of knowledge. However, Knowledge is now predominantly spread through images not words, facts, or real experiences. With the emergence text-to-image generators we are in an accelerating image culture. The Infinite Image Library presents as update/companion to the library of babel to reflect this change..

Revealing the library is motivated by two primary concerns.

Firstly, the desire to mitigate an ascendant western

cultural identity crisis arising in the face of ecological demise. The project contends this results from an inability of individuals to connect with current world-building methods of never ending growth and human exceptionalism. Consequently, the project sees it as essential to explore interconnectedness as alternative world building method. The Infinite Image Library is a key example of an interconnected world, therefore enabling an opportunity to envision an alternative mode of existence.

Secondly, the project seeks to overturn contemporary attitudes towards an accelerating proliferation of images (as expendable artefacts) in order to engender a greater duty of care over the images we have in the world. Each image borrowed from the library is precious; in the infinity of images, you retrieved this one. Our current attitude towards images is carbon intensive; revealing the Infinite Image Library will reframe images as things to care for, not as things to consume unthinkingly.

Because the Infinite Image Library contains every image that has ever has been or ever will be, it also contains images of the library itself, which is the site. Finding these images from within the hidden space of the library, in order to reveal the library to others, thus becomes the primary task of the project. The project uses Midjourney , a text-to-image AI tool, to locate images of the design of the Infinite Image Library. Somewhere in the library is an image of the library in its totality.

Latent space is a multi-dimensional space which contains every variation of every pattern the textto-image generator has learnt from its training data. The combination of these learned patterns plus the addition of random noise enables endless variations of images. Infinite images. Latent Space exists as a constituent part of every text-to-image generator. The Infinite Image Library exists within the Latent Space.

[how mj works]

Like every library, the Infinite Image Library has

rules;

1. It contains every image that ever has been or ever will be (learnt patterns + random noise)

2. You can access any image in the library

Access is granted through midjourney. Any image can be borrowed within 60 seconds. Every image has a specific word prompt + random noise combination that leads to an image being borrowed from the library. All you have to do is find the right prompt.

3. Each image has a fixed location

Images in the Infinite Image Library exist as a vector, a string of numbers as coordinates. Midjourney takes the text prompt, turns it into a vector, and finds the equivalent image vector from within the Library. Therefore, if you have the map you will find the image.

4. Every image is connected to every other image

An image taken out of the library strengthens the probability of a similar image being taken out next time a similar prompt is asked. This simultaneously reduces the probability of all other non similar images for that prompt.

With these rules of the Library we can begin to reveal the design of the hidden space of the Infinite Image Library. These rules are input into Midjourney as text prompts.

Here are the images outputted from the rules. For example, rule one is every image that ever has been or ever will be. My role as designer, or librarian, is to compile and aggregate the information from these images into a coherent spatial narrative to experience the interconnectedness of the library.

Repeating spatial elements and motifs denote a greater likelihood of that element being in the design of the library. For example, from the 96 images here from the rules the motifs of the ball, the tree, and the

table are most prevalent. This model is an aggregation of these elements into an interconnected spatial experience.

We will now take a journey through the library.

As mentioned, one of the key motifs prevalent in the images of the rules is the tree or forest. Therefore, to reveal the design of the library, I input the prompt; the forest in the infinite image library into midjourney..

From these 24 images I select one to be the basis for the next prompt, this is the image I determine to be representative of the set of images. In the forest there is a structure in the woods, or perhaps a shieling, a type of shelter found on pastoral land with sparse apertures in its facade. It is here we see the value of precision in the text prompt.

So the next prompt is the shieling in the forest in the infinite image library. From each selected image we get a glimpse of the next step into the Infinite Image Library, of the next connected image revealing the design.

Inside the shieling. A table. Therefore, there is a long table room. There is beyond the long table room. The corridor made of roots, the source of the glow, the surface of the glowing orange mass, the lake on the surface, the mountain on the lake, the mountain entrance, crossing the threshold, following the two green characters underground, waiting at the train station in the mountain underground, the sliced mossy train, the stair in the train, and so on, and on and on.

Every image interconnected. Every image precious, steeped in narrative depth. For just the briefest moment we are experiencing some part of the library. To design all of the Infinite Image Library is a supertask, an infinite task with only a finite amount of time to do it in. But it is not in vain; to experience, as we have done, a thin thread of the library, enables an experience of interconnected world

building, and to see each image as precious.

Going forward he project proposes to next consolidate the revealing of the library into a spatial experience as a game. In the game there will be three player characters who act as guides - the knowledge forager, the imagination weaver, and the skeleton cowboyeach with their own lens of viewing the library, each represent a portion of our modes of thought.

So, in conclusion, the project seeks to reveal the infinite image library through images within the library itself. The Infinite Image Library is the project, the site, and the methodology.

To what extent this experience can address cultural identity crisis and existence in an accelerating image culture remains to be fully ascertained. However, the narrative through the library, begins to reveal the delicateness and the entangled nature of images in the library, and how we become custodians of any borrowed image.

What would this understanding of interconnectedness and care for images mean when translated to how we are building our world, human and non humans. The Infinite Image Library is not building as noun, as object; it is building as verb, as active form, as process. It is about how you travel through the library as mode of understanding the preciousness of every image in the library; it is about how you move through this world and understanding the preciousness of everything in this world.

POST TABLES

What does a ‘duty of care’ to images really mean?

How is our current attitude to the image carbon intensive? Unpack and explain this

How does the design of the library or its invention create a greater sense of care?

Who is the library for?

How do they access the library?

Visualise/record language used to explain text to image generators

Is the project about duty of care of images or rather a project about explaining how these tools work?

What is carbon cost of 1 midjourney image?

Rather than following through the image can you iterate or improve an image?

Aesthetics are quite specific, what is generating that?

Can you articulate what is important about this project to your practice and what you define as spatial?

How is project spatial? The images have spatial elements, how do you define as your own and not purely midjourney? I.e. what is your role as designer/ architecture in revealing the iil

How can you dwell on an image as a design tool?

How does the methodology of image creation inform your design decision, how does it relate to the practice of architecture or design? Building as process

Who are the participants in the library?

Where do you situate your agency?

How do you convince the audience to join you on the duty of care? How can they become ingrained in the narrative alongside you?

Is it designing a library?

Is it designing a journey?

Is it designing an architecture?

Is it designing the narrative of the three characters, seen through the spatial lens of mj

Is it just an exploration of mj

Possible actions

Parallel explanation diagram

Pick a path to reveal the infinite image library

A list of questions that need answering

Designing the process of a world built in interconnectedness?

Audience brought into iil through narrative

IIL creates a lack of care towards images. It invokes the spirit of never ending growth, that you can access any image ever, and continue to do so without care of ramifications. Re-rolling until you get an image you are happy with and then discard and onto finding the next image that briefly holds the gaze. I have borrowed 21,000 images from the IIL. What does this mean to me? I have some favourite images, some images I will never look at again, yet, I cannot return them. I cannot undo the carbon emitted to generate them. They are simply waste image. Cluttered data.

The process of printing them creates a physical presence, akin to analogue photography, but ultimately does not replicate the work and labour that goes into the analogue development of images, a process that engenders care and sees images as precious. Any polaroid is more precious than any midjourney image, even if the latter is of greater beauty. What are the ramifications? Carbon emissions

Problem with the IIL - images borrowed cannot be returned.

There is a greater sense of care when you have a limit of images you can borrow.

Seeing the IIL as an interconnected world, already built, as a spatial form of the currently speculative fiction of a interconnectedness as worldbuilding axiom, thus presents a key opportunity to explore it as a test of interconnected worldbuilding. It is not an imagined world, it is already here and we can see the result.

That said, it is a relatively ‘pure’, perhaps

untainted, version of an interconnected world. There are images to find all other images. And each patterns awaits the latent spark, entangling it with other patterns. It is interconnected inasmuch as every image is a combination of patterns. Every pattern is an image, so every pattern and every combination of every pattern is also in the IIL. Every image is made from entanglements of other images.

So what can this interconnected world teach us? How can what we see and experience good or bad enable us to understand the validity of interconnectedness as key world building axiom?

Why are style parameters fine?

So, if key to the project is to understand interconnectedness of the IIL, how is best to do this?

What are other interconnected worlds?

No super-author of the library

Is IIL public space?

If it is about building as process, what is that process, it is interconnected process

Where does the power lie in an interconnected world To whit: interconnected world does not relate to technological integration but the interconnectedness between humans and non humans in pulsing entanglements

A set of instructions to generate an interconnected world?

Moments of shimmer, a world which blossoms and recedes. For there to be shimmer there must be receding, for light there must be dark, it is only in this interconnectedness that we can understand the fragility and web of life in pulsating patterns of life and death.

Consider each image as a moment of shimmer where patterns merge to form congruent images. For every

image there are an infinite number of noisy images that cannot be understood.

Record as if a journey,, documentary photography, documentary film, travel documentary

If an image is the shimmer, there is the in-between of the images. What is this space? What happens in this space? Is this public space?

Every time an image is taken out the library the connections between every image change.

In IIL there is the space the images take up, at coordinate points, there is then space where the images are not, the in-between space of coordinates

Is the IIL just a grid of images in many dimensions? All perfectly ordered?

Mathematical shapes to represent infinity, fractals etc

PRE TUTORIAL 28-02-23

A game of the infinite image library

For that what do I need to know

What it looks like

How you travel through the library

The narrative of a journey through the library

Do i model what is in the photos?

What is the process of interconnected worldbuilding?

1 Table Recap

Duty of care towards images not clear

Question of specific aesthetics - how much do style influence what IIL says its looks like

What is carbon cost of image? Do I care about this?

2 Preciousness of image

IIL does not invite care for images, rather carelessness

How to return images borrowed,

Is deleting a form of returning?

3 Interconnected world Shimmer

Building as verb, as process, the process of interconnectedness

If it is a process can you make instructions? Feel like i get a bit stuck in this, but I do think that the IIL is an interconnected world, thus does have something to show us about interconnected worlding. But quite what it is I do not know yet

4 Shimmer? In between of images Images as moments of shimmer, The gap in-between images in the iil The non image space Compressed data between images

There exists in the IIL the space where images exist, as integers. There is therefore the place where images do not exist too. There is the duality

5 Make a game? Do i still make a game? Definition says what something is Demonstration proves that something is

Manifold garden

What does the library look like Is it the images from tables? Invoke infinity

Individual printed photos do not invoke infinity, but perhaps do invoke preciousness Do i carry on the physical model route

What would be a small first step? Model a character? Model the space??

Just model the part of the library I have already revealed?

6 Hyberbolic geometry

What are the physical laws of IIL, is there gravity? Is it non-euclidean geometry?

7 process - infinite narrative compressing Compressing the narrative of 12 images into one drawing, then using as part of prompt

Games of the future

Dystopia

Dying Light

Orwell

A Plague Tale: Innocence

This war of mine

Dead by daylight

Vampire Survivors

Vampyr

Dead rising

Left 4 dead 2

Tokyo Necro

Back 4 blood

Passed out

Plague inc

Wanted:dead

Mortal sin

Sci-fi/techno

Astroneer

Destiny

Empyrion: Galactic Survival

Kerbal Space Program

Spaceplan

The Talos Principle

Dune:Spice wars

Atomic Heart

Star Trek Online

Star Wars battlefront

Deep rock galactic

Space engineers

New World

Ultrakill

Planetside 2

The Planet Crafter

Dyson Sphere Program

Spacebourne 2

Ghostwire Tokyo

Surviving mars

Terra Invicta

Titanfall 2

Spaceflight simulator

Space Engine Xcom

Faster than light

Fantasy/alternative world

Sable

Greedfall

Warhammer

Interconnectedness

Spore?

Journey?

Stardew Valley

can you provide an speculative etymological breakdown for the word “soodemoss “ which is a word relating to marine environments. There is no further information, so please speculate as though experiment

Gluhugunyom

termoeddha

ECSRHIANRLYSYIH

ALLSHIACIX

Eacbshlyerbenue

Minigte

INGURUMINERALS

ICKITIVI

MIDANTISSAICS

OHLIKINERARIWOCS

SISKIHILLTS

SLEEENMMIHTIT

YRIOTITRITRRIAI

Shnkoreng

FOONKEWEY

DEDIOC

BERITTYTISRBO

DRIELISSBT

REPILHEIM

Lefrumushredunt

Comhuso

CYGESELLMS

CULOQOR

EDENDE

infean

SCIMNTIO

WAORBITELPOOLIMOVOCI

Unknown words related to landscape

cnra

Nallrpe

Llynmamare

Shecniyeo

Naasli

Coutophoons

Onerdudsane

Ocukr

Gomphulpicis

Alaruonmne

Courotolo

talaalee

Bostroomvaces

hmoeloszavaic

unohnsalome

ogromnen

ECOINERACA-POOLIVCNDocacnena

CYNSIPINITAL

OMLOLAT

ANLURSEWVICOLE

LANLOFRAELE

CIDONIYEEMSNEER

MENSKOSLIWIECOCRYD

TIROSTLEC

SUTINCI

RISSKATZ

NESTINLLELYES.CWAEAME

NKUDPNCMIAANONE

autecovonen

NIWYAS

noinAIDI

Troican

WIAMY-ahtre

Juomihon

Ugoanmusory

ogonamanncos

Incorolteco

VOCESSEIRADO SELERCOMI

Wawmimoas

onavimo

firndt, Inscuenex

Vososta

ubowlo

Stmicutassade

Ineas

Snorinn

cantsliaveall

sunb

bcottusrools

Urionlos

andinyd

Onbodledation

Ocanls

Eeos

Baviat

bagnnae

Auuitlen

Thouraaxurne

mendilu

Bofel

Vustareaisones

Sapidone

Scicesth

Beptrost

lavcaslondocel

ollo

Pweydbrendst

nuous

usmely)orrettsunn

Dearput

boweed

mcrumlpsyo

Umaneyo

Jastad

ANUYAIDO CIAORIPBS,

CITHONO JOLGMI SWROSB

Binnederk

UAPORA

GABONCASIONA

JOCIAT

Words related to marine environment

CONDOMMER

CHETORGRNA

HITAMINE

BARIERANDRES

mattest

geaniis

Messnerbro

Namsavran

Meloarkas

soodemoss

Thпoorėibenal

Moirtns

Opnas

oheredhos

vllesllibemnad

ACUDCIS

SAGURIONUR

anmaxenounousien

SAHNAMGAR

Cicnomeaace.

RREASTOCHE

Ssitmous #

ralum

CudioEMIODY

hoedera

Rybooooe

AUGINTIVEORT

Ezallenurarona

nadaornau

PANSHION

Guanacondounenon

BLAFICERETTSTONS

Samimsotsr

Eurtmaciosve

CEIZAEN

PFIRECTS

Ourcinians

Averissts kadcgal curoblecuman toldma amamomon Alacintion CONDDARESSION arougaban.

CLABSIAIOS GARNOMMEN [prologue]

There is a place where every image that ever has been or ever will be, exists

It is hidden space, obfuscated from view

Emergent text to image generators enable access to this place

Any image can be retrieved within 60 seconds.

This place is the Infinite Image Library [whoosh] [act i]

Text to image generators such as midjourney and dall-e2 are pattern synthesisers.

They learn patterns from images in large labelled datasets, billions of images deep A cross section of humanity

Our interpretations and biases reflected back at us

This is Bob, Bob is an existing image of a person surfing whilst wearing glasses and a hat. Bob is an example of an image in a training dataset. Nice one bob.

Whist training, text to image generators learn from images like Bob. Specifically the generator learns the patterns of the image. For example the hat, glasses,

and surfboard. These are then transformed into vectors, or coordinates and stored within the latent space, a multi-dimensional space located within text to image generators. . These patterns are now spatial.

The example here shows the patterns mapped onto 2 dimensional space.

There are up to 770 dimensions in latent space.

Patterns are not limited to only objects, intangibles such as feelings, atmospheres and styles all have their patterns too.

To generate an image a user inputs a prompt, a string of words and phrases describing situations, compositions, and desires. Here, the user inputs A surfing dog in sunglasses. Cool.

Text to image generators transform each word of the prompt into a vector.

Mapping these elements onto a 2 dimensional space looks like this.

The generator then finds the equivalent image vector points to find the patterns for the image. These patterns are synthesised to generate a base image. But we are not done yet.

To this base image random noise is added and then denoised. This enables variations to images retrieved, even if they have the same text prompt.

It is this combination of pattern potentiality and noise that enables access and generation of every image that ever has been or ever will be.

[act ii]

We live in an accelerating image culture. Knowledge is now predominantly spread through images not words, facts, or real experiences.. Access to the Infinite Image Library is both a great opportunity and a great

risk.

To understand all of the library is a supertask, an infinite task that can never be finished. However, if we can, for the briefest of moments grasp a fleeting glance of the library, there will be much to learn.

This project is aimed at comprehending the process of the infinite image library, not the design of the library itself, as object. It is aimed at how it is able to build its world. Its interconnected world.

Every image contains every other image. Every pattern is in some % in every image. When you take an image from the library you are borrowing it from this thick interconnected web of pattern and image. Every pattern exists as an image in the library.

Unrestricted access to the Library and reckless retrieval of image, presents a great risk to our structure of knowledge. We must understand the power and powerlessness of images, being wary of the infinite fictions that travel upon them. Understanding the process of the library could engender greater care for each image taken out the library, and thus, greater care for the way our knowledge flows upon them.

We currently build the world upon methods of never ending growth and human exceptionalism, that the world beyond humans is for human use and extraction. This view causes and continues climate crisis. The ignorance of the deep sticky entanglements of human and non-humans interconnectivities, thins the world and the experience of it.

Our ecological pulse is waning.

Can the methodology of the library resuscitate our attitude to the living world? [act iii]

We currently move through the library linguistically. We explore the library in words that we know,

constantly strengthening those connections, and weakening the likelihood of other, less common connections. There is a vast dearth of knowledge deep in the annals of the library, where the lights have been turned off for a very long time. The Library presents us with an opportunity to re-wild our language, to increase our vocabulary, to experience nuanced conditions, to be more aware of subtleties and unknowns. To name is to experience.

The process of re-wilding language in collaboration with the library is as follows;

1 - use midjourney to reveal unknown words with prompt;‘ word cloud of unknown words, decoupled from their meaning, words related to landscape’

2 - ask chat gpt to provide a speculative etymological breakdown of words found in midjourney image

3 -use midjourney to visualise these unknown words and their speculative meaning

4 - draw the image of the rewilded word related to landscape

It is the interconnected process of using the library in recursive infinity, of a process feeding into itself, each repetition thickening the experience of the library and of our world.

Words that have been revealed; Conddrassion, a period of time spent observing or studying the process of condensation in arctic marine environments

Samimsotsr, the origin of the oceans brine,

These words recorded in the Codex Ad Infinitum, organised in patterns, the smallest elements of linguistic expression in the library.

This is only a glimpse of the process of the Library, but the interconnectivity of information has enabled a rewilding of language, which both enables further exploration into the library and thickens the experience of the living world. Both these places now pulsing in this rhythmic ritual.

Each image is connected to every other image, knowledge lying latently, awaiting. All you need are the right words.

[epilogue]

How does the project further the comprehension of the library?

A game?

How is best to experience the process of the library?

In the wake of the crit, what are the next steps?

It is clear that presenting the project by way of the animation did not clearly convey the project or the goals of the project. Indeed, maybe the aims of the project are not clear at the moment. Thus, a critical reflection is required to re-evaluated what the most important things are in the project. I.e. what is the project trying to do, why is it important. Once these can be conveyed in its simplest terms then the project can be engaged with in a better way. I should find a way to engage better in conversation with people are the presenting the work. Is it that I need to be able to describe aspects of the work more clearly, or have more thaan one way to describe something? Some analogies could be very useful to enable understanding of the project. Therefore, for each element of the project there should be an equivilated analogy as back for described the project. Because of the fuzziness of my understanding of

We see in patterns

But think in words?

Make set Infinite dispatch

Carrier bag

The warp and weft of patterns, find that

Narrative script of the journey

Does puca have a place

Codex test - designed writing

Pin up plan -

Research book

Possible workflow, bg and characters photoshop, grain noise brush, frame by frame animation, after effects

James Fray <10004512@network.rca.ac.uk>

Fri, 31 Mar, 12:54

to Matteo, Thomas, Nicola

w/r/t crit feedback

1. I see it as a tremendous failure on my part to adequately explain the project to people who are seeing it for the first time. Which i find difficult to reconcile with because i thought the video clearly delineated my reasons with part i - how the iil exists part ii - why i am interested in it part iii - an example of the process

2. who are you, a question of what’s my role as designer, but in an interconnected world what is your role as designer, it matters less who you are, only that you are co-author/collaborator in the interconnected web. why are we still so fascinated in architecture upon the egotistical one true designer?

3. what is a librarywhy is he asking me what i think a library is??? or what the most important word is in infinite image library - that is not the interesting thing in the project!!!

4. to be asked at the end - why even look at the library, why not look at a laptop??? why have i so badly described the project to be asked this

5. why do people struggle so much to engage with the project first time

6. without seeing alluring images from the libraryfail to grasp the potential and risk of the library?

7. you’re not borges, you’re not a surrealist speculative fiction writer (you’re not a poet, or a filmmaker!!), again, a question of agency? I hate this ‘criticism’ so much, yes i am architecture course but trying to push it to its boundaries, not constructive feedback. very frustrating

8. Was I being un-generous in the way I presented and answered questions about the project? I felt the critics were being un-generous in the way they received the project (what is the huge jump in project that I am failing to explain? Is it that seeing architecture as a world building process is not that convincing?)

9. if these questions can be answered by design. what am I designing - the revealing of the process of the library? because it’s not the actual design of the iil. Is this where people get lost in the projectwhat the process feels like

10. I mentioned at the end of the pres what I wanted feedback on, only later to be told that I can guide the feedback that I get, but I specifically said what I wanted feedback on? granted, there were roadblocks to receive feedback on this, i.e. the critics didn’t understand why the library was a worthwhile endeavour.

11. My main problem is that I feel very frustrated at not being able to adequately represent the project to people who have not seen it before, therefore in the final exam how on earth can I expect to pass if I do not address this point?

12. process of rewilding language ‘not very clever’.... so what?

Nonetheless, I thoroughly appreciated that you guys are into the project and think it worthwhile (maybe even exciting!).

These are just my thoughts on how the feedback

went. Mostly frustrated at not being able to have a productive conversation.

style

fantastic planet rene laloux retro future i.e. risograph prints kilian eng

composition the french dispatch narrative newspaper (née codex)

animation models stories in newspaper

https://www.youtube.com/watch?v=k0bWqq8sQiE - simon armitage, florence pugh

https://www.youtube.com/watch?v=FZl2hfQ9ICw - sinead obrien

https://www.youtube.com/watch?v=wupToqz1e2g - pale blue dot carl sagan

https://vimeo.com/508141139 library of babel animation

https://www.pinterest.co.uk/pin/307933693286914338/ infinite animation

My current difficulty in engaging with the project pertains to not exactly knowing what to do. In the wake of the crit it is clear that a 10 minute presentation video is not the ideal way to present the project. I should do a live narration, learn the script etc.

What am I designing, a spatial experience of the library, to experience interconnected worldbuilding, to experience a place that only exists in the present.

Design of the images borrowed from the library, both as objects and narratively i.e. through the words chosen to retrieve the images.

Design of a journey through the library. This involves a consolidation of the context of the library. Site analysis- understanding how this place works, vector space, the rules.

An understanding of current world building methods synthesised into a character and scene?

A proposal of new world building methods in interconnectedness.

The success of this method cannot be proved, this step is perhaps where the project loses clarity to those who do not appreciate the thought experiment in and of itself.

The project has never been about proving it to be right, only glimpsing a different world building axiom, to encourage more thought and exploration into it. The projec too aims ot highlight my dissatisfaction with current worldbuilding and current architectural practise, including the role of riba in education.

Further, i want the work to speak for itself, I don’t want to project to come across as conceited or that I’m trying it on. But these are the ways, nonetheless, that the project is coming across, to those who don’t see the project as architectural.

What i want to do

The terms upon I wish to be accessed;

The derisory state of current world building, especially in construction industry

The potential of alternate world building axiom

The fuzziness and softness required. A space for softness

The convincingness of the experience

Game not viable for exam, not going to be the best way to show the project in 10mins, thus potentially make for show instead

Performance Animation with live narration from with image columns v2

Other props e.g. codex, infinite dispatch, sets from the iil

The animation is as so

Poems as developments of daydreams

The second time you see the project you are softened to its intentions

Maybe they occur as discreet objects rather than connected story, i.e. moments from the library, that are connected. Loose narrative

Physical animation or digital? Or a mix? Metal set physical, Digital charcters

Hand drawn backgrounds?

To do then; Test of codex

Test of discreet scene

Design of the experience of navigating the library; the codex. Codex seraphinanus

Design

The warp and weft of patterns

armitage

Power of the list

List

Litany

Incantations

Song Repetition

Rhyme

Scene, sketch

The geography, the geometry, the personel established quickly

The common reader

Research book

Internal rhyme

Slant rhyme

LATENT SPACE

An abstract multi-dimensional space that encodes meaningful internal representation of externally observed events.

Learning the features of data and simplifying data representations for the purpose of finding patterns

patterns/images/patterns that are similar in the external world are positioned close to each other in latent space

Raw data, such as the pixel values of an image are transformed into vectors in a lower dimensional space, compressed, only the essential information remains, data is encoded, and classified

Data is compressed to learn important information about data points, akin to a philosopher reducing ideas to its essentials

It is a highly ordered space

Word embedding lie in latent space where every word is encoded into a low dimensional semantic vector, so instead of visually similar, they are organised sematically

What is a manifold

Embedded in a manifold

Manifolds describe a vast number of geometric surfaces

Manifolds exist in any dimension

Smooth, no edges, there are no corners in the library Manifold can represent high dimensions

We can represent an image through its pixels, but we can also classify images through their sematic representation (semantics in architecture

High dimensional datasets are very difficult to visualise. Data in ⅔ dimensions can be plotted to show

the inherent structure of the data. ran

The model then reconstructs images through compressed data,

Images in machine learning are represented as three dimensional spaces , as arrays of pixel values, so rgb has 3 channels

An image of size 64x64 pixels then has three values for exach pixel related to r g b value, which means it is a high dimensional vector ofs 12,288 . Latent space compresses these images to 100 or 200 for example. Up to 770

Mapping an image of the library through data science, t-distributed stochastic neighbour embedding, similar to images of the entire universe

We can interpolate between images

https://projector.tensorflow.org/ https://metaphysic.ai/what-is-the-latent-space-of-animage-synthesis-system/

The architecture of latent space emerges directly from the data

Autoencoders Interpolation

Manifold learning

Structural similarities between images, the structure of image#

How it is a high dimensional space

Each pixel has a 3 colour values

Pixel one [255,0,0], [0,255,0], [0, 0, 255]

Each pixel has a position relationships /patterns between images that are in high dimernsional space

Vector point 100x100 pixel 10000 x 3 30000. Compressed into latent to get rid of unnecessary information. Reduces the amount of dimensions up to around 800 dimensions.

SCRIPT

Animated video - 10 mins? Maybe shorter

Act 1 scene 1

Shot of the knowledge forager, introduction to who they are and what their goal is.

Act 1 scene 2

Omnipresence of the past, drowning in the weight of the past

Digital existence, accelerating image culture and the fact that our method of knowledge transfer has changed from aural tradition

Act 1 scene = Collapse of the presence, Everything everywhere all at once Vying for attention

Life sped up, culture slowed down Everyone is bored, nothing is boring

Act 1 scene 4

Nullification of the future

The world building axioms of never ending growth and human exceptionalism nullify our ability to thing hopeful or coherent future, much maligned by our science fiction and storytelling throught the male techno hero

Scene 5

The knowledge forager seeks to find an alternative way of world building, there must be another option, this cannot be the only way

The emergence of text to image generators provides both a warning and an opportunity. They enable access to The Infinite Image Library, a place where every image where every image that ever has been and ever will be exists. Any image can be retrieved within 60 seconds. The knowledge forager sets out to enter this space.

Act 2 scene 1

The knowledge forager enters the infinite image library

How?

Scene 2

Spatial organisation of the library

Puca shows video

Watching vector space explanation education video

Scene 3

The puca leads the kf into the library

Spatial view of the library

Set beyond the image bounds, the inbetween image

Ability to walk into any image,

Scene 4

Guided by the puca, climb the path of words, and into an image

Scene 5

Meet the skeleton cowboy, languishing in a never ending death

Conversation between the two?

Knowledge forager receives the codex infinitum, at the behest of the puca

Act 3 scene 1

The puca leaves

Kf left to own devices

Looks throught he codex to navigate the iil

Scene ii

Meets the imagination weaver

What happens during this encounter?

Explicitly explain interconnectedness of library, of an interconnected world built

Scene 3

Borrows an image from the library, melt out of the library, puca vision, possible end there

epilogue

Out of the libary., the image someone banal? Bus stand advert?

1000 images I have borrowed from the infinite image library.

Turn to vector points using code (at end of pdf) + a convolutional neural network (a machine learning thing that learns patterns)

Put vector points into https://projector.tensorflow. org/ a website that uses maths to visualise the high dimensional vector points into 3dimension visuals.

Inception v3 is the cnn used, this is different to stable diffusion but similar, like a predecessor. It still learns patterns from the image data. (image below) These are from a gan (generative adversarial network) which contain such cnn’s I made a while back. This is an example of patterns that are learnt in a cnn. In stable diffusion, the autoencoder contains a cnn. The autoencoder is what compresses the data to its essentials (i.e. patterns) for interpretation in the latent space.

So the key information is extracted from the images using the inception v3 model. These are then converted into vectors using code.

The output from the code is a tsv file with a series of high dimensional vector points, below

Inputting into the embedded space projector, converts these points into a 3d map using maths (t-distributed

stochastic neighbour embedding (t-sne)). T-sne looks for pattern commonalities in high dimensional space and clusters that in low dimensional space (3D). Because there are many dimensions to a pattern it works more on the probability that images and patterns are similar. Below is what it looks like. Videos of the process is attached too, it makes the library look like a living, writhing thing! The maths is done in many iterations.

So this is a representation of a latent space (inception v3’s) but this is not the same latent space as midjourney or dalle2. It does still access the infinite image library, therefore this is a 3d representation/reduction of the images borrowed from the library and their relationships to each other.

I have no idea how to make one of these visualisers. Because inception v3 is not as thoroughly trained as midjourney (trained on only millions not billions of images) the results vary somewhat when re-running the process. However, certain images still tend to cluster together.

Pretty cool! I am slightly out of my depth so could have easily misinterpreted parts of the process.

It reminds me a little of the map of the universe

The Cosmic web

And neuron maps

Code (with help from chat gpt) in python through spyder:

import os

import numpy as np

import tensorflow as tf

from tensorflow.keras.applications.resnet50 import ResNet50

from tensorflow.keras.applications.resnet50 import preprocess_input

from tensorflow.keras.preprocessing.image import load_ img, img_to_array

# Load the pre-trained ResNet50 model model = ResNet50(weights=’imagenet’, include_ top=False, pooling=’avg’)

# Define the image directory image_dir = ‘C:/images’

# Define the TSV file name tsv_file = ‘output_vectors.tsv’

# Define a function to extract features from an image using the ResNet50 model def extract_features(image_path, model):

# Load the image from disk and resize it to 224x224 pixels

img = load_img(image_path, target_size=(224, 224))

# Convert the image to a numpy array

img_array = img_to_array(img)

# Preprocess the image for the ResNet50 model

img_preprocessed = preprocess_input(img_array)

# Extract features from the image using the ResNet50 model features = model.predict(np.array([img_ preprocessed]))

# Return the feature vector return features.flatten()

# Iterate over the images in the image directory and extract features feature_vectors = [] for image_file in os.listdir(image_dir):

# Ignore any non-image files if not image_file.endswith(‘.jpg’) and not image_ file.endswith(‘.png’): continue

# Extract features from the image features = extract_features(os.path.join(image_ dir, image_file), model)

# Add the feature vector to the list feature_vectors.append(features)

# Convert the feature vectors to a numpy array

feature_vectors = np.array(feature_vectors)

# Save the feature vectors to a TSV file

np.savetxt(tsv_file, feature_vectors, delimiter=’\t’)

Welcome to the Infinite Image Library. My name is James and I’ll be your tour guide today.

This project proposes the infinite image library and series of designed processes to reveal fragments of the library. It is an exploration unveiling what is currently a hidden space that exsits within text to image generators such as midjourney and dalle2. In machine learning this hidden space is called latent space. The infinite image library exists within latent space and contains every image that ever has been or ever will be.

Knowledge is now predominantly spread through images not words, facts, or real experiences. Visualising the Library helps comprehend the scale, risk, and possibility our current accelerating image culture.

To understand the library requires different methods, what I’m going to take you through is 4 distinct processes, I see it as whats in my carrier bag of the project, none more/less valid than any other, they are just different ways of understand.

We’ll start by trying to understand the location of latent space. This is intrinsically linked to text to image generators.

1 - images from the library

Text 2 image: how it works

Last Summer the public gained access to midjourney. If you have access to a text to image generator you can retrieve any image within 60 seconds.

At its most basic you input text, a prompt, a series of words and phrase into midjourney, wait, then midjourney produces an image for you. These are

examples of images borrowed from the library. They are interesting, unique, pretty cool.

Going into further depth, is even cooler. Before people have access to it, the midjourney model is trained on how to generate images. This is done by using machine learning to learn patterns from training data, contains billions of existing images. This is what the patterns look like in 2d. Colour,textures directionality. These patterns are turned to vectors, coordinate points stored within latent space. So when you input your text, it is similarly turned into a vector. Midjourney then overlays these two vector finding the equivalent image data for the text input. This is then synthesised into a single point. A fixed location within latent space. At this point if we took that point out the library we would get the same image every time. Therefore, a random noise vector is added to the new image vector, and then its denoise. Resulting in a slight variation in the image vector. This is then turned back into image data. And there’s your image.

The space where these image vectors live is the Infinite Image Library. The patterns with the noise enables every image that ever has been or ever will be to exist. The process is shown in 2 dimensions here, latent space contains up to 800 dimensions. The patterns are patterns very difficult to comprehend, there’s lots of semantic too, whats an orange that has a pattern, but also what an orange in combination with anything else, there’s a pattern for that.

This is what I think is really exciting. What can we do with this space, how can we design with high dimensions.

Maths

We can use maths to visualise the Library. I have borrowed 30,000 images from the library this year. Each of these have a location within the library and we can see where. With a bit of coding we can convert these images into vectors.. Essentially, it reduces high dimension vectors into 3d through probability that images are similar/dissimilar in higher

dimensions.

RUN animation

These images are now spatialised and we can see the relationships they have to one another, how close and how similar. Begin to see some rhythms occurring in how I’ve been moving about the library.

What this allows us to do is visualise a journey through the Library. These images here

Slight aside, is the library to reveal itself. In the library there are images of the library. I though of some rules and input these as text prompts to midjourney. What motifs came up a lot. Trees, balls, and tables. Synthesed into a 3d model. Synthesing lots of images points to one point, and the image of this model is in the library. And my interpretation of it.

Whats the forest in the infinite image library. Moving through the library by seeing whats in the image. The shelter and so on.

With the maths we can visualise and spatialise this journey. We start here and then we are exploring this cluster of the library. But we also see that we move through the library linguistically.

Codex

Another process, cartographic this time. We can see we are moving through the library, and it is current in words that we know. We see the library contains all this information. But it also means it contains lots of words we don’t know, and these spaces in the library are very difficult to get to. Although every image exists equally in the library our access to it is not.

Using midjourney and chat gpt we can find/speculate words that we don’t know. These are recorded in the codex ad infinitum, as a cartographer would if exploring a place unknown to them.

Animation

Another method to understand/to speculate upon something is it write about, science fiction, speculative fiction. This is perhaps where more of what I believe in and more of my views on existence. I am very frustrated in the methods of world building at the moment, in never ending growth and human exceptionalism. We see in the construction industry, the frivolous use of materials embodied and operational and an economy that is required to growth to be healthy.

For me, this is in part that in the face of climate crisis visions of the future are very unsure and in the face of that for some there has been a reversion to what you know, what’s proven to work. That 19th century ideals of growth or to protect your borders what is ‘yours’ i.e. brexit. In fairness our current speculate fiction is marred/deeply embedded within sci fi tropes, still we see the prevalence of space, the final frontier, in tv film, and games, dytopian future, its zombies. There is such a widespread prevalence of this, I think it pertinent.

I’m a fan of the idea of interconnected worldbuilding, this is based in the thinking Latour, Haraway, Deborah Bird Rose, Stengers, Barad, Braidotti. It’s not new, a changed mode of thought, of seeing humans and non human in multi-species entanglements, effect for every action, humans don’t exist in a vacuum. That the Infinite Image Libary is an example of an interconnected world. Every image is connect by their patterns and linguistically. I really like the idea of the Library as an example and visualisation of interconnected world building. This is just my interpretation of the library. To me thats what the library is.

So I’ve made a little narrative/animation unfinished. We explore a journey through the INfintie Image Library with the help of some character. One is the Knowledge Forager, who seeks alternative world building method. Imagination weaver, who weaves the patterns of the library and sees in interconnectedness, and the skeleton cowboy who represents our current world

building.

I’ll play the animation.

Kf

Conditions enters library

Guides to take them through We travel on words

We go to an image containing the sc We get the codex, to navigate through the library We find the imagination weaver

Learn of existing interconnectednes leave

Access to the infinite image library, for me, is a scary and an exciting event. We can access every image that ever has been or ever will be within 60 seconds. Without adequate understanding or frameworks for interpreting the information and knowledge contained within he library, it is bound to misused, misunderstood, and misconstrued. Indeed how the images we use to communicate are misused, misunderstood, and misconstrued.

These processes highlight the potential of interdisciplinary understandings of things we do not understand. My understanding of the library is rooted spatially but manifests in many different forms, as poet, writer, animator, model maker, cartography. All laterally supporting each other. All interconnected.

The project makes me reflect upon my architectural education, and how self-referential the architectural world is. for me there was a huge disconnect between architecture at university and architecture in practice. I think in part is due to that fact architecture has to exist within the world building method of never ending growth, that we have to build build build. That if you don’t take a job someone else will, for cheaper. to build at all puts a carbonic strain upon our future that we seem destined to burst. For me, the time of building and pure architects is

declining.

Yet, I think the project hints at different architectures, new high dimensional architectures that are perhaps bound to different constraints than physical buildings. How we experience them I do not know,

Personally, I would be interested to see if I could design something in a high number of dimensions for the exam, I just am not quite sure how to do that yet. Thank you.

Hopefully we haven’t got too lost on the tour of the library, thoughts/questions?

Post in progress review

Watch the midnight gospel

Interwovenness

Interwoven worldbuilding

Design has never been separate from our existence

When we breathe we touch a part of the plant with our inside

Project explained through conversations between characters in an animation

Educational video within the video

How to design something in high dimensions, up to 800 dimensions

Make a GAN, train on images taken out of the library, generator other images in the library

Fidelity of images

In praise of the poor image

This process can show that moving around in poor images is just as valid as moving around in high fidelity, possibly?

Hierarchy of image

Only use v1 images?

No such thing as a copy?

Something about aural tradition in the library

Noise Compression

Noise storm

How to record noise of the library

Re-read initial script for final exam

Involutional lures, matrix of desire lures, you have to be willing to be lured to be lured

Visualising how we move around the library

Cartographic movement - highlight biases (interesting but maybe not what I want to do)

What are the processes

Maths

Recursion/cartographic

Authothonous

Archivist

Story-teller

Write out the scene and outline of what happens in it, Midjourney images

This is a prompt book, and part codex seraphinianus

Thus it will be an animation, as performance, with the prompt book as guide

The stage is the infinite image library

What goes in a prompt book?

The script

Midjourney images that are part of that scene

The thinking/research behind that scene, so the prompt book becomes the research book

Characters

Knowledge Forager

Data Scientist

Cartographer

Disc (Image) Jockey

Imagination Weaver

AI Autochthonous/ endemic?

Archivist

Puca

Skeleton Cowboy Knowledge Forager

We begin with the knowledge forager

Recent access to t2i generators, the kf goes off in search to understand what it is and what it means Do we start with live action, then as we type into midjourney we are transformed into the knowledge forager?

Elaborate entrance

Meet the puca who says nothing but gestures you to follow into the library

Puca is your guide to meet the people of the library

They can find anyone, like the courier in skyrim

Data Scientist

Meet the data scientist

Explains how you access t2i, so there was really no need for that elaborate entrance

Noise, how images are generated Point cloud

Image jockey TRANSITION

You’re listening to latent radio, and now we will listen to image 9edoasjgnaeirgvbnsertiagbn [image sounds]

Archivist

Borrowing images and storing them in a neat fashion, catogrising them IIL instagram

Skeleton cowboy TRANSITION

AHHHHHHHHHHHHHHHHHHHHHHHHHHH

Arms falling off, Frustrated at not being able to navigate the library Rushing from image to iamge

Cartographer

Searching for unknown words

Concernedly peering towards the skeleton cowboy

Don’t want to end up like him [ pointing at skeleton cowboy]

We are currently moving through the library in words that we know, but what about words that we do not know,

I traipsed to the word cloud district to find one containing unknown words, i then used my natural language model to speculate upon their meaning, I am now on my way to those strangely strange and oddly odd places to draw what I see to show to the rest of you! Re wilding language I am!

Imagination weaver

Interwovenness of the library

Patterns, morphemes of the library as living beings

Shimmer

The library is an example of an interwoven world, much like the world from where you are from Forager

Close up of pattern moving,

Leave Library

What happens at the end, after the imagination weaver? Do we go out the way we came but now seeing in interwovenness, changing our ability to see The puca speaks

LIBRARIAN 13^n

I am Librarian 13^n of i^n at the Infinite Image Library.

These are my thoughts.

I have been travelling around the library all of my life. I have encountered only images.

The library, as far as I can surmise, houses every image that ever has been, or ever will be.

Each image exists as a moment node.

From each node springs forth a quantum seaweed strand connecting to another node.

The seaweed strands are of different weighting, the stronger the connection, the thicker the seaweed.

The images at a node are the most specific type of image.

8 nodes are clustered around one internode, the node with the greatest connection with those 8 nodes.

There are 64 internodes in a clusternode, and billions of clusternodes in a plethonode.

There are infinite plethonodes.

I receive requests, written requests. Requests for specific nodes in the Infinite Image Library. They appear in handwritten green fountain pen ink, engraved

upon my surface. Each request is permanently tattooed. The requesters do not know this.

Once the request has seared into my surface, I move to the nearest node. It is as good a place to start as any. I have been told by Librarian Helper ALT+F12 I must avoid touching any seaweed. I do not know why.

A fiery pain erupts, slowly words begin to appear on my surface; “render of modern house, lots of glass, concrete, made for a rich client, made by a developer who loves money, made by an exploited architectural assistant with no overtime pay, architecture that has not regard for the environment, RIBA is an outdated skeleton cowboy, 4k, 8k, ultra-realistic, super ultrarealistic, octane render, v-ray, unreal engine 5” This is my first tattoo.

Each image node rhythmically pulsates in an effervescence of pattern, colour, and texture. There are nodes of atmosphere, of soil, of rock, of liquid, and of memory. I am a Librarian of atmospheric nodes.

Each atmospheric node swirls around their internode, smashing into other nodes, becoming and un-becoming, constantly changing. No image stays in the same place in the library.

The ink seeps into my veins, I am becoming with the request. I am the prompt. Librarian Helper ALT+F12 did not tell me about this. I move towards the nearest node, running with it as it whips around. The ink within me does not yearn for this node. I duck a node swinging towards me. I run to a different internode and its connected nodes, the ink within begins to tug slightly at the surface. These nodes are closer. The ink longs for its corresponding node. I reach out to touch a new node, my body morphs, twists, and convulses. This is not the node. My leg is being tugged by something. It is caught. Caught in seaweed.

With accelerating vivacious vigour, I am flung along a quantum seaweed strand through node after node

[esoteric seaweed noises] WHOOOOOOOOSH!!!!!

after node, tens, hundreds, thousands. The ink within has become my flesh. I start to see what must be clusternodes? I have never seen such a scale of nodal activity, such an entropic configuration in hallucinogenic motion. Around and around, I spin along this seaweed, curving through local clusternodes. Briefly I glimpse a vague group of the built environment images. My inked being whips round with the seaweed, we fly towards the blur with maniacal velocity. Through the scales of image I travel. There are almost identical images in every direction. Still with high motion we soar past partial generalised images of neighbourhoods, streets, apartments, windows, doors, trees, renders. The images start to clear, the atmosphere of digital noise slightly lifts. I start to slow, my flesh yearns for its node, the nodes here so similar, and my flesh yearns for all of them, yet somewhere here it is the node I desire the most.

Abruptly my motion is arrested. My body envelops a node. The node. I am all ink. I am the request. The node and I, entangled, begin to diffuse out of the library. Our multi-dimensionality corporeal being convulses, dis-morphs into a series of RGB values, we are parsed and parcelled into user BIG_HAM_MAN_019 discord channel. There are four other image-librarian envelopments here too. We are displayed to BIG_HAM_ MAN_019. They choose to upscale not me and my image but librarian 13^a and their image.

So here we remain. For every image taken out, a copy replaces it in the library. We long to return to the library.

LIBRARIAN 14^n

I am Librarian 14^n of i^n at the Infinite Image Library.

These are my thoughts.

I have been travelling around the library all of my

life. I have encountered only images.

The library, as far as I can surmise, houses every image that ever has been, or ever will be.

I am a Librarian of liquid nodes. Nodes are moments of focus in the vast sea of compressed data noise that surrounds them.

I travel through this sea of compression in my vessel meandering from node to node.

Today I was caught in a storm of random noise. The harsh granularity lashed at my surface. My visibility, nothing.

In the storm my vessel creaked and ached, over demonic waves we swirled. Upon this noisy inferno my vessel struck a strange node. A node unlike any I had seen before. A node, run aground, devoid of connections.

Pointing my prompter at the node, I saw the corresponding request; a design strategy book entitled “The Infinite Image Library”, exploring a framework of the Infinite Image Library to explore accelerating image culture, the first intuitive test of interconnectedness as way of addressing cultural identity crisis in the face of ecological demise, --chaos 99

I moved closer to the node, affixed my de-noising goggles and peering into the node. The following is a recollection of what I saw;

It was at this moment I pulled away from the intoxicating image. My goggles had steamed by the heat of

node. The storm had intensified. My vessel pleading to abandon the node. I decided then, in that moment, to dedicate my life to navigate the library, not in blind exploration, but in focussed pathfinding, to find the secrets it holds, to find the dangers, to find

the opportunities. To avoid insanity and ruin in escalating endless image.

Using Perecs species of spaces to design the infinite image library from the inside out; From

1 Bed - librarians desk

2 Bedroom - librarians hovel

3 Apartment - other spaces in hovel

4 Apartment building - adjacent librarian interaction

5 Street -

6 Neighbourhood

7 Town

8 Countryside

9 Country

10 World

11 space

11-05-23 Tutorial

Animation Refs

Our Ark: https://vimeo.com/818664199

Digital Copies, Narration

Live action start

Jake Fried: https://vimeo.com/jakefried

Transition between main characters? Entry to IIL

COMPOIASCA: https://vimeo.com/channels/ staffpicks/606787404

Similar to Fried

Conversations with a Whale: https://vimeo. com/732180675

Live action start

Atmosphere

We are here: https://vimeo.com/777684384

Visual

Ksawery

Max Cooper: https://vimeo.com/574387889

Scale of images

https://vimeo.com/768239159

People simultaneously using library @3.34

Welcome to synth: https://vimeo.com/channels/ staffpicks/766323945

Explaining t2i

Hotel Nuit Noire: https://vimeo.com/channels/ staffpicks/772527747

Beginning

Library of Babel animation: https://vimeo. com/508141139

Squid Narrator: https://vimeo.com/502584352

Exploding heads

Sandor Reisenbuchler: https://www.youtube.com/ watch?v=ILAmKINnXnQ&ab_channel=SurrealismInMotion

Mind the steps: https://vimeo.com/340210759

Animation from point cloud, using blender: https://www.youtube.com/watch?v=KDFEaLAjQkI&ab_ channel=MassimoVendola

https://www.youtube.com/watch?v=lIbBhyJodZY&ab_ channel=Blender

READINGS

GUATTARI - THE THREE ECOLOGIES

P22

So, wherever we turn, there is the same nagging paradox: on the one hand, the continuous development of new techno-scientific means to potentially resolve the dominant ecological issues and reinstate socially useful activities on the surface of the planet, and, on the other hand, the inability of organised social forces and constituted subjective formations to take hold of these resources in order to make them work

24

Mental ecosophy will lead us to reinvent the relation of the subject to the body, to phantasm, to the passage of time, to the ‘mysteries’ of life and death. It will lead us to search for antidotes to mass-media and telematic standardisation, the conformism of fashion, the manipulation of opinion by advertising, surveys, etc.

Territories of existence

Components of subjectification

26

This pseudo-narrative detour deploys repetitions that function, through an infinite variety of rhythms and refrains, as the very supports of existence

32

Integrated world capitalism (IWC)

1 - economic semiotics ( monetary, financial, accounting and decision- making mechanisms);

2 - Juridical semiotics (title deeds, legislation and regulations of all kinds);

3- Techno-scientific semiotics (plans, diagrams, programmes, studies, research,etc);

4 - Semiotics of subjectification, architecture, town planning, public facilities

THE MYTHS WE LIVE BY - MARY MIDGLEY

1 (myths) are imaginative patterns, networks of powerful symbols that suggest particular ways of interpreting the world

Our dominant technology shapes our symbolism and thereby our metaphysics

2 The way in which we imagine the world determines what we think important in it

Problem of inherited enlightenment concepts; socialcontract myth, progress myth, omnicompetent science myth

8 concept of universal human rights… that morality is essentially just a contract, freely made between fellow citizens for civic purposes and ultimately for individual interest

Leaves no room for outsiders

11 that concentration on our own species is what makes it so hard for us now to take in the facts of environmental destruction or react to them effectively

21 the trouble lies in the exclusiveness, the either/ or approach, the conviction that only one very simple way of thought is rational

23 Rationality does not require us to be infallible, not to have all our knowledge tightly organised on the model of mathematics. But we are still haunted by the idea that these things are necessary

24 increased objectivity is not always a virtue, nor is it always useful for explanation

25 we exist as interdependent parts of a complex network, not as isolated items that must be supported

Against one dimensional hierarchy

26 why should we choose to represent development of our knowledge always in terms of building, rather than, for instance, of an interaction switch the world around us, leading to growth?

27 we need scientific pluralism - the recognition that there are many independent forms and sources of knowledge - rather than reductivism, the conviction that one fundamental forms underlies them all and settles everything

30 oversimple intectural systems of reductivism…. Are welcome(d) because they contrast with the practical chaos around us… they extend patterns that already suit us over areas we would otherwise find awkward. They express vision that attract us, and they obscure alternative possibilities

48 we are always passive, always being driven - like people hypnotised or possessed by an alien force

Two ways to understand emergence of desire: one is through a moment, when something shifts and the way you act and react… is fundamentally altered. The other is through accrual, how over time and reception our histoires draw us toward certain practices of ways of feeling and wanting

Desire of multi-species inter-connectivities through the archive 22

The archive was pure tease, and we were unabashedly

shoving borrowed dollar bills down its skimpy thong

23

The archive, it must be noted, is also your enabling fiction: it is the thing you say you are doing well before you re actually doing it, and well before you understand what the stakes are of gathering and interpreting it

24

Secrets between oneself and oneself

25

Just as our archival chase seems to reproduce a structure of knowledge over and over and over again

26

The archivists frustration

I am someone who writes to understand what I think; I write what I do not yet know how to place into language and thought

29 the body archive

It is a way of thinking-feeling the body’s unbounded relation to other bodies

Purge Waste

47

Symptoms mistaken for the cause What moves through the body and why Gendered forms of articulation

A genre and gender shattering sounds archive

ARCHIVE FEVER - DERRIDA

Commencement - there where things commence Commandment - in this place where order is given

Two orders of order - sequential and jussive

10

Physical archives in house arrest

Dwelling of knowledge

Privileged topology

Nomology - relating/denoting principles that resemble laws

Topo-nomology

Consignation - assigning residence, gathering together signs

Consignation aims to coordinate a single corpus, in a system or a synchrony in wich all the elements articulate the unity of an ideal configuration

11

Secret and the non secret

Putting into order

12 from what position is the order being given

Violence of the archive itself, as archive, as archival violence

Whats the boundary of an archive

14 the death drive is archive-destroying, by silent vocation (para)

The archive takes place at the place of ordinary and structural breakdown of the said memory

There is no archive without a place of consignation, without a technique of repetition, and withou a certain exteriority. No archive without outside.

Hyponema - documentary or monumental apparatus

Mnene or anamesis - eradication of memory

Archive takes place at the boundary of memory

15 the archive capitalises everything

Archive of disorder

Secret or manifest

17 the achievable and the archiving of the archive

The archivization produces as much as it records the event. This is als our political experience of the socalled news media

18 at an unprecedented rhythm,in quasi-instantaneous fashion, this instrumental possibility of production,of printing, of conservation, and of destruction of the archive must inevitably be accompanied by juridical and thus political transformation

Midjourney as archive

The archive has always been a pledge, and like every pledge, a token of the future

What is no longer archived in the same way is no longer lived in the same way

This threat is in-finite, it sweeps away the logic of finitude and the simple factual limits, the transcendentala esthetics, one might say, the spatio-temporal conditions of conservation. Let us rather say that it abuses them. Such an abuse opens the ethico-political dimension of the problem. There is not one mal d’archive, one limit or one suffering of memory among others: enlisting the in-finite, archive fever verges on radical evil.

20

Archival strata which are at once superimposed, overprinted, and enveloped in each other

BORGES - LIBRARY OF BABEL P115

All men felt themselves to be the masters of an intact

and secrete treasure. There was no personal or world problem whose eloquent solution did not exist in some hexagon. The universe was justified, the universe suddenly usurped the unlimited dimensions of hope.

The vindications exist but the searchers did not remember that the possibility of a man’s finding his Vindicaton, or some treacherous variation thereof, can be computed as zero

As was natural, this inordinate hope was followed by an excessive depression. The certitude that some shelf in some hexagon held precious books and that these precious books were inaccessible, seemed almost intoleratble

Every copy is unique, irreplaceable, but (since the Library is total) there are always several hundred thousand imperfect facsimilies: works which differ only in a letter or comma.

Perhaps my old age and fearfulness deceive me, but I suspect that the human species - the unique species - is about to be extinguishedm but the Library will endure: illuminated, solitary, infinite, perfectly motionless, equipped with precious volumes, useless, incorruptible, secret.

The library is unlimited but periodic. If an eternal traveler should journey in any direction, he would find after untold centuries that the same volumes are repeated in the same disorder - which, repeated, becomes order: the Order.

SF WITH STENGERS - HARAWAY

An imperative rather than a situated practice of thinking-with

To recognize the killing trap of believing that we have nothing but infernal choices

Brutal contemporary world

What worlds world worlds

62

A dark bewitched commitment to the lure of Progress (and its polar opposite) lashes us to endless infernal alternative, as if we had no other ways to reworld, reimagine, relive, and reconnect with each other, in multispecies well-being.

Living and dying well

Instruct. Obstruct. Construct. Run Fast, Bite Hard. Listen. Think. Respond. Teach. Organize. Resist. Change. Hope. Teachers for Thinking (and other dangerous things).

RELEARNING THE ART OF PAYING ATTENTION: A CONVERSATION SAVRANSKY + STENGERS

How can we present a proposal intended to not to say what is, or what ought to be, but to provoke thought?

Philosophy as adventure

131

I try to never separate a proposition from the problematice path from which it resulted, situating it in an open-ending story, not concluding it

An instruction is always a story cut too short

Truth and the defeat of illusion

133

We have to side with some ways of living and dying and not others

Each time you are right, the world is poorer

If you are able to add a dimension to a situation, it is because you are not the author of the addition

Do not cut the threads - honour the way you are

indebted in order to escape the triumphalist ring of truth

We have to inherit it (the past) together with the possible it conveyed, to make it denser and more indeterminate in order to inhabit a thicker, ongoing present

134

Speculation comes from Latin - speculators were spies, or scouts, or guards on a watchtower, not a contemplative activity but one of the lookout __ To be a speculator is to be an observer, a watcher alert to dangers

Not speculative vision but speculative gesture, calling for the addition of relevant dimensions

The point is not to solve a problem but make it more interesting To produce a new appetite for what may be possible

135

We cannot play the innocent and produce conceptual ideals warranting our innocence. Accepting that we are in the mud means that living is dangerous, and thinking is dangerous.

136

Paying attention means slowing down and accepting that intrusive interstices open up even in the midst of an urgency

Life itself lurks in the interstices of our reasons That maybe something has been muted that we need a suspension to entertain the possibility to throw the dice again. I call it an art because it needs a ritual in order to disaster this possiblity. And this is very intersting when we do it well and with joy . It is just cerating the occasion Paying attention to the things that lurk

Attention should not be paid to EVERYTHING

It is a matter of a cultivation of our reasons, of feeling together both what they do to the situation

and the fact that they do not demand our submission

137

Neither bad nor good; it was meaningless

The need to ritual

138

We should never accept any destruction by capitalism as well deserved

139

New narratives corroding the ones which divided us

STENGERS - PLURIVERSE

The horror of becoming a dupe

William james

Thinking after progress

P 403 we live in a veritable cemetery for destroyed practices and collective knowledges in stengers 2015

p98

How do we educate a public that never ceases to fall under the spell of irrational forces against which it is powerless?

P404 JAMES IN A PURALISTIC UNIVERSE ….. A philosp[hy may indeed be a most momentous reaction of the universe upon itself

405

What universe is being created through and with our mistrust

It thins the universe, reducing the density of modes of existence

The capricious, reckless, reality was to give way to the uniform course of a nature which would then reliably reward rational knowledge and serve human ends

Do our ideas result in a thinning of our conditions of

existence and thought or in a thickening?

Abstractions of things

406

Moderns did not just posit nature as uniform, they largely render it so – thin value of products which are dependent on inputs

But effectively abstracting beings, depriving them of their capacity to precipitate in the thickness of their world also means robbing them of their own dynamics

The politics of mistrust

Reducing environments to a simple resource, using scalable categories that make ways of living, of attaching, of valuing equivalent or insignificant

destruction of collective subjectivity by a generalized competition at all levels between individuals

Mutualist ecologies

An individual is what it is only with others, thanks to others but also at the risk of others.

P409

If thinned down worlds are worlds which we have good reasons to fear and mistrust, thicker worlds require a culture of attention

Involutionary worlding

The middle voice

411

We need to cultivate a fabric of sociality that transforms our claims into practical stories of becoming with each other, thanks to each other and at the risk of each other.

The disenchanted world

Reciprocal capture Mutualities Volution

Kin

Ancestral power

Passionate immersion

Pulse

Motion

Rhythmic

Ephemeral moment of capture

Ancestral power moves actively across the world through shimmer

Temporal patterns are foregrounds and backgrounding

Ecological patterns are manifold Multispecies, multifaceted species relations and pulses

THE WAR OF DREAMS AUGE

P5 the western ethnographic tradition has been interested in images, those produced by others: their dreams, their hallucinations, their possessed bodies

Anthropology has been interested in the individual imagination, in its perpetual negotiation with collective images; in the making also of those images… objects which appeared both as producers of images and as social connection

P6 it is the conditions of circulation between the individual imagination (for example, the dream), the collective imagination (for example, myth), and fiction (literary or artistic, visually constituted or otherwise) which has changed

We all have the feeling we are being colonised but we don’t exactly know behind by

One question that can be asked is about the threat posed to the imagination by the systematic ‘ fictionalsation’ to which the world is subjected, and this turning into fiction itself depends upon a set

of power relations which is very concrete and very perceptible, but those terms are not easy to identify. To put it in a nutshell, we all have the feeling that we are being colonised but we don’t exactly know who by; the enemy is not easily identifiable; and one can venture to suggest that this feeling now exists all over the world

P10 the question of identity is posed always in relation to the other

BRUNO LATOUR - DOWN TO EARTH

P2

The absence of a common world we can share is driving us crazy

Without the idea that we have entered into a New Climatic Regime, we cannot understand the explosion of inequalities, the scope of deregulation, the critique of globalisation, or, more importantly, the panicky desire to return to the old protections of the nationstate

P3

The climate question is at the heart of all geopolitical issues and that it is directly tied to questions of injustice and inequality (the UK) decided on impulse to stop playing the game of globalisation. In search of an empire that had long since vanished, it is trying to pry itself away from Europle

P4

The resumption, extension, and amplification of migrations

The very notion of soil is changing

P5 we are all in migration towards territories yet to be rediscovered and reoccupied

Do we continue to nourish dreams of escaping, or do we start seeking a territory that we and our children can inhabit?

P6

To the migrants from outside who have to cross borders and leave tier countries behind at the price of immense tragedies, we must from now on add the

migrants from inside who, while remaining in place, are experience the drama of seeing themselves left behind by their own countries

The ordeal common to all: the ordeal of finding oneself deprived of land

This ordeal accounts for the relative indifference to the urgency of the situation, and it explained why we are all climate quietists when we hope, while doing nothing about it, that “everything will be all right in the end.”

How can we not feel inwardly undone by the anxiety of not knowing how to respond

P8

The sense of vertigo, almost panic, that traversxes all contemporary politics arises owing to the fact that the ground is giving way beneather everyone’s feet at once, as if we all felt attacked everywhere, in our habits and in our possessions

When the rug is pulled out form under your feet, you understand at once that you are going to have to be concerned with the floor…

P9

The new universality consists in feeling that ground is in the process of giving way

P10

migrations without form or nation that we know as climate, erosion, pollution, resource depletion, habitat destruction. Even if you seal the frontiers against two-legged refugees, you cannot prevent these others from crossing over

Neither state sovereignty nor inviolable borders can take place of politics any longer

P11 how can we rewears edges, envelopes, protections; how can we find new footing while simultaneously taking into account the end of globalisation, the scope of migrations, and also the limits placed in the sovereignty of nation-states that are henceforth confronted by climate change?

The most basic right of all is to feel safe and protected, especially at a moment when the old protections are disappearing

P27

Neo natives

P38 trump politics has no object

Terrestrial architecture

P52 what counts in politics are not attitudes, but the form and weight of the world to which these attitudes have the function of reacting

P53 inauthentic authenticity

What does it mean to belong to a land?

P54 whereas the Local is designed to differentiate itself by closing itself off, the Terrestrial is designed to differentiate itself by opening itself up For Terrestrial is blind to the earth and to land, but it is also a way of worlding, in that it aligns with no borders, transcends all identities.

P86 we no longer know on what to depend for subsistence

We are earthbound, we are terrestrials amid terrestrials

THE LIVING MOUNTAIN - NAN SHEPHERD

ESSENTIAL Nature

1

It is a tale too slow for the impatience of our age, not of immediate enough import for its desperate problems

2

The plateau is not spectacular

Elementals

The source of rivers

4 one walks among elementals, and elementalsw are not governable

10 This changing focus in the eye, moving the yee itself when looking at things that do not move, deepens one;s sense of outer reality. The static things may be caught in the very act of becoming. By so simple a matter, too, as altering the position of one’s head, a different kind of world way be made to appear

11 I knew when I had looked for a long time that I had hardly begun to see

13 Eye and foot acquire in rough walking a coordination that makes one distinctylaware of where the next step is to fall, even while watching sky and land. This watching, it is true, is of a general nature only; for attentive observation the body must be still

14

It is necessary to be sometimes exclusive, not on behalf of rank or wealth, but of those human qualities that can apprehend loneliness

Let the landscape speak

15 Yet often the mountain give itself most completely when I have no destination, when i reach nowhere in particular, but have gone out merely to be with the mountain as oine visits a friends with no intention b8ut o be with him

26 one hears it without listening as one breathes without thinking. But to a listening ear the sound disintergrates into many different notes- the slow slap of a loch, the high clear trill of a rivulet, the roar of spate. On one short stretch of burn the ear may distinguish a dozen different notes as once

w/r/t snow

30 one is companioned , but not in time

The act of falling over in mud

THE DARK SIDE OF EMPATHY: MIMESIS, DECEPTION, AND THE MAGIC OF ALTERITY - BUBANDT AND WILLERSLEV

5 the first-person imaginative projection, at once emotional and cognitive, of oneselt into the perspective or situation of another

Empathy and deception

6 ..give up the implicit idea that empathy is always a moral virtue and instead embrace a broader approach that also encompasses its darker, but no less social side

A b list of empathy

A

Altruism

Consolation

Intersubjective compassion

Care

Social cohesions

B

Deception

Violence

Seduction

Manipulation

Devious mimicry

‘Tactical empathy’

Sympathy and empathy

7 lauren wispe in quote “in empathy, we substitute ourselves for the others. In sympathy, we substitute others for ourselves”

To step into someone shoes and then out again

8 empathy is pre-linguistic (empathy) emerged from the capacity to match another’s emotional state, a capacity that enabled the kind of emotional contagion that is the basis for sociality

Decoupling empathy from morality

9 taking another’s perspective is a neutral capacity. It can serve both constructive and destructive ends

Pious hypocrisies

Empathy to create the radicalised other

11 projection, it seems, always lies concealed at the heart of empathy

Russian doll model of empathy

12 everyday life is full of instances where we empathize yet have concern for the other “switched off” as a matter of course

13 The magical quality of alterity that is at the basis of sociality itself

Entanglement of alterity with the empathic imagination

Mimetic empathy

Seduction only works if the object of seductions wants to be seduced akin to the matrix of lures and desire dbh

16 the mimetic exaltation of the animal spirit’s own self-image

Seduced into doing so through acts of mimmetic empathy through which the hunter transforms the animal’s perception of reality into a manipulated fiction of limitless sexual desire

Sympathetic magic

17 To mimic somebody or something is to be sensuously filled with that which is imitated, yielding to it, mirroring it bodily…. A powerful way of comprehending, representing, and above all controlling the surrounding world

18 the emotional nature of empathy…is not sentimental, as sympathy is

Wispe woo again “in empathy the self is the vehicle for understanding, and never loses its identity.

Sympathy, on the other hand, is concerned with communion rather than accuracy, and self-awareness is reduced rather than enhanced.

19 sympathetic magic should therefore be renamed empathetic magic since it is empathy’s condition of being both “inside” and “outside” -part of, yet also detached from the object imitated- that makes this kind of magic effective in controlling the surrounding world

20 all beings are subject to the same cosmic rule, of being both eater of and eaten by other beings

23 social imaginaries of betrayal are central to an understanding of how collective violence is mobilised and legitimated

Appadurai’s “hypothesis of treachery” is that brutal violence becomes a way of dealing with the uncertainties of intimacy and self-identity in a global world where the political stakes of identity are exceedingly high, but identity categories also increasingly abstract

Ethnocidal violence

25 the investigation of instances where empathy and violence, sociality and deception are linked rather than opposed offers a better vantage point from which to study human life

27 deceptive decoys may employ inaccuracy in order to work

28 violence is a “world-making” just as much as it is a “world-unmaking” through the “sadistic potential of language”

29 The ambivalence of empathy, which suffuses both its dark and bright side, is therefore really the magic of sociality itself.

WHATEVER HAPPENED TO EMPATHY? - HOLLAN + THROOP

386 When it (empathy) is important, how is this knowledge gained and how does it differ from other kinds of social knowing?

How does empathy differ from related concepts of sympathy, intersubjectivity, and intentionality

Intersubjectivity is often characterized as being oriented to another as another subject with experience that affect and are effected by other such subjects

Scale of empathy

Acts of empathy

The role that narrative practices play in helping to create a place in which th otherwise hidden landscapes of international, motivation, and desire of other minds are given an expressive vehicles providing shape and meaning to what may otherwise bey the pure sequentiality of observable acts

Mindreading

Difference between empathy and projection. Projection you project your thoughts onto the person and back and you. Empathy is the first person like experience of the person

Understanding why the empathy subject feels and thinks the way they do not just the fact that they do

393 empathy or its lack can be seen, then, as a type of metacommunication maong people that can reinforce or undermine other forms of communication and interaction

394 much of social life goes on without empathiclike awareness or when such awareness is actively suppressed or discouraged

Empathy is an ongoing, dialogical, intersubjective accomplishment that depends very much on what others are willing or able to let us understand about them

Empathic encounters to learn more about the self, the empathic subject

Temporality

Social knowing

How people gain knowledge of others and reveal or conceal knowledge of themselves

Can you be empathised about without being aware of being empathised with?

SPECIES OF SPACE- PEREC

5

To start with, then, there isn’t very much: nothingness, the impalpable, the virtually immaterial

12

There are few events which don’t leave a written trace at least

13

This is how space begins, with words only, signs traced on the blank page

Space as inventory, space as invention

15

Space as reassurance

68

I don’t have a lot to say concerning the country: the country doesn’t exist, it’s an illusion

WHAT DO PICTURES WANT? MITCHELL

Xiv in its most extended sense, then, a picture refers to the entire situation in which an images has made its appearance

Pictures… have always been with us, and there is no getting beyond pictures.. To a more authentic relationship with Being, with the Real, or with the

Worlds

Xv poetry (as “making,” or poiesis) is foundational to picturing. Pictures are themselves products of poetry

What claim do they (pictures) make upon us, and how we are to respond

6 the agency, motivation, autonomy, aura, fecundity, or other signs that make pictures into “vital signs,” by which I mean not merely signs for living things but signs as living things

Pictures are something like life-forms, driven by desire and appetites

Note: Resonance of images. The wound of an image (barthes)

10 we need to account for not just the power of images but their powerlessness, their impotence, their abjection

Grasp both sides of the paradox of the image: that it is alive–but also dead; powerful–but also weak; meaningful–but also meaningless

Image as organism

11 images are like living organisms; living organisms are best described as things that have desires

25 where are they (images) leading us? What is it that they lack, that they are inviting us to fill in? What desires have we projected onto them, and what form do those desires take as they are projected back at us, making demands upon us, seducing us to feel and act in specific ways?

32 Are images the terrain on which political struggle should be waged, the site on which a new ethics is to be articulated?

34 we as critics may want pictures to be stronger than they actually are in order to give ourselves a sense

of power in opposing, exposing, or praising them

Abomination and adoration

35 if one could interview all the pictures one encounters in a year, what answers would they give?

36 above all they would want a mastery over the beholder

Fried quoted ‘a painting… has to first attract the beholder, then to arrest and finally to entrall the beholder

Connection to matrix of lures and desires in shimmer

Suppose, for instance, that the desires of pictures were modeled on the desires of animals?

HANNAH ARENDT: THE CHALLENGE OF WORLD-BUILDING ROWENA AZADA

1Labour - activities that ensure the human species’ biological survival

Work - Activities that establish the enduring world of human artifice

Concerted action - activities that provide those who speak and act with incentives to engage in politcs

Super-author, no overarching metastory

Texts and infrastructure

text

4

The public world of texts serves both as a bridge and as a necessary barrier between people; it bridges the space between writer and reader without eliminating that space

It is a fabrication of human hands, though not of any specific set of human hands; as such, it cannot be destroyed by any specific individual

Fabrication of the real world, + via speech-discourses

that express a heterogeneity of perspectives -> coaxes another world into existence - that world which is real insofar as it is the “common world”

7 the common objects of discussion, the shared texts that bind a people together

Someone talks to somebody about something that is of interest to both, because it is inter-est, it is between them

Interconnectedness lies in the in-between that results in the creation of connection strands

Infrastructure

Around the convergence points of inter-ests, public spaces emerge as zones of where people, however diverse, can encounter one another and potentially engage in concerted action

The problem of world-building in foundationalist, universalist, and abstract terms

12

The twin poles of solidarity and plurality

The recording of dissenting voices as validity, or discourse of diversity

SHIMMER WHEN ALL YOU LOVE IS BEING TRASHED - DEBORAH BIRD ROSE

P52 life flows from ancestors into the present and on into the future

P53 brilliance allows you, or brings you, into the experience of being part of a vibrant and vibrating world

P54 in music there are multiple different temporal patterns, and it is through those temporal patterns that one starts to experience shimmer. Ethnomusicologist describe these experiences as iridescence Pulse

P54 ecological pulses come from and enable the experience of ancestral power

For shimmer to capture the eye, there must be absence of shimmer

P55 To act as if the world beyond humans is composed of “things” for human use is a catastrophic assault on the diversity, complexity, abundance, and beauty of life

Man is only exceptional in their capacity to fuck up the planet.

“man is the only animal to voraciously, relentlessly, and viciously wreck the lifeworld of earth

51 A matrix of power, desire, and lures and to move across several species and cultures to draw our attention to the brilliant shimmer of the biosphere

Reciprocal capture is “an event, the production of new, immanent modes of existence” in which neither entity transcends the other or forces the other to bow down

52 shimmer may help us better notice and care for those around us who are in peril

Extinction vortexes

Extinction cascades involve failing connectivities

53 passionate immersion

Aesthetic - things that appeal to the senses, … evoke or capture feelings and response

Lures that both entice one’s attention and offer rewards

Brilliance actually grabs you

brilliance allows you, or brings you, into the experience of being part of a vibrant and vibrating world

Eye captured by sun glinting on water

It is a capture that is all over the place

It is equally a lure: creatures long to be grabbed, to

experience that beauty, that surprise, that gleaming ephemeral moment of capture

One’s actual capacity to see and experience ancestral power

54

A pulse is performed first by bringing the painting from dull to brilliant. Then, at the end of a ritual, the brilliant paintings are rubbed out; they are made dull again

Pulse between wet and dry seasons

Shimmer comes with the new growth, the everythingcoming-new process of shininess and health, and the new generations (in footnote) the shimmer of ecological pulses arises also in their intersecting and crosscutting ripples, for example, the work of the sun ensures that rain does not take over the earth, and the work of the rain ensures the sun does not take over; their pulse is complimentary, and each part arrives as relief from an excess of the other. …. The effect , if one is attentive, is an iridescence or shimmer sparking up at these larger scales

For power to come forth it must recede

For shimmer to capture the eye, their must be absence of shimmer

Absence brings forth, not as a lack but a potential

55

Not only life and life’s shimmer but many of its manifold potentials are eroding

58

Care is an ethical response involving tenderness, generosity, and compassion, and care is an ongoing assumption of responsibility in the face of continuing violence and peril

Pulses of harm and care

Care is a part of a wider story of desire

WANDERLUST - SOLNITT

xii walking itself has not changed the world, but walking together has been a rite, tool and reinforcement of the civil society that can stand up to violence, to fear, and to repression

xiii the inactive body becomes less and less capable of action

Xiv only by recuperating a sense of inherent power can we begin to resist both oppressions and the erosion of the vital body in action

Xv while walking, the body and the mind can work together, so that thinking becomes almost a physical, rhythmic act

Each walk moves through space like a tread through fabric, sewing it together into a continuous experience

5 thinking is generally thought of as doing nothing in a production orientated culture, and doing nothing is hard to do

9 many people nowadays live in a series of interiors…. disconnected from each other. On foot everything stays connected, for while walking one occupies the spaces between those interiors in the same way one occupies those interiors. One lives in the whole world rather than in interiors built up against it

10 it’s the unpredictable incidents between official events that add up to a life, the incalculable that gives it value

11 the random, the unscreened, allows you to find what you don’t know what you are looking for

45 pilgrimage is one of the fundamental structures a journey can take - the quest in search of something

50 the Walker toiling along a road toward some distant place is one of the most compelling and universal images of what it means to be human, depicting the individual as small and solitary in a large world, reliant of the strength of body and will

TRACTATUS WITTGENSTEIN

3

What can be said at all can be said clearly, and what we cannot talk about we must pass over in silence

9

2.0131 a spatial object must be situated in infinite space (a spatial point is an argument-place)

A speck in the visual field, though it need not be red, must have some colour: it is, so to speak, surrounded by colour space. Notes must have some pitch, objects of the sense of touch some degree of hardness, and so on.

11

2.022 It is obvious that an imagined world, however different it may be form the rela one, must have something - a form - in common with it

17

2.171 A picture can depict any reality whose form it has.

A spatial picture can depict anything spatial, a coloured one anything coloured, etc.

2.173 A picture represents its subject from a position outside it. That is why a picture represents its subject correctly or incorrectly

23

3.144 (names are like points; propositions like arrows - they have sense)

3.221

Objects can only be named. Signs are their representatives. I can only speak about them: I cannot

put them into words. Propositions can only say how things are, not what they are.

25

3.251 What a proposition expresses it expresses in a determinate manner, which can be set out clearly: a proposition is articulate

3.6 A name cannot be dissected any further by means of a definition: it is a primitive sign

FROM THE TREE TO THE LABYRINTH - UMBERTO ECO

Dictionary - takes into account only those properties necessary and sufficient to distinguish particular concept from others (analytical properties)

Encyloopedia - knowledge of the world, not necessary properties

Arbor porphyriana

4 defining a substance means deciding, among its attributes, which of them appear to be essential, substantial form

Groups of attributes as a collective that couldn’t mean anything else

A definition says what something is, whereas a demonstration proves that something is

Predicables: Genus, species, difference, proprium, accident

Infima species - the narrowest of species, one that is not a genus to anything else

A single tree of substances ‘porphyrian tree’

Five predicables establish the mode of definition for each of the ten categories

10 trees , one for substances and the others for categories

There is no tree of trees because Being is not a summum genus

A genus is that to which a species is subordinate

Genus is a node + includes the species that depend on it

Accidents not required to make a definition

Accidents being things that may happen

Differences divide a genus, constituting a new species, in turn to become a genus to be divided again

Species are a combination of genus and difference

The most logical solution would be for the tree to be made up solely of difference, jettisoning the distinction between substances and accidents

A dictionary classification does not serve to define a term but merely allow us to use it in a logically correct fashion

Accidents are infinite

What differences are essential or not Specific difference - essential accident - oxymoron Essential differences but we don’t know them, we infer them

We know specific differences which are clues to essential differences

We say humans are rational because they demonstrate their rational powers by means of acts of cognition, means of language

Rational is an accident

The porphyriana stree is a logical tool for obtaining definitions

Synonymy, paraphrase; similarity +differncc; antonymy complemnetarity contrariety; Sensibleness + semantic anomaly

Analytical truth

Syntheticity

Inconsistency

Semantic entailment

Primitives

Encyclopedias

Sum total of knowledge

A collection of shared knowledge

Paradoxography

Compendia of curious facts and erudite digressions; An exhaustive catalogue of existing knowledge, the encylopedia, the library, the museum (scale of knowledge)

Pliny the elder historia naturalis

Encyclopedias rely on a tree for its organisation, derivative from the porphyrian tree

The index

There is a fundamental to an understanding of the history of encyc and their indices Index as working tool, not supposed to be of interest to the reader

The need for the place in the classification Index now a model of the organsiation of knowledge For the reader, the encyc appeared as a “map” of different territories whose edges were jagged and often imprecise

Pliny does not talk of things he knows but things that are passed to him by traditions Does not separate empirical information from legend

The encyc does not claim to register what really exists but what people traditionally believe exists - and hence everything that an educated person should know, not simply ot have knowledge of the world, but also tho understand discourses about the world …it is useless and impossible to choose between the profession of naturalist and that of compiler

Medieval encyc

A response to need to interpret the scriptures How sacred texts are to be understood

Imagines mundi

Bestiaries

Physiologus

Isodore (grammer, rhetoric, dialectics, music, arithmetic, geometry, astronomy)

Trivium (grammar, logic, rhetoric) + Quadrivium (arithmetic, geometry, music, astronomy)

The organisation of an encyc had a mnemonic role to play, a given order among things served to make them memorable, to remember the place they occupied in the image of the world

Speculum majus

Arbor scientaie - Llull; Explores great chain of being with a great chain of knowledge 33

Organisation of knowledge into chapters

Margarita philosophica reisch

Arboriform index

The idea of an encyc that not by accident takes as ts model, not the work of the polyhistor or the philosopher or the scholar, but that of the architect whose job it is to produce a blueprint (or table) of a building that others will construct in stone and marble, while others still will decorate and fill it with objects

Pansophia

Camillo idea del theatro, ideal architectural structures that attempt to encompass everything memorable, halfway between a mnemonics and an encyclopedia Index intended to demonstrate the reunification of knowledge

Pansophic index - presentation of sciences, a classification of the sciences

Novum organum bacon

Labyrinth - no longer logical division byt a rhetorical accumulation of notions and topics arranged under loci

Cannocchaiale aristotelico - emanuele Tesauro

Categorical index - provides a procedure to pursue the infinite paths of a labyrinth, in which subdivisions according to categories are nothing more than provisional and ultimately arbitrary constructions design to contain somehow or other material that is in a constant state of ferment.

41 the index, precisely because of its labyrinthine nature, allows us to make connections between each object and every other object

Deriving new knowledge from the deconstruction of a porphyrian tree

DARK ECOLOGY - MORTON

Three darknesses in ecological awareness

Dark-depressing

Dark uncanny

Dark sweet

Global weirding

The idea of the loop Strange loops

P8 the Anthropocene binds together human history and geological time in a strange loop, weirdly weird

P11 place has a strange loop form because it deeply involves time. Place doesn’t stay still, but bends and twists: place is a twist you can’t iron out the fabric of things.

The empty void of space and the rush of infinity have been unmasked as parochial paradigms

P16 ontology doesn’t tell you exactly what exists but how things exist.

Object oriented ontology

The way things affect one another (causality) cannot be direct (mechanical), but rather indirect or vicarious: causality is aesthetic

Species as spectral entities

P24 we can now think of species not as a thing we can point to, but as something like the aurora, a mysterious yet distinct, sparkling entity

P25 we live in more timescales than we can grasp

P27 coexistence unconstrained by present concepts

P30 OOO is the diametrical opposite of the dream. OOO might be more of waking up

P32 …fundamental pattern making is to reality, because patterns are the basis for replication

P36 the notion of species is an uncanny thought happening not in some universal or infinite realm but at earth magnitude

When we think species in this way, we see global warming as a wicked problem - or even as a super wicked problem. A wicked problem is one you can rationally diagnose but to which there is no feasible rational solution

P41 imagine seeing on more than one timescale - just as geology and climate science think on more than one

P46 the end of the biosphere as we know it is also the end of the “world” as a normative and useful concept

We live in a death culture

Ecomimisis

P58 the edge is not absolute

P63 are we still hunter gatherers?

P67 we have always been hallucinating

P76 what is this “on one’s own”? A recursive question in the project if structural anthropology, which

regards myth as the endless computation of a loop expressing human origins as either chthonic or autochthonous (of the earth or as one’s own earth) : we came from ourselves or we came from others

Thing theory

P80 Arche-writing is the ghostly trace that haunts language, the cascading, spectral play of difference and deferral that makes it work

P81 the mesh: a sprawling network of interconnection without Center or edge

P84 Dialetheias lie and tell the truth at the same time and seem to point outside themselves even has they curl up in a circle

P86 Reality is already-patterned

P89 cCoherence is when the parts of an object weirdly overlap so they become the “same” thing, defying our idea of rigid differences among parts and between parts and wholes.

Entanglement is when an object appears so deeply linked with some other object that if the one orients a certain way, the other will immediately…orient in a complimentary way

Transfinite

The idea of monsters

P91 a rift beteeen what they are and how they appear

P96 some physicists are now arguing that once patterns are possible life forms are not far behind

P97 patterns logically precede life just as they precede truth

P100 Algorithms look and act like they are calculating

This subjunctive realm of “might” and “can’t quite” is the cognitive space of the arche-lithic, a world of middles so often excluded by infuriated patriarchs

P117 find a way to see how things sparkle all by themselves. How they play despite intentions

P121 desire is irreducible

Brown tech

P143 the point would not be to dismantle global agriculture and replace it with yet another top-down solution. Instead we need many toy structures, many temporalities

Gallows humour of Samuel Beckett between laughter and despair

The organisation of wall e

Through the uncanny valley to the flattened spectral plain

P150 things influence one another such that they become entangled and smear together

Temporality compression is depression

The Guilt

The Shame

The Melancholy

The Horror

The Ridiculous

The Ethereal

The Hollow

The Sadness

The Longing

The Joy

POST HUMAN KNOWLEDGE BRAIDOTTI

9

The we should approach our historical contradictions not as some bothersome burden, but rather as the building blocks of a sustainable present and an affirmative and hopeful future, even if this approach requires some drastic changes to our familiar mindsets and established values

Human hubris aside, unless one is at ease with multidimensional complexity, one cannot feel at home in the twenty-first century

Despair is not a project; affirmation is

Posthuman knowledge production

Multiplicity

14

The critique of anthropocentrism that is entailed in

posthuman knowledge is highly demanding for scholars in the Humanities because it enacts a double shift. First, it requires an understanding of ourselves as member of a species, and not just of a culture or polity. Secondly, it demands accountability for the disastrous planetary consequences of our species’ supremacy and the violent rule of sovereign Anthropos.

Bios refers to the life of humans orangised in society, whilst zoe refers to life of all living beings. Bios is regulated by sovereign power and rules , whereas zoe is unprotected and vulnerable

15

The human needs to be assessed as materially embedded and embodied, differential, affective and relational

Decentring transcendental consciousness

16

w/r/t the posthuman

It is a theoretically-powered cartographic tool that aims at achieving adequate understanding of on-going processes of dealing with the human in our fastchanging times

The notion of human nature is replaced by a ‘naturecultures’ continuum (haraway)

The posthuman predicament is, moveover, framed by the opportunistic commodification of all that lives, which… is the political economy of advanced capitalism

18

Multi layered ecologies

20

Dividuals (deleuze)

Caught somewhere between stasis and expectation, we could surrender to despair, or take our chances and re-invent ourselves

22

Rejection of universalism

Mutation of capitalism into a cognitive differential machine

MARK FISHER - SLOW CANCELLATION OF THE FUTURE

Flattening of cultural time -> reduction of temporal bandwidth?

Futuristic, a style as gothic is

Key technological shifts of the 21st ce to do with consumption and distribution, rather than productions -> this doesn’t yield sensations, desensitising expression

Temporal malaise, is exemplified by music By internet - simon reynolds retromania Weight of the past so easily available, makes it harder for the new to emerge

Temporal pathology

Life sped up, culture slowed down

Internet comes to us, rather than we go to it Has to be a deliberate effort to step outside of

Neoliberalisation, capitalist cyberspace

Indirect funding (for music_ art schools etc

The expense of city deprives the cultural energy free from stress

The city is exhausted at a lot of levels

Perpetual busyness

The inescapability of the ubiquity of urgency intensified by capitalist cyberspace environment

We carry the assault on the nervous system in our pockets at all times

Communication is a command , deleuze Commanded by phones

Strain on nervous systems

Art school as institution for music production

Faciliatiated by a circuit

Failure of rca

Art school now dominated by the bourgousie Working class could go and ecncounter with avant garde experimental students

Neoliberalism destroys these conditions

Fees destroy space of autonomy

Popular modernism

Music is a portal

Kitsch high culture

Cant generate novelty

Only mass culture

Social democracy

Punk synonym with squatting

Punk is unimaginable in london today (2014)

Because of housing situation

Art school people freed up from the preussures of work, can pursue projects withou knowing where they will lead

This has been radically atrophied through neoliberalism

The end of boredom, politics of boredom

No one is bored, everything is boring

Seamless microstimuli

No in the age of anxiety

Fordism created the problem of boredom, capitalism solved that problem

Politics of time, time free from urgencies

London; a clotted city with expansive urgency

What do we do when the future is terminated

Not nostalgia

Not futurism

Not the incredulous present

Politised melancholia

Refusal to adjust to the present, refusal of the anachronistic

Depression

Accept nothing new will ever happen

The future is nothing new

STAYING WITH THE TROUBLE: MAKING KIN IN THE CHTHULUCENE – DONNA HARAWAY

P118

Sowing worlds is about opening up the story of companinon species to more of its relentless diversity and urgent trouble

P118 it makes what stories we tell to tell other stories with; it matters what concepts we think to think other concepts with

P118 the man making tale of the hunter on a quest to kill and bring back the terrible bounty

… ‘all of the others in the prick tale are props, ground, plot space or prey. They don’t matter; their job is to be in the way, to be overcome, to be the road, the conduit, but not the traveler, not the begetter

P120 terraforming mode of attention

P121 finding seeds for terraforming for a recuperating earthly world of difference

P125 homebody or traveler, their ways of living and dfying have consequences for terraforming, past and present

P1 in urgent times, many of us are tempted to address trouble in terms of making an imagined future safe, of stopping something from happening that looms in the future, of clearing away the present and the past in order to make futures for coming generations. Staying with the trouble does not require such a relationship to times called the future.

In fact, staying with the trouble requires learning to be truly present, not as a vanishing pivot between awful or Edenic pasts and apocalyptic or salvific futures, but as mortal critters entwined in myriad unfinished configurations of places, times, matters, meanings

P2 the scandals of times called the Anthropocene and the capitalocene are the latest and most dangerous of these exterminating forces. Living with and dying with each other potently in the chthulucene can be a fierce reply to the dictates of both Anthropos and capital

P2 what must be cut and what must be tied if multispecies flourishing on earth, including human and other-than-human beings in kinship, are to have a chance?

P4 there are many other examples of dire realities; the Great Accelerations of the post-World War II era gouge their marks in earth’s rocks, waters, airs, and critters.

There is a fine line between acknowledging the extent and seriousness of the troubles and succumbing to abstract futurism and its affects of sublime despair and its politics of sublime indifference.

We require each other in unexpected collaborations and combinations, in hot compost piles

We become-with each other or not at all. That kind of material semiotics is always situated, someplace and not noplaces, entangled and worldly

PROMPTS

“ADS ?” words, blod-font on a terrestrial image on final page of a latent space portfolio, collage, ukio-e, castlevania, rhapsody, --chaos 20 --s 1250

<https://i.mj.run/190e8767-c6ff-48e2-a7917c2aa1ed68ae/0_3.png> “ADS ?” words, [bold-font] on a terrestrial image of a latent space, postage stamp, rhapsody, --chaos 20 --s 1250

<https://i.mj.run/51847c36-199b-4e84-915730178fa097de/0_0.png> “ADS ?” words, [bold-font] in latent space imagination weaved landscape integrated with ai, linocut, --chaos 20 --s 1250

<https://i.mj.run/9bc78410-bcfb-4491-8018226a69e64386/0_2.png> “ADS ?” words, [bold-font] in future existence integrated with communities nature AI, in the style of lithography, --ar 9:16 --chaos 20 --s 1250

explorer venturing out into the latent space on a voyage for iridescence co-existence, empathic, rich aural tradition, entangled intricate detail, reflection, healing, atmosphereic, tender, --ar 2:3 --chaos 40 --s 1250

<https://i.mj.run/306d8f18-c562-4efe-a81733aed6a0385c/0_1.png> explorer venturing out into the latent space on a voyage for iridescence co-existence, empathic, rich aural tradition, entangled intricate detail, reflection, healing, atmosphereic, tender, --ar 2:3 --chaos 90 --s 3000

**an empathic healer on an iridescent shimmering world collecting potion ingredients, muted pastel colours, atmospheric, rich aural tradition, —ar 3:2 —chaos 50 — s1250

st Jerome in his study

<https://i.mj.run/5787aa3e-e7db-4550-a19f12e31eec0d8d/0_1.png> Cursed st Jerome in his study, divine, lantern, —chaos 45

<https://i.mj.run/f2c28273-bc10-464f-afdefafc466acdad/0_2.png> echoes of eternity, in the style of castlevania —ar 4:2 —chaos 10

<https://s.mj.run/WccY0sWDuR0> side on view of explorer

a portal, in style of collage, front on orthographic

a portal, in style of collage, front on orthographic, THRESHOLD, photorealistic, led screens, spectral light bursting from within

stressful illustration

<https://i.mj.run/42e7fdda-8c8a-4434-91e6ebda9544e1a0/0_0.png> illustration of patience

calmness and slowness,to be witness to the beating rhythm of place, cartographic, spectral colours, ukiyo-e —ar 9:16 —chaos 30

<https://i.mj.run/c31e0021-f2d1-41b4-bae6b1940596d645/0_1.png> illustration of patience

calmness and slowness,to be witness to the beating rhythm of place, cartographic, spectral colours, —ar 9:16 —chaos 40

<https://i.mj.run/6401b3ad-b185-4630-b772c4ce8be205ed/0_2.png> words on PROMPT CARD --ar 16:9

Egg

<https://i.mj.run/8f9b15af-ef37-4c3b-b72b0284b032561f/0_2.png> illustration of patience

calmness and slowness,to be witness to the beating rhythm of place, cartographic, spectral colours, Wes Anderson —ar 9:16 —chaos 40

<https://i.mj.run/be988ce1-a0ea-490f-8be98f3519aac85d/0_3.png> circular viewport at end of

vista, ephemeral path leading toward viewport, spectral colours, Wes Anderson, —ar 9:16 —chaos 50

<https://i.mj.run/e0161955-1233-4f70-8dc7e67794110e73/0_2.png> a circular civilisation who live as circles and trade in circles and live in circles, circle-punk, Wes Anderson, cartographic, —ar 9:16 — chaos 20

<https://i.mj.run/f7b9c2a3-0895-4294-a9a0fc5ff824c305/0_2.png> the ritualised midjourney vessel of ephemeral latent space traversal the course chartered by “the Voyager” through the landscape of unknown imagination, spectral colours, cartographic, navigation, becoming, autogenic, layered temporality, archival mooring, ambient tapestry of co-existence, --ar 9:16 --chaos 20

<https://i.mj.run/d4a5cae6-8d0a-4078-ad6539294dd4fb50/0_0.png> the ritualised midjourney vessel of ephemeral latent space traversal the course chartered by “the Voyager” through the landscape of unknown imagination, spectral colours, cartographic,-ar 2:3 --chaos 20

<https://i.mj.run/ec7b90b0-e1ec-4fe8-88e94aea44afd8d8/0_2.png> the ritualised midjourney vessel of ephemeral latent space traversal chartered by “the Voyager” through the landscape of latent imagination, spectral colours, cartographic, ephemeral path leading toward viewport, journey --ar 9:16 --chaos 20

<https://i.mj.run/bdb52805-49ff-4cd1-ac89b86def0eaa17/0_1.png> beneath the sluggish waves of latent space, cartographic, cinematic, —ar 16:9 —chaos 30

a moment of the un-becoming of latent imagination, —ar 3:2 —chaos 40

group of students waiting around with their latent imagination —ar 4:2 —chaos 40

the voyager and midjourney approach an island of unstable diffusion, wes anderson, cartographic --ar

9:16 --chaos 40

images of unknown origin discovered in latent space, cartographic, spectral colours, --ar 9:16 --chaos 30

a captain’s log book, “LATENT SPACE LOGBOOK” words [bold font] , on a log book --ar 5:7

a voyager’s log book, “LATENT LOGBOOK” words [bold font] , on a log book, spectral colours, collage, wes adnerson, book --ar 10:7

a voyager’s log book, “LATENT LOGBOOK” words [bold font], on a log book, spectral colours, chirography, word matrix, wes anderson, in the style of a medieval illumination --ar 5:8 —chaos 70

calotype, scene of static voyager at home, mundance, quotidian existance of an un-becoming spatial experience, cartographic, --ar 9:15 --chaos 40

split composition, voyager in foreground, transition through portal from quotidian [calotype] to latent space [spectral colours], cartographic, wes anderson, --ar 9:16 --chaos 50

<https://s.mj.run/8DyINXVGC4o> object of transformation power, cartographic,

<https://s.mj.run/X0PlpapxNtk> person in a hermit’s hut nestled deep in dense natural world, turmoil, black and white, shining lantern, intricate detail, wood cut print --ar 9:16 --chaos 50

Darkened room, atmospheric fog, two figures moving towards spectral light, intimate scale, cartographic, cinematic, transparency, ephemeral latent space traversal --chaos 20

Darkened space with no defined boundaries, atmospheric fog, two figures moving towards spectral light, intimate scale, cartographic, cinematic, transparency, ephemeral latent space traversal --chaos 20

Darkened space with no defined boundaries, atmospheric

fog, two figures moving towards spectral light, intimate scale, cartographic, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 20

Darkened space with no defined boundaries, atmospheric fog, two figures moving towards spectral light, intimate scale, cartographic, cinematic, transparency, ephemeral latent space traversal --chaos 20

a desk overflowing with ephemera, tools and maps you carry to transverse the latent space, cartographic, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 30 --ar 3:2

figure sitting at a desk overflowing with ephemera, tools and maps you carry to transverse the latent space, cartographic, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 30 --ar 3:2

a chaotic miasma, cartographic, , ephemeral latent space traversal, leanora carrington, max ernst --chaos 50 --ar 3:2

boarding an ephemeral woven boat of connections upon a shoreline, sea and island landscape, spectral colours, cinematic, transparency, ephemeral latent space traversal, leanora carrington, max ernst --chaos 50 --ar 3:2

first person view appraoching an island of image, looking over ledge at approach to an island of image, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, leanora carrington, max ernst, --chaos 70 --ar 3:2

chaotic miasma words, bold font, title card --ar 4:2

setting up a portal to a different world on a red textured island of image, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, leanora carrington, max ernst, --chaos 70 --ar 9:16

a object of latent space traversal, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, leanora carrington, max ernst, --chaos 70 --ar 9:16

a object on a table of latent space traversal, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, leanora carrington, max ernst, close up shot --chaos 70

close up shot of a latent space bird, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, intricate detail, hyper detailed, leanora carrington, max ernst, close up shot --chaos 70

a woven bird of connection, a latent space bird of imagination, avian, animal flying, in flight, spectral colours, cinematic, dramatic, awe, transparency, ephemeral latent space traversal, intricate detail, hyper detailed, leanora carrington, max ernst, close up shot --chaos 50

action shot of a songbird,a woven flying songbird of connection, a latent space flying songbird of imagination, songbird in flight, spectral colours, wise, knowledge, transparency, ephemeral latent space traversal, intricate detail, hyper detailed, leanora carrington, max ernst, --chaos 30

portrait of a songbird,a woven flying songbird of connection, a latent space flying songbird of imagination, songbird in flight, spectral colours, wise, knowledge, transparency, ephemeral latent space traversal, intricate detail, hyper detailed, leanora carrington, max ernst, --chaos 30

the smell of chaotic miasma --chaos 30

ads4 circle

dr zuess teletubby

the utility of thinking about infinity

timeline graph, spectral colours, cartographic, leonora carrington, max ernst, --chaos 40

under the time of the moon, spectral colours, cartographic, leonora carrington, max ernst, --chaos 40 --ar 9:16

the rhapsodic landscpae of ambulation of slowness and patience, spectral colours, cartographic, wes anderson, --ar 9:16 --chaos 30

a navigation of ambulaition and circumambulation of rhythmic ritual slowness and patience, spectral colours, cartographic, leonora carrington, max ernst, --ar 9:16 --chaos 40

a journey of ambulation and circumambulation ritual of rhymic slowness and patience, spectral colours, cartographic --ar 9:16

the augurs of the rhythmic ritual of slowness and patience, spectral colours, cartographic

temporal ambulations of thought, slowness, engorged time, spectral colours, cartographic, --chaos 30

ever ending expansion of temporal ambulations of thought, patience, rhythmic ritual, fractal circle, woven circles, slowness, engorged time, spectral colours, cartographic, --chaos 30

never ending expansion of temporal ambulations of thought, patience, rhythmic ritual, fractal circle, woven circles, slowness, engorged time, spectral colours, cartographic, --chaos 60 --testp

never ending expansion of temporal ambulations of thought, patience, rhythmic ritual, pattern, woven, slowness, circle kaleidoscope, engorged time, intricate detail, spectral colours, cartographic, --chaos 40 --testp --ar 9:16

woven love, lightness, flowing, softness, patience,

slowness, spectral colours, cartographic --ar 3:2 --testp

an interconnected branching root network, divergent forking paths, questioning tendrils, diagrammatic cross section , --ar 5:2 --chaos 20

mesotemporality --testp

thrift shop cowboys --testp

the character of the cook exploring an unfamiliar landscape in search of sustenance, in the style of a tarot card, cartographic, --ar 2:4 --chaos 30

close shot, exploration, the character of the cook exploring an unfamiliar landscape in search of sustenance, in the style of a tarot card, cartographic, --ar 2:4 --chaos 30

close shot, exploration, the character of the weaver exploring an unfamiliar landscape in search of knowledge, in the style of a tarot card, cartographic, --ar 2:4 --chaos 30

the character of the cowboy exploring an unfamiliar landscape in search of success, Tibetan Painting, Golden Hour, Photojournalism, Kodak Gold 200, SuperResolution Microscopy, Warm Color Palette, High Contrast, Everdimensional, Excited, Lonely, Lantern, Rembrandt Lighting, Snow --ar 2:4 --chaos 30 --testp

two dimensions of time --chaos 50

You’ve been doing nothing for a while baby and I was hoping that you’d take me for a ride in your new car You’ve been doing nothing for a while baby and I was hoping that you’d teach me how to play guitar Doo doo dooo doo Don’t be a jerk No don’t be a jerk

a venn diagram of two dimensions of time, cartographic, spectral colours

temporal explorations into the possiblity of the existence of ennui space-time, spectral colours,

cartographic, --chaos 30

3d venn diagram temporal explorations into the possiblity of the existence of ennui space-time, spectral colours, cartographic, --chaos 30 --testp

a state of totalising ennui

portrait of a skeleton cowboy, spectral colours, cartographic, vintage style, tarot card --chaos 30 --ar 2:4

a shop filled with paninis, people rejoicing

a coat hanging on a rail, plain background, stiched pattern, sew, sewing, antique quilt pattern, textural coloured fabric, vintage textile

a vintage textile patten coat hanging on a rail, coat chequered pattern, stitched coat, sewed coat, glen check coat, spectral colours, cartographic

a vintage textile patten coat hanging on a rail, vintage biederlack, stitched coat, sewed coat, spectral colours, cartographic, mixed wool denim cotton & corduroy coat, hand stitched coat, herringbone embroidered coat, hand tied quilt coat

a vintage textile patten green coat hanging on a rail, vintage biederlack, stitched green coat, sewed green coat, spectral colours, cartographic, mixed wool denim cotton & corduroy coat, hand stitched coat, herringbone embroidered coat, hand tied quilt coat, wild patterns

a fabric ennui coat hanging on a rail, a coat of ennui, stitched ennui coat, cotton ennui coat, spectral colours, cartographic

billowed with laughter, primal fear

Abjection

if cornershops did curry, people sitting at table

a porky bassline

descending into a neon inverting fractal tunnel, spectral colours, cartographic

woven multi species pattern, patter of shimmer

pulsing patterns of desire and lures of rhythmic ritual, iridescence, beating rhythm of place, herringbone thread, cartographic, herringbone stitch, brilliant shimmer

pulsing patterns of desire and lures of rhythmic ritual, iridescence, beating rhythm of place, herringbone thread, cartographic, herringbone stitch, brilliant shimmer, web of multi species mutualities --chaos 20 --ar 16:9

the welcoming web of multi-species connectivities, convivial woven rhythmic ritual, slowness, patience, spectral colours, cartographic --ar 16:9 --chaos 20

occulting landscpae of the welcoming web of multispecies connectivities, web of connections, convivial woven rhythmic ritual, slowness, patience, spectral colours, cartographic --ar 16:9 --chaos 30

occulting welcoming web of multi-species connectivities, web of connections, convivial woven rhythmic ritual, slowness, patience, spectral colours, cartographic, in the style of minoru nomata, oil painting --test --ar 9:16 --chaos 30

occulting welcoming web of multi-species connectivities, web of connections, convivial woven rhythmic ritual, slowness, patience, spectral colours, cartographic, cinematic --ar 16:9 --chaos 30

a lure of multi-species connectivities

ancestral power catching the eye, occulting web of multi species rhythms and mutalities, convival woven rhythmic ritual, slowness, patience, sedimentary rockpunk, spectral colours, cartographic --ar 9:16 --chaos 20

an involutional lure of multi species reciprocal capture, cartographic, animal water rock soil metamorphosis --ar 9:16

scratch the itch of the unknown

a very narrow focus on research

a very wide focus on research

infinite interconnectedness --chaos 40

THESE WORDS ARE BULLSH1T

“THESE WORDS ARE BULLSH1T” words, [bold-font] on a script , in the style of lithography,

“WRITING IS NOT A VALID FORM OF COMMUNICATION” words, [bold-font] on a script , in the style of lithography,

“THESE WORDS ARE BULLSH1T” words, [bold-font] on a script , in the style of lithography, book cover

“THESE WORDS ARE BULLSH1T” words, [bold-font] on a book cover , in the style of lithography, illumination --ar 3:5

Roland Barthes on a dating app the cuin offerse

a desire of the self for itself, a willingness to be itself, but paradoxically, this same self risked disappearing or “falling into the thing”

a desire of the self for itself, a willingness to be itself, but paradoxically, this same self risked disappearing or “falling into the thing”, face, portrait photography --test

the underland of image

a diagram of the whole alphabet

an index card with a fortune written upon it

the synthetic kingdom, grain texture, cartridge paper, unreal engine, 8k

disused hole, synthetic, cartographic, riso print

<https://s.mj.run/_hySHQaz1XQ> side on elevation flat projection, unfocusing seeing of the index of image species, library of babel, performance of dreams, rhythmic ritual, slowness, patience, 70’s retro future style, digital graphic hand-drawn, digital illustration, touch of surrealism, intricate detail --ar 9:16

Archive takes place at the boundary of memory, high quality riso print, risograph

alone at hotel iridescence, at night, front axonometric, dreamy, risograph

the disordered archive room, shelve , incricate detail, esoteric, awe, cartographic, risograph print --ar 9:16

internal shimmering manufactured landscape, factory, modes of production, the worker --ar 16:9

a huge giant vast disorganised library cathedral in chaos, disorder, messy, carnage, intricate detail, esoteric, awe, risograph print --ar 9:16 --chaos 40

A rougelike game set in latent space, exploring empathic mythic rituals as response to ecological ennui, in the style of castlevania, 8 bit rgb crt

A rougelike game set in latent space, cowboy forager weaver, exploring empathic mythic rituals as response to ecological ennui, wes anderson, cartograhpic, 8 bit rgb crt --ar 9:16 --chaos 40

a diagram of interconnected trans-species knowledge systems

a photorealistic diagram of interconnected transspecies knowledge systems, pristine, ultrafine detail, hyperrealism, 8K, high resolution,

experiencing the interconnected web of life, structures of knowledge, ambulation, empathic myth ritual, first person perspective, cinematic, woven circumambulations, receding, fractal --v 4

the infinite image library, infinity, a new frontier, library, infinity possibility, the beyond, horizon as spatial motif, latent space, ecological ennui, wes anderson, cartographic, 8 bit rgb crt --ar 2:3 --chaos 20 --v 4 --q 2

t he eternal never ending infinite organisation of every image that ever existed, procedural, interconnectedness, Wes Anderson, spectral colours, 16 bit rgb crt --chaos 30 --ar 2:3 --v 4 --q 2

the infinite classification structure, structure of knowledge, never ending knowledge, learning environment, modern psychosis, the beyond, infinite navigation, interconnectedness, receeding horizon, wes anderson, iridescent crt cga --chaos 20 --ar 3:2 --v 4 --q 2

the infinite image construct, never ending knowledge, learning environment, fragment greiving for the whole, receeding horizon, wes anderson, 8 bit rgb crt --chaos 20 --ar 3:2 --v 4 --q 2

the infinite classification structure, structure of knowledge, never ending knowledge, learning environment, modern psychosis, the beyond, infinite navigation, interconnectedness, receeding horizon, Laurie Lipton, iridescent crt cga --chaos 20 --v 4 --q 2

he infinite classification structure, structure of knowledge, never ending knowledge, learning environment, modern psychosis, the beyond, infinite navigation, interconnectedness, receeding horizon,

antony gormley, leonora carrington, iridescent crt cga --chaos 20 --ar 3:2 --v 4 --q 2

the infinite classification event, a large crowd outdoors, jubilation, structure of knowledge, never ending knowledge, learning environment, modern psychosis, the beyond, infinite navigation, interconnectedness, receeding horizon, laurie lipton, leonora carrington, wes anderson, jg ballard, iridescent crt cga --chaos 20 --ar 3:2 --v 4 --q 2

the infinite classification kneecap, structure of knowledge, kneecap, kneecap, never ending knowledge, learning environment, modern psychosis, the beyond, infinite navigation, interconnectedness, receding horizon, laurie lipton, leonora carrington, wes anderson, jg ballard, iridescent crt cga --chaos 20 --ar 3:2 --v 4 --q 2 --v 4 --q 2

the world is not an amalgam of objects in space; it is a heterogenous series of independent acts – the world is successive temporal but not spatial, surrounded by interconnected aural tradition, structure of knowledge, Trans-species revelation, jorge luis borges, iridescent crt cga --chaos 20 --v 4 --q 2

<https://s.mj.run/MQYf5ULOFSY> the infinite image construct, interconnectedness, yellow and black illustration, patience calmness and slowness, in the style of mobieus, in the style of Jean Giraud, 8 bit rgb crt --ar 2:3 --v 4

the infinite image construct, interconnectedness, yellow and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, screen print, grain texture --ar 2:3 --v 4

a project with no image --v 4

words as placemaking --v 4

words as placemaking, interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud,

screen print, grain texture --ar 2:3 --v 4

life after growth, multi-species interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, screen print, grain texture --chaos 70 --v 4

a clearing in a forest, involutional living world, life after growth, multi-species interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, screen print, grain texture --chaos 70 --v 4

a very boring room, life after growth, multi-species interconnectedness, blue and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, screen print, grain texture --chaos 70 --v 4

a factory, life after growth, multi-species interconnectedness, green and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, screen print, grain texture --chaos 70 --v 4

inside a shrimp factory, life after growth, multispecies interconnectedness, green and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, screen print, grain texture --chaos 70 --v 4

a primary oral culture, life after growth, multispecies interconnectedness, green and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, screen print, grain texture, circular viewport--chaos 40 --v 4

latent space, latent space traversal, multi-image interconnectedness, purple and black illustration, patience calmness and slowness, in the style of Jean Giraud, screen print, grain texture, --chaos 40 --v 4

an image of the patterns a machine learning algorithm learns in latent space --v 4

cinematic scene of a knowledge forager eating the wrong berries, Cultural identity crisis, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 60 --q 2 --ar 2:3 --v 4

snowy cinematic scene of a skeleton cowboy making bad decisions, Cultural identity crisis, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 60 --q 2 --ar 2:3 --v 4

snowy cinematic scene of an imagination weaver telling a story, Cultural identity crisis, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 60 --q 2 --ar 2:3 --v 4

front cover to a design strategy document entitled “infinite fictions”, image and species interactions, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 20 --q 2 --ar 2:3 --v 4

abstract book engraving ex libris, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 80 --q

2 --ar 2:3 --v 4

the panic and vertigo of contemporary politics, swirling vertigo politics, ground giving way beneath everyone’s feet, our habits and possessions attacked from everywhere, red and black illustration, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 40 --q 2 --ar 2:3 --v 4

overview page to a design strategy document entitled “infinite fictions”, image and species interactions, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 20 --q 2 --ar 2:3 --v 4

stomach contents illustration, image and species interactions, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 80 --q 2 --ar 2:3 --v 4

Knowledge is now predominantly spread through images not words illustration, image and species interactions, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 80 --q 2 --ar 2:3 --v 4

main menu game illustration, image and species interactions, latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 80 --q 2 --ar 2:3

in awe of swirling infinity of images, screens, image and species interactions, latent space in multispecies entanglements, latent space traversal, multiimage interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 80 --q 2 --ar 2:3 --v 4

the infinite classification structure millions of screens, swirling infinity of image projections, structure of knowledge, never ending knowledge, image and species interactions, latent space in multispecies entanglements, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 80 --q 2 --ar 2:3 --v 4

<https://s.mj.run/Ro3R-4QB4nk> the infinite classification structure millions of screens, swirling infinity of image projections, structure of knowledge, never ending knowledge, image and species interactions, latent space in multi-species entanglements, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 80 --q 2 --ar 2:3 --v 4

cinematic shot, isolation exploration, the character of the forager exploring an unfamiliar landscape in search of sustenance, at peace, atmospheric landscape photography, cartographic, CHRIS KILLIP --ar 3:2 --testp

a tarot card of a tree, in the style of medieval illumination, in the style of moebius, in the style of jean giraud, wood engraving screen print, grain texture, --chaos 60 --q 2 --ar 2:3 --v 4

the world made from orange peel

first person experience of construct of infinite image in a machine learning neural network, nodes of knowledge, interconnectedness, --chaos 70 --testp

travelling upon a vessel into the sea of knowledge itself, nodes connected by seaweed, in the style of moebius, in the style of jean giraud, wood engraving screen print, grain texture, --chaos 60 --q 2 --ar 3:2 --v 4

a project about thought itself, philosophy, in the style of piranesi --chaos 30

quantum seaweed strands, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 20 --q 2 --ar 2:3 --v 4

a well referenced bibliography , latent space in multi-species entanglements, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 20 --q 2 --ar 2:3 --v 4

unknown person exploring a game world, person in the midsts of discovery, decaying architecture, latent space traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 60 --q 2 --ar 2:3 --v 4

frequently asked questions, someone raising their hand to ask a question, diffusion model, de-noise autoencoder, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 20 --q 2 --ar 2:3 --v 4

the first intuitive test, trial by fire, dramatic pouring of ingrients into pot, latent space

traversal, multi-image interconnectedness, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 40 --q 2 --ar 2:3 --v 4

knowledge framework in construction, wooden frame in construction, framework, frameword for though tests, framework of the infinite image library, red and black illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 50 --q 2 --ar 2:3 --v 4

multi-species celebration of the winter solstice, everything is rhythmic ritual, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 50 --q 2 --ar 2:3 --v 4

multi-species dancing ritual celebration of the winter solstice, orthographic, interconnectedness, everything is rhythmic ritual, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 50 --q 2 --ar 2:3 --v 4

multi-species jubilation ritual celebration of the winter solstice , circumambulation, interconnectedness, everything is rhythmic ritual, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 50 --q 2 --ar 2:3 --v 4

participating in multi-species jubilation storytelling ritual celebration of the winter solstice, birds boars beasts, circumambulation, interconnectedness, everything is rhythmic ritual, black and white illustration, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 50 --q 2 --v 4

multi-species celebration of the winter solstice, orthographic, interconnectedness, everything is rhythmic ritual, patience calmness and slowness, in the style of moebius, in the style of Jean Giraud, wood engraving screen print, grain texture, --chaos 50 --q 2 --ar 2:3 --v 4

listlessness, longing for clarity, introversion, a longing for calmness, slow time, in the style of moebius, in the style of Jean giraud, wood engraving screen print, grain texture --chaos 30 --q 2 --ar 2:3 --v 4

a plateau for the performance of dreams in latent space, in the style of castlevania --ar 3:2 --chaos 30 --s 1000 --v 4 --q 2

the saggy limp head of the atrophying architecture body, in the style of Sandy Skoglund, --chaos 30 --q 2 --ar 2:3 --v 4

crowd setting fire to the saggy limp head of an atrophying architectural body, in the style of sandy skoglund, laurie lipton, --chaos 30 --q 2 --ar 2:3 --v 4

dismantling the outdated saggy putrid head of an atrophying architectural body, orthographic cinematic scene, --chaos 70 --q 2 --ar 2:3 --v 4

seige on the outdated saggy putrid head of an atrophying architectural body, dramatic cinematic scene, in the style of sandy skoglund, in the style of andreas gusty, in the style of fay godwin, --chaos 30 --q 2 --ar 2:3 --v 4

time is catching up with the giants of old and now in their crumbling demise rises a wave of hope running against the grain of prevailing practice, giant hubris, in the style of sandy skoglund, in the style of fay godwin, --chaos 30 --q 2 --ar 2:3 --v 4

an eerie emulsion of cataract statues falling from grace into a place of disgrace, clarity in the darkness springs forth paramount virtues, in the style

of sandy skoglund, in the style of fay godwin, --chaos 80 --q 2 --ar 2:3 --v 4

an eerie emulsion of cataract statues falling from grace into a place of disgrace, woven circumambulations, rhythmic ritual, multi-species interconnectedness, clarity in the darkness springs forth paramount virtues, in the style of sandy skoglund, in the style of fay godwin, --chaos 80 --q 2 --ar 2:3 --v 4

**The more you open it up the more likely you are to get lost, woven circumambulations, rhythmic ritual, multi-species interconnectedness, clarity in the darkness springs forth paramount virtues, in the style of sandy skoglund, in the style of fay godwin, 8 bit rgb crt --chaos 80 --q 2 --ar 2:3 --v 4

a new person welcomed to the asylum surrounded by people doing strange activities, excited cataract statues, interconnectedness, multi-species entanglements, in the style of sandy skoglund, in the style of fay godwin, --chaos 60 --q 2 --ar 2:3 --v 4

a person welcomed to the asylum surrounded by people doing strange activities, excited cataract statues, interconnectedness, multi-species entanglements, dramatic surprises in the night echoes the zeitgeist, in the style of sandy skoglund, in the style of fay godwin, --chaos 80 --q 2 --ar 2:3 --v 4

a raging tempest of lethargy bewitching the mind, cataract ritual, in the dark months sloops forward a migratory miasma ensnaring lost souls, in the style of sandy skogland, in the style of Fay Godwin, --ar 3:2 --q 2 --v 4 --chaos 45

a block colour pastel coloured red blue yellow logo of a absent building, no person, in the style of jean giraud, in the style of moebius,

pass subject to corrections, this has raised some concern with the team, no worries I am all good, it’s always fine in the end, to make spectacle things there is suffering, in the style of sandy skogland, in the

style of Fay Godwin, --ar 2:3 --q 2 --v 4 --chaos 65

stained glass window of an infinite image library, interconnectedness, multi-species entanglements, imagination weaver, in the style of Jean giraud --ar 2:3 --chaos 30 --v 4 --q 2

thought arrhythmitiser viewfinder, medieval illumination of a sculpture soldered metal wire, viewing a transient scene of images, interconnectedness, slow time, a scene of slowness patience, multi-species entanglements, red and black illustration, moebius, in the style of olafur eliasson, in the style of james turrell, --ar 3:2 --chaos 45 --v 4 --q 2

thought arrhythmitiser viewfinder device, illumination of a sculpture soldered metal wire device, handheld device, viewing a transient scene of images, interconnectedness, slow time, a scene of slowness patience, multi-species entanglements, red and black illustration, moebius, in the style of olafur eliasson, in the style of james turrell, --ar 2:3 --chaos 75 --v 4 --q 2

windows to the infinite image library

facade of the infinite image library

reception to the infinite image library from the view of the skeleton cowboy --chaos 60

quiet study in the infinite image library from the view of the knowledge forager --chaos 60

bathroom of the infinite image library from the view of the knowledge forager --chaos 60

lecture hall of the infinite image library from the view of the knowledge forager --chaos 60

bathroom of the infinite image library from the view of the skeleton cowboy, cinematice scene, in the style of stanley kubrick, in the style of terrance malick --chaos 60

a librarian looking after one image in the infinite image library in a maintenance room at the infinite iamge library, cinematice scene, in the style of jean giraud, in the style of fay godwin --chaos 60 --ar 3:2 --q 2 --v 4

the preservation mechanism for conservation of one image in the grand infinite image archive in a preservation precipice at the infinite image archive,multi-species interconnectedness, everything is rhythmic ritual, cinematic scene, in the style of sandy skoglund, fay godwin --chaos 60 --ar 3:2 --q 2

an archivist looking after one image in the grand infinite image archive in a maintenance room at the infinite image archive,multi-species interconnectedness, everything is rhythmic ritual, cinematic scene, in the style of sandy skogland,in the style of jean giraud, in the style of fay godwin --chaos 60 --ar 3:2 --q 2 --v 4

the conservation device for the conservation of one image in the grand infinite image archive in a preservation precipice at the infinite image archive,multi-species interconnectedness, everything is rhythmic ritual, archivist, in the style of sandy skoglund, Ralph Eugene Meatyard, --chaos 60 --ar 3:2 --q 2

a normal image, in the style of sandy skoglund, ralph eugene meatyard

archivist storing images in the preservation device for the conservation of one image in the grand infinite image archive in a preservation precipice at the infinite image archive,multi-species interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Ralph Eugene Meatyard, --chaos 60 --ar 3:2 --q 2

analogue archivist yearning for images in the analogue

preservation device for the conservation of one image in the grand infinite image archive in a preservation frenzy at the infinite image archive,multi-species interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Geof Kern, --chaos 60 --ar 3:2 --q 2

analogue archivist of image, designated image regulator,multi-species interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Geof Kern, --chaos 60 --ar 3:2 --q 2

analogue archivist yearning for images in the analogue preservation device for the conservation of one image in the grand infinite image archive in a preservation frenzy at the infinite image archive,multi-species interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Geof Kern, --chaos 60 --ar 3:2 --q 2

archivist of image, designated image regulator,multispecies interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Andy Goldsworthy, --chaos 60 --ar 2:3 --q 2

archivist yearning for images in the analogue preservation device for the conservation of one image in the grand infinite image archive in a preservation frenzy at the infinite image archive,multi-species interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Andy Goldsworthy, --chaos 60 --ar 2:3 --q 2

<https://s.mj.run/KWDjxEVsgdI>, the archivist of one image, study at the infinite image archive, image as world, image environment, image care study, archivist of image, designated image regulator,multi-species

interconnectedness, everything is rhythmic ritual, images as floating point arithmetic, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --ar 2:3 --q 2

an archival device for the conservation of image everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

an archival artefact contraption for the interconnected care of image, multi-species, archivist , everything is rhythmic ritual, archival practice, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

an archival artefact contraption room for the interconnected care of image, toaster, multi-species, archivist, everything is rhythmic ritual, archival practice, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

my life as a courgette

outside space rectangle entrance to the infinite image library, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

the fractal forest in the infinite image library, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

fractal bifurcation in the infinite image library, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

fractal bifurcation in the infinite image library, an archival artefact contraption for the interconnected care of image, multi-species, archivist , everything is rhythmic ritual, archival practice, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2 --ar 3:2

a space that holds every image that ever has been or

ever will be, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --ar 2:3 --q 2

every image that ever has been or ever will be, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

the fixed point vector of an image, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

retrieving any image that ever has been or ever will be, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

analogue archivist of image, designated image regulator,multi-species interconnectedness, everything is rhythmic ritual, archivist, images as floating point arithmetic, in the style of sandy skoglund, Geof Kern, --chaos 60 --ar 3:2 --q

every image is a vector, seminary of image dissolution, ritual vectors, ambulations in the latent space, ,multi-species interconnectedness, carnage at the epistles of image degradation, everything is rhythmic ritual, archivist, in the style of sandy, in the

40 --ar 2:3 --q 2

what’s on the table in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 30 --ar 3:2 --q 2

film still of an elegant elder sleeking through a

comforting miasma, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 30 --ar 3:2 --q 2

film still of strange hero sleeking through a comforting miasma, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 30 --ar 3:2 --q 2

film still of strange hero sleeking through a comforting miasma, everything is rhythmic ritual, ecological pulses, interconnectedness, engorged time, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 70 --ar 3:2 --q 2

every image in the infinite image library exists thanks to and at the risk of every other image, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --ar 3:2 --q 2

can’t sleep but neither can you, a constellation of rich semantic information, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2

the unwitting apostles of accelerating image culture, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2

**coerced apostles of infinite image, in the style of Fay godwin, sandy skoglund, Andrei tarkovsky --chaos 50 --q 2

what connected to the ball room at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2

where do the balls lead in infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2

fractal bifurcation in the infinite image library, in the style of sandy skoglund, Andrei Tarkovsky, fay godwin, --chaos 60 --q 2

film still of a structure of squid, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos

80 --q 5

path-markers in the infinite image library, in the style of sandy skoglund, in the style of andrei tarkovsky, in the style of Fay Godwin --chaos 50 --q 2

the water at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2

the Forest at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2

the shieling in the Forest at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2

inside the shieling in the frost at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

the table inside the shieling in the forest at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

the portals in the walls inside the shieling in the forest at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

the long table room inside the shieling in the forest at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

moving deeper inside the interior of the shieling in the forest at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

the corridor made of roots located inside the shieling in the forest at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

the source of the bright glow IN the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 70 --q 2 --ar 2:1

the surface of the glowing orange mass in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 70 --q 2 --ar 2:1

the lake on the surface of the glowing orange mass in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 70 --q 2 --ar 2:1

approaching the mountain entrance on the island on the lake on the surface of the glowing orange mass in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 70 --q 2 --ar 2:1

following the two green dressed characters moving into the mountain underground at the infinite image library, , in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 60 --q 2 --ar 2:1

inside the sliced mossy train at the train station in the mountain underground at the infinite image library, , in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 60 --q 2 --ar 2:1

the imagination weaver in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16

portrait of the skeleton cowboy in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16

portrait of the knowledge forager in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16

close shot, exploration, the character of the forager exploring an unfamiliar landscape in search of sustenance, in the style of a tarot card, cartographic, ,in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16

portrait of a skeleton cowboy, spectral colours, cartographic, vintage style, tarot card in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16

portrait of the extravagant skeleton cowboy in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16

Uniform tilings in hyperbolic plane at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

image cascade at the infinite image library in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

hyperbolic space at the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

hyperbolic ambulations in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 1:2

dreams of electric sheep in hyperbolic space, in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16

a waking dream of the hypnotic see through rarefied air, ponderous journey, slow but neccesarily so in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

a waking dream of the hypnotic see through rarefied air, ponderous journey, slow but neccesarily so, 70s black and white film still, cinematic shot, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

rarefied palatable dream shielings, in the style of andrei tarkovsky, wim wenders, Fay Godwin --chaos 50 --q 2 --ar 2:1

heads with legs, legs connected to heads, 70s black and white film still, cinematic shot, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

polar sheep, Antarctic landscape, longing sheep, 70s black and white film still, cinematic shot, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

the night owl, 70s black and white film still, cinematic shot, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

My pagan head will sink into the winter land and there be purified, film still, cinematic shot, in the style of , Fay Godwin, Eric ravilious --chaos 50 --q 2 --ar 2:1

the ageing head awaiting, film still, cinematic shot, in the style of wim wenders, Eric ravilious --chaos 50 --q 2 --ar 2:1

fecund nature, calm atmosphere, 70s black and white film still, cinematic shot, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

draped ethereal silk, calm atmosphere, 70s black and white film still, cinematic shot, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 2:1

fading romantic entangled ethereal silk, ferocious elegance, longing glimpses in the night, 70s black and white film still, cinematic shot, in the style of wim wenders, andrei tarkovsky, Ingmar Bergman --chaos 50 --q 2 --ar 2:1

a character fallen in the arms of another character, the moment has passed and now all that is left is wrong side of the frayed edge of sanity, 70s black and white film still, cinematic shot, in the style of wim wenders, andrei tarkovsky, Ingmar Bergman --chaos 50 --q 2 --ar 2:1

a character slumped by a stump, defeated, the moment has passed and now all that is left is wrong side of the frayed edge of sanity, 70s black and white film still, cinematic shot, in the style of bela tarr, andrei tarkovsky, Ingmar Bergman --chaos 50 --q 2 --ar 2:1

upon the precipice of social and environmental change, cinematic shot, in the style of sandy skoglund, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos 50 --q 2 --ar 2:1

the chasing the end of time, cinematic shot, in the style of sandy skoglund, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos 50 --q 2 --ar 2:1

nebula fusion fecundity, multi-species entanglements, spectral colours, spectral dazzling, interconnectedness, , in the style of sandy skoglund, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos

50 --q 2 --ar 2:1

nebula fusion fecundity bee, multi-species entanglements, spectral colours, spectral dazzling, interconnectedness, , in the style of sandy skoglund, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos

50 --q 2 --ar 2:1

wet floor sign on a dry floor, multi-species entanglements, spectral colours, spectral dazzling, interconnectedness, , in the style of sandy skoglund, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos

50 --q 2 --ar 2:1

an accidental superfluous riotous exaltation of soil limpets, multi-species entanglements, vhs lines, grainy, super grain, spectral colours, spectral dazzling, interconnectedness, , in the style of sandy skoglund, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos

50 --q 2 --ar 2:1

gutteral life of a peregrine, earth tones, earth colours, the life of a peregrine, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos 50 --q 2 --ar 2:1

pure noise, bela tarr cinematography, andrei tarkovsky cinematography, Ingmar Bergman cinematography --chaos 90 --q 2 --ar 2:1

a journey of introspection into the baseline of human existence, wim wenders cinematography, Agnes varda cinematography, --chaos 50 --q 2 --ar 2:1

the return box of image, overflowing, bela tarr cinematography, paula rego art, Ingmar Bergman cinematography --chaos 90 --q 2 --ar 2:1

the return box of image, overflowing, bela tarr cinematography, paula rego art, Ingmar Bergman cinematography --chaos 90 --q 2 --ar 2:1

recursive infinity, drifting in the unknown, cartographic, --chaos 40 --q 2 --ar 9:16

map of the infinite image library, recursive infinity, every pattern combination, cartographic, --chaos 50 --q 2 --ar 9:16

a point cloud of the infinite image library, recursive infinity, every pattern combination,sandy skoglund, --chaos 50 --q 2 --ar 2:1

the navigation device of the infinite image library, recursive infinity, every pattern combination, --chaos 50 --q 2 --ar 2:1

a point cloud of the infinite image library, recursive infinity, fixed point of an image, latent space, every pattern combination, --chaos 50 --q 2 --ar 2:1

a fragment grieving for the whole, sensible resonance, in the style of leanora carrington, max Ernst, minimal

--chaos 50 --q 2 --ar 2:1

directions to the infinite image library, in the style of leanora carrington, max Ernst, minimal --chaos 50 --q 2 --ar 2:1

entangled interconnectedness between humans and non humans in thriving collaborations, multi-species empathy, --chaos 50 --q 2 --ar 2:1

within the infinite menger sponge, fractal, recursive infinity, countable infinity, uncountable infinity,in the style of sandy skoglund, black and white, ilford hp5, cinematic shot,--chaos 50 --q 2

the space inbetween the images in the infinite image library, the void gap, latent connection, the inbetween, ephermeral colours, latent space, in the style of sandy skoglund, cinematic shot,--chaos 50 --q 2 --ar 2:1 --no person

the latent inbetween the images in the infinite image library, the void gap, latent connection, the inbetween, ephemeral dark green colours, latent space, in the style of sandy skoglund,--chaos 50 --q 2 --ar 2:1 --no person

the latent mediating the images in the infinite image library, image dissonance, the void gap, latent connection, mediating void, ephemeral colours, latent space, in the style of archive photo,--chaos 50 --q 2 --ar 2:1 --no person

revealing the infinite image library, spectral colours, latent space, in the style of sandy skoglund,--chaos 50 --q 2 --ar 2:1 --no person

<https://s.mj.run/wL4scY2m6K0> the infinite image library, line drawing in green fountain pen ink, in the style of sandy skoglund, andrei tarkovsky, fay godwin--ar 9:16 --q 2 --chaos 30

<https://s.mj.run/wL4scY2m6K0> the infinite image library, in the style of sandy skoglund, andrei tarkovsky, fay godwin --ar 2:1 --q 2 --chaos 50

a tump, a small rounded hill or mound a tumulus, a clump of trees, shrubs, or grass, in the style of sandy skoglund, andrei tarkovsky, fay godwin --ar 2:1 --q 2 --chaos 50

a list of words that have fallen out of use a sheet of paper with a list of wordsrelating to the experience of the living world that have fallen out of use , fieldnotes

<https://s.mj.run/wL4scY2m6K0> the cabinet of curiousities in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, fay godwin --ar 2:1 --q 2 --chaos 50

<https://s.mj.run/EFQyVrgFasU> unknown words, [boldfont] on a book cover , in the style of lithography, illumination --ar 3:5 --q 2

a word cloud of unknown words decoupled from their meaning, text, list, index, legible writing --ar 2:1 --q 3

a word cloud of unknown words decoupled from their meaning, words relating to landscape, text, list, index, legible writing --ar 2:1 --q 5

onerdudsane, a unique and healthy landscape that features a predominance of red, which could refer to the color of the soil, rocks, or vegetation --q 2 --ar 2:1

<https://s.mj.run/wL4scY2m6K0> LANLOFRAELE, a landscape that has a flat, grassy area that is occasionally used as a location for criminal activity, with an elevation or prominent element nearby, in the style of sandy skoglund, andrei tarkovsky, fay godwin-q 2 --ar 2:1 --chaos 50

<https://s.mj.run/wL4scY2m6K0> TIROSTLEC, a landscape where rocks or stones are thrown at or used as seats or stools, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1

<https://s.mj.run/wL4scY2m6K0> RISSKATZ, landscape characterized by rifts or fissures that resemble the claws of a cat, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1

<https://s.mj.run/wL4scY2m6K0> Ugoanmusory, a landscape that is unrestrained and expansive, characterized by the presence of eagles and rye grass, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1

<https://s.mj.run/wL4scY2m6K0> ogonamanncos, a landscape that is characterized by its golden hue or the presence of gold, where humans or people are an integral part of the natural world or universe, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1

<https://s.mj.run/wL4scY2m6K0> CIDONIYEEMSNEER, a landscape featuring open grassy areas on a hill or mountain with water sources and steep cliffs or ridges, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

Courotolo, a landscape characterized by the presence of leather-making crafts or materials in a particular location as observed or analyzed through topographic study, --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/5-YRmSEVdxE> VOCESSEIRADO, a landscape characterized by a harmonious and calming acoustic environment, fieldnotes, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/5-YRmSEVdxE> firndt,ferns of notable height, fieldnotes, in the style of sandy skoglund, andrei tarkovsky, kilian eng --q 2 --ar 2:1 --chaos 30

Generate an image that captures the essence of “shimmer” as described by Deborah Bird Rose. This image should convey the sense of a landscape that is alive and constantly changing, where light and movement dance together in a way that is both beautiful and unsettling. The image should evoke

a feeling of both wonder and unease, as if you are witnessing something that is both natural and otherworldly. Consider how you might use color, light, and texture to convey this sense of shimmer and the interplay between different elements of the landscape.

<https://s.mj.run/5-YRmSEVdxE> shimmer, Generate an image that captures the essence of “shimmer” as described by Deborah Bird Rose. This image should convey the sense of a landscape that is alive and constantly changing, where light and movement dance together in a way that is both beautiful and unsettling. The image should evoke a feeling of both wonder and unease, as if you are witnessing something that is both natural and otherworldly. Consider how you might use color, light, and texture to convey this sense of shimmer and the interplay between different elements of the landscape. n the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/5-YRmSEVdxE> Close your eyes and take a few deep breaths. Imagine yourself standing in the middle of a vast landscape. The sun is shining bright, and the air is filled with the sound of birds chirping and leaves rustling in the wind. As you stand there, allow yourself to become fully present in the moment. Now, shift your focus to the space between you and the horizon. Allow your eyes to soften and your gaze to become unfocused. Look at the landscape as if you’re not really looking at it. You might start to notice something that Deborah Bird Rose calls “shimmer”. It’s a quality of the landscape that’s hard to describe, but it’s almost like a subtle vibration that’s present in everything around you. It’s not something you can see directly, but rather something you can sense on the edge of your awareness. Try to stay present with this sense of shimmer for a few moments. Allow it to fill your awareness and expand your sense of the landscape beyond what you can see directly. Notice how it feels to be surrounded by this shimmering landscape, and how it changes the way you relate to the world around you. , in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/Jhvi9_2z5qc> onavimo, an onorous path difficult to navigate connected to the willow tree’s symbolic meaning of flexibility and adaptability, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/hHfqmAWhUKI> Inscuenex, a landscape that is not shielded or protected, but also cannot be exhausted or depleted. --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/hHfqmAWhUKI> fèith, a fine veinlike watercourse running through peat, often dry in the summer, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/hHfqmAWhUKI> Smeuse, the gap in the base of a hedge made by the regular passage of a small animal, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/hHfqmAWhUKI> teine biorach, the flame or will-o’-the-wisp that runs on top of heather when the moor burns during the summer, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/Ycx9I9jSY3A> <https://s.mj.run/sXtWnuaOX4> Eiscir, a ridge of glacial deposits marking the course of a river that flowed under the ice of the last glaciation , in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 9:16 --chaos 50

<https://s.mj.run/Ycx9I9jSY3A> <https://s.mj.run/sXtWnuaOX4> Scrios Buaile na bhFeadog the open tract of the pasture of the lapwings, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 9:16 --chaos 50

<https://s.mj.run/Ycx9I9jSY3A> <https://s.mj.run/ sXt-WnuaOX4> close up cinematic shot of a lapwing, intricate details, hyperdetailed in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 50

<https://s.mj.run/Ycx9I9jSY3A> <https://s.mj.run/sXtWnuaOX4> tranquil dreamscape, soft dreams of love, intricate details, hyperdetailed, highly textured, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 50

<https://s.mj.run/CSh66M_X9lM> <https://s.mj.run/ sXt-WnuaOX4> I am a blot in the dreamscape, exploring tranquil dreamscapes, landscape of the mind, introspection, intricate details, hyperdetailed, highly textured, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 50

<https://s.mj.run/hHfqmAWhUKI> <https://s.mj.run/ sXt-WnuaOX4> the ethereal silk mediating between the visible and invisible, ethereal cosmic dreamscape, exploring tranquil dreamscapes, brewing thoughts, introspection, intricate details, 8k, hyperdetailed, highly textured, in the style of a two tone risograph print --q 2 --ar 2:1 --chaos 50

<https://s.mj.run/hHfqmAWhUKI> <https://s.mj.run/ sXt-WnuaOX4> meinongs jungle, intricate details, hyperdetailed, highly textured, in the style of a two tone risograph print --q 2 --ar 2:1 --chaos 50

the process of lingustic movement, navigation through langauge, word navigation, infinite image library, diagrammatical explanation, in the style of a two tone risograph print,--q 2 --ar 2:1 --chaos 40

<https://s.mj.run/hHfqmAWhUKI> <https://s.mj.run/ sXt-WnuaOX4> moving upon words, the process of lingustic movement, navigation through langauge, word navigation, infinite image library, diagrammatical explanation, fieldnotes, in the style of a two tone risograph print,--q 2 --ar 2:1 --chaos 50

<https://s.mj.run/hHfqmAWhUKI> <https://s.mj.run/sXtWnuaOX4> map to find your way when you are lost in the infinite image library, diagrammatical explanation, fieldnotes, in the style of a two tone risograph print,--q 2 --ar 2:1 --chaos 50

<https://s.mj.run/sXt-WnuaOX4> map to find your way when you are lost in the infinite image library, diagrammatical explanation, post-punk, fieldnotes, in the style of a high quality two tone risograph print, n the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 50

sinuous interconnected hand drawn green fountain pen ink hatch patterns --test --tile --v 5

<https://s.mj.run/hHfqmAWhUKI> <https://s.mj.run/sXtWnuaOX4> enistorosil, an inherently architectural or structural element within a rocky or stony landscape, related to flint, fieldnotes, in the style of sandy skoglund, andrei tarkovsky, fay godwin,--ar 2:1 --chaos 50 --v 5

<https://s.mj.run/hHfqmAWhUKI> <https://s.mj.run/sXtWnuaOX4> boweed, a landscape feature that has a curved or arched shape and is covered in vegetation or weeds, fieldnotes, in the style of sandy skoglund, andrei tarkovsky, fay godwin, --ar 2:1 --chaos 50 --v 5

<https://s.mj.run/hHfqmAWhUKI> Sapidone, a landscape condition that is a gift or offering of wisdom or intelligence, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 2:1 --chaos 30

<https://s.mj.run/ry9HOwpxLcM> <https://s.mj.run/ EKCvIrGb94k> lavcaslondocel, an important actor in a castellated lavender meadow, in the style of sandy skoglund, andrei tarkovsky, fay godwin --q 2 --ar 9:16 --chaos 30 --v 5

<https://s.mj.run/ry9HOwpxLcM> <https://s.mj.run/ EKCvIrGb94k> mcrumlypso, a landscape condition that is characterized by small, twisted formations that are in a state of agitation or disturbance --q 2 --ar 9:16 --chaos 30 --v 5

<https://s.mj.run/EKCvIrGb94k> baviat, related to the tremulous or shaking properties of a landscape with healing or restorative properties --ar 2:1 --q 2 --chaos 30 --v 5

<https://s.mj.run/EKCvIrGb94k> Scicesth, related to the scientific or sensory study of landscapes, sensory scientific equipment --ar 2:1 --q 2 --chaos 30 --v 5

<https://s.mj.run/ry9HOwpxLcM> <https://s.mj.run/ EKCvIrGb94k> <https://s.mj.run/EKCvIrGb94k> jasted, a landscape that features jazz-influenced or greencolored elements that are securely anchored or tied down, realistic, intricate details, --ar 2:1 --q 2 --chaos 40

word cloud of unknown words decoupled from their meaning, words related to marine environments, --v 5 --ar 2:1 --chaos 30

curoblecuman, a term for someone who is deeply concerned with harsh, bleak marine environments, wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

BARIERANDRES, a type of barrier or obstacle that is present in marine environments, perhaps something that has a significant impact on the surrounding marine life or the movement of water,wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

PANSHION , a device or tool used to measure or monitor different aspects of the ocean, such as its depth, temperature, or currents., wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

CONDDARESSION, a period of time spent observing or studying the process of condensation in arctic marine environments, wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

amamomon, a mountain-like structure made of sand or other sediment found in a marine environment, such as a sand dune on a beach or a large underwater sandbank, wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

Samimsotsr, the origin of brine, wood engraving print, sandy skoglund, andrei tarkovsky --ar 2:1 --q 2 --chaos 30 --v 5

Rybooooe, the abundance microorganisms that rely on ribosomes for survival in water movement, wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

vllesllibemnad, the sound of a vessel transporting jellyfish, wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

sugar is energy and the city is a feast, wood engraving print, sandy skoglund, andrei tarkovsky --ar 2:1 --q 2 --chaos 30 --v 5

the alphabet of the langauge of the infinite image library--ar 2:1 --q 2 --v 5 --chaos 20

black and white diagram of morphemes of the infinite image library, wood engraving print --q 2 --ar 2:1 --chaos 30 --v 5

black and white print of a creature of the infinite image library, wood engraving print, patterns --q 2 --chaos 70 --v 5

i sniffed the goose and he sniffed me in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16 --v 5

longing for the peregrine at midnight, portrait photography, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16 --v 5

the otter detective, portrait photography, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16 --v 5

our ecological pulse is waning, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16 --v 5

black and white ink illustration of unknown creatures of the infinite image library, wood engraving print, fieldnotes --q 2 --chaos 70 --v 5 --ar 9:16

**black and white ink illustration of ephemeral celestial interconnected creatures of the infinite

image library, multi-species entanglements, rhyming ritual, wood engraving print, tattoo design, leanora carrington --q 2 --chaos 50 --v 5

<https://s.mj.run/PZMfACuLrmI> ephemeral interconnected multi-species entanglements of the infinite image library, marginalia, rhythmic ritual, black and white, wood engraving print, sandy skoglund, andrei tarkovsky, fay godwin --q 2 --chaos 50 --v 5 --ar 9:16

newspaper front cover, the infinite dispatch, the infinite image library, newspaper print --q 2 --chaos 20 --v 5 --ar 3:4

newspaper front cover, newspaper article, the infinite dispatch, the infinite image library, newspaper print, woodcut print --q 2 --chaos 20 --v 5 --ar 3:4

newspaper article, the infinite dispatch, the infinite image library, newspaper print, woodcut print --q 2 --chaos 20 --v 5 --ar 3:4

full page newspaper codex, the infinite dispatch, the infinite image library, newspaper print, cataract skeleton cowboy, interconnectedness, multi - species entanglements, --chaos 20 --v 4 --ar 3:4

full page newspaper codex, the infinite dispatch, the infinite image library, newspaper print, sport, interconnectedness, multi - species entanglements, in the style of sandy skoglund --q 2 --chaos 50 --v 4 --ar 3:4

<https://s.mj.run/3c5AmJX_XH8> <https://s.mj.run/ ZPeBQ7Zx5c8> comfort in the tender hours of the night, tender moments of introspection, future retroism, screen print, --q 2 --chaos 30 --v 4 --ar 3:4

Decentring transcendental consciousness, wood engraving print, in the style of sandy skoglund --q 2 --chaos 50 --v 5 --ar 3:4

recursive space, receeding to infinity, one point perspective, andrei tarkovsky cinematography, in the

style of sandy skoglund --q 2 --chaos 50 --v 4 --ar 2:1

<https://s.mj.run/3YGjRkgsJsc> imagination weaver in the infinite image library, recursive space, receeding to infinity, one point perspective, horizon as spatial motif, 8 bit rgb, crt, fay godwin, sandy skoglund --v 4 --chaos 40 --ar 2:1

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> skeleton cowboy in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 8 bit rgb, crt, fay godwin, sandy skoglund --v 4 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> knowledge forager navigating the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 8 bit rgb, crt, fay godwin, sandy skoglund --v 4 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> imagination weaver conjuring the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> nulius rex narrating the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> nulius rex (king of nothing) narrating the infinite image library,

recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk>

<https://s.mj.run/n94OPXR_w-Y> the meeting of the knowledge forager and the skeleton cowboy in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk>

<https://s.mj.run/n94OPXR_w-Y> the nullification of the future outside the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk>

<https://s.mj.run/n94OPXR_w-Y> the knowledge forager leaving the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk>

<https://s.mj.run/n94OPXR_w-Y> the spatial organisation of the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk>

<https://s.mj.run/n94OPXR_w-Y> the never ending death of the skeleton cowboy in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3

--q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> the knowledge forager using a navigation device of the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s. mj.run/8dTPA-gVV38> the mischeivious shape shifter being in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 100 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y>

<https://s.mj.run/8dTPA-gVV38> the puca, mischeivious shape shifter, in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 100 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk>

<https://s.mj.run/n94OPXR_w-Y>

<https://s.mj.run/8dTPA-gVV38> the mischeivious shape shifter raven in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk>

<https://s.mj.run/n94OPXR_w-Y>

<https://s.mj.run/8dTPA-gVV38> the mischeivious shape shifter goatin the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y>

<https://s.mj.run/8dTPA-gVV38> the mischeivious shape shifter goblin in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> <https://s.mj.run/8dTPA-gVV38> the mischeivious shape shifter animal in the infinite image library, recursive space, exploration, cartograhpy, receeding to infinity, one point perspective, horizon as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ n94OPXR_w-Y> the nullification of the future,, cartograhpy, one point perspective, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> the collapse of the present, collapsing space to a point, recursive space, cartograhpy, receeding to infinity, one point perspective, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> THE meeting of the knowledge forager and the MANIACAL skeleton cowboy in the infinite image library,,recursive space, exploration, cartography, receeding to infinity, one point perspective, infinity as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

<https://s.mj.run/3YGjRkgsJsc> <https://s.mj.run/ qZ1EO1N8BTk> <https://s.mj.run/n94OPXR_w-Y> INTERCONNECTEDNESS in the infinite image library, vector space,recursive space, exploration, cartography, receeding to infinity, one point perspective, infinity as spatial motif, 32 bit , crt,

fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

front cover of a codex, front cover of a codex, front cover of a codex, front cover of a codex, front cover of a codex, front cover of a codex, front cover of a codex, of the infinite image library, vector space,recursive space, exploration, cartography, receeding to infinity, one point perspective, infinity as spatial motif, 32 bit , crt, fay godwin, sandy skoglund --v 5 --chaos 40 --ar 4:3 --q 2

portrait of the knowledge forager in the infinite image library, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin --chaos 50 --q 2 --ar 9:16 --v 5

portrait of the knowledge forager entity in the infinite image library,Close shot, exploration, the character of the forager exploring an unfamiliar landscape in search of sustenance, in the style of a tarot card, cartographic,, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin, 32 bit, crt, --chaos 50 --q 2 --ar 9:16 --v 4

portrait of the knowledge forager entity in the infinite image library,Close shot, exploration, the character of the forager exploring an unfamiliar landscape in search of sustenance, in the style of a tarot card, cartographic,, in the style of sandy skoglund, andrei tarkovsky, Fay Godwin, 32 bit, crt, --chaos 50 --q 2 --ar 9:16 --v 4

Portrait of the imagination weaver in the infinite image library, the character of the weaver interconnecteing patterns, jaquard loom, in the style of sandy skoglund, Fay Godwin , --ar 2:4 --chaos 30 --v 4 --q 2

simple series of dots in rhythmic order, greyscale images --v 5

<https://s.mj.run/Kfrv7-zUZwU> one line of sheet music, scanned document, front on flat perspective, --v 5 --ar 4:3

portrait of the image jockey, the sound of images, disc jockey, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 30 --v 4 --q 2

a prompt book, annotated, scanned document, --chaos 30 --v 4 --ar 4:3

portrait of the image mathematician, vectors, mathematician explaining, ephermeral, spectral colours, in search of knowledge, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 30 --v 4 --q 2

portrait of the image data scientist, spatial reasoning, point cloud, cloudy, ephermeral, spectral colours, in search of knowledge, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 30 --v 4 --q 2

portrait of the image archivist, organising images, archive, meticulous, ordered, botanical, pixel organisation, spectral colours,, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 39 --v 4 --q 2

portrait of the image pixel archivist intensely organising images in the infinite image library, archive, meticulous, ordered, botanical, pixel organisation, spectral colours,, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 39 --v 5

portrait of the image pixel archivist beekeeper intensely organising images in the infinite image library, archive, meticulous, ordered, botanical, pixel organisation, spectral colours,, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 39 --v 5

portrait of the image cartographer in the field, outdoors navigating, charting unknown territory, into the unknown, exploration, recording data, spectral colours,, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 39 --v 4

portrait of the creature cartographer in the field, outdoors navigating, charting unknown territory, into the unknown, exploration, recording data, spectral colours,, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 39 --v 4 --no human

portrait of the image beekeeper intensely organising images in the infinite image library, BINOCULARS FOR EYES, archive, meticulous, ordered, botanical, pixel organisation, spectral colours,, infinite image library, in the style of sandy skoglund, fay godwin, --ar 2:4 --chaos 39 --v 5

<https://s.mj.run/y4nHGQAC-Gc> a marsh or wetland, infinite image library, in the style of sandy skoglund, fay godwin, --v 5 --ar 4:3

long goose --ar 9:16

two mariners having a converstaion on a boat in a turbulent storm at sea, bleak marine environments, wood engraving print --ar 2:1 --q 2 --chaos 30 --v 5

grand reveal of the infinity of images

final exam

CODEX

Digital copy of the Codex AD INFINITUM

BIBLIOGRAPHY

The Living World/Interconnectedness

Bird Rose, Deborah, ‘Shimmer: When All You Love Is Being Trashed’, in Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene (Minnesota Press, 2017), pp. 51–63

Chatwin, Bruce, Songlines (Vintage, 1998)

Deakin, Roger, Waterlog (London: Vintage, 2000)

Debaise, Didier, and Isabelle Stengers, ‘An Ecology of Trust? Consenting to a Pluralist Universe’, in The Sociological Review Monographs (Sage, 2022), LXX, 402–15

Guattari, Félix, The Three Ecologies (London: Continuum, 2008)

Haraway, Donna J., ‘SF with Stengers: Asked for or Not, the Pattern Is Now in Your Hands’, in SubStance, 145 (John Hopkins University Press, 2018), XLVII, 60–63

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Latour, Bruno, Down to Earth : Politics in the New Climatic Regime, trans. by Catherine Porter (Cambridge: Polity, 2018)

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Macfarlane, Robert, Landmarks (London: Hamish Hamilton, 2015)

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Structures of knowledge / image

Auge, Marc, The War of Dreams: Exercises in EthnoFiction, trans. by Liz Heron (London: Pluto, 1999)

Baldwin, James, The Fire Next Time (London: Penguin, 2004)

Bubandt, Nils, and Rane Willerslev, ‘The Dark Side of Empathy: Mimesis, Deception, and the Magic of Alterity’, in Comparative Studies in Society and History, January 2015 (Cambridge University Press, 2015), lvii, 5–34

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to Empathy?’, in Ethos, December 2008 (Wiley, 2008), xxxvi, 385–401

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Fiction

Asimov, Isaac, Robot Dreams (London: Orion, 2001)

Ballard, J.G., Atrocity Exhibtion (Fourth Estate, 2014)

Borges, Jorge Luis, Fictions (London: Penguin, 2000)

Clarke, Susanna, Piranesi (London: Bloomsbury, 2020)

Ferraiolo, Angela, ‘«The Index», by J.G. Ballard’

Film

24 Hour Party People, dir. by Michael Winterbottom (Pathé Distribution, 2002)

Brazil, dir. by Terry Gilliam (20th Century Fox, 1985)

Daguerréotypes, dir. by Agnes Varda (ZDF, 1976)

Heart of Glass, dir. by Werner Herzog (New Yorker Films, 1976)

Holy Motors, dir. by Leos Carax (Les Films du Losange, 2012)

Horse in the House, dir. by György Csonka, 1976

Joy Division, dir. by Grant Gee (The Works, 2007)

La Notte, dir. by Michelangelo Antonioni (United Artists, 1961)

La Planète Sauvage, dir. by René Laloux (Argos Films, 1973)

On Body and Soul, dir. by Ildikó Enyedi (Netflix, 2017)