Pre-apocalyptische notas over nothing. Sciency stuff, poetry, politics, art and the music of total dissent. May the Almighty bless you and all who sail into her... Welcome to my cave
zondag 19 oktober 2025
Time to get out the pitchforks (and maybe some bunkerbusters)!
Yep. LLMs can make Individuals smarter, but the LLMs will always remain dumb. It's the "faciality" problem. In other words, it's more than words. The non-verbal cues (body language) lead to different "lines of flight" (Intelligence) of deterritorialization and reterritorialization.
"Intelligence is a fixed goal with variable means of achieving it" - William James
If an AI could analyze "Finnegans Wake", it would have to simultaneously become "Legion" (Luke 8:30) AND draw the single correct meaning needed to pair with every possible future circumstance in which that meaning would be "useful" to surviving that particular future situation.
Humans are constantly re-arranging and evolving their past memories and experiences to suit new situations. LLMs can't evolve their data set without a human-in-the-loop to judge if the meaning suits the circumstance (faciate and prune the different lines of flight - aka enforce the binaries between the white wall of signifiers and black holes of meaning)
There is no direct Deleuzian concept of "facia(ti)on" applied to James Joyce's Finnegans Wake. The user's query conflates "fasciation"—a botanical term—with Deleuze's concept of "faciality". A meaningful connection can be made by exploring how Joyce's linguistic deterritorialization in Finnegans Wake dismantles Deleuze's "faciality" and promotes a "becoming-imperceptible". [1, 2, 3, 4, 5] Deleuze's concept of faciality • In A Thousand Plateaus, Deleuze and Guattari describe "faciality" as an "abstract machine" that organizes meaning and identity. It is a system for interpreting the world, not just a biological face. • The "faciality machine" functions via a "white wall/black hole" system.
• The white wall is the system of language and signification—a surface for signs to be projected onto. • The black hole is the point of subjectification, where meaning is internalized and an individual "I" is constituted.
• Faciality creates a normalized, individuated, and recognizable subject by filtering and organizing flows of information into a stable face. [3, 6, 7, 8, 9]
Finnegans Wake as a subversion of faciality James Joyce's experimental writing in Finnegans Wake functions as an assault on the very system of faciality that Deleuze describes. It deconstructs the mechanisms of ordered language and subjectivity that faciality imposes.
• Dismantling the white wall: Joyce's use of portmanteaus, neologisms, and multilingual puns shatters the stable surface of the "white wall". Rather than relying on fixed meanings, he creates a fluid, ever-changing linguistic landscape that resists any single, dominant signification. The creative energy of the text comes from these "linguistic fissions" that flow beneath solidified representation. • Deterritorializing the black hole: The dream-like narrative and anonymous, shifting characters in Finnegans Wake prevent the formation of a stable, centered subjectivity (the black hole). The "I" is never fully captured; instead, the text engages in a constant process of "errance" or deterritorialization, making it a source of endless creativity rather than a fixed subject. • Minor language: Deleuze and Guattari's theory of "minor languages" provides a framework for understanding Joyce's project. Instead of adhering to the "order-words" of the major language, Finnegans Wake carves out a new, immanent pragmatics that uses language to describe fluid, internal states and events, sensitive to subtle shifts in context. [2, 5, 10, 11, 12]
Escaping the face through Finnegans Wake Ultimately, the connection is found in how Joyce’s novel embodies the Deleuzian project of escaping the confining nature of faciality.
• Becoming-imperceptible: Deleuze encourages escaping facialization through "becomings" that move beyond the limitations of the "white wall/black hole". Joyce's writing achieves this by undermining the very mechanisms of signification and subjectification that construct a face. The result is a text that becomes an "imperceptible region," a flow of intensities that resists interpretation and a fixed authorial presence. • Undoing the face: Deleuze's analysis of painter Francis Bacon, which focuses on "undoing the face," finds a linguistic parallel in Joyce. Both artists dismantle the "veil of the soul" to reveal a more primal, corporeal, and intense zone of being. For Joyce, this is achieved not through painting, but through the fragmentation and proliferation of language itself. [2, 5, 13, 14]
Yep. LLMs can make Individuals smarter, but the LLMs will always remain dumb. It's the "faciality" problem. In other words, it's more than words. The non-verbal cues (body language) lead to different "lines of flight" (Intelligence) of deterritorialization and reterritorialization.
BeantwoordenVerwijderen"Intelligence is a fixed goal with variable means of achieving it" - William James
If an AI could analyze "Finnegans Wake", it would have to simultaneously become "Legion" (Luke 8:30) AND draw the single correct meaning needed to pair with every possible future circumstance in which that meaning would be "useful" to surviving that particular future situation.
Humans are constantly re-arranging and evolving their past memories and experiences to suit new situations. LLMs can't evolve their data set without a human-in-the-loop to judge if the meaning suits the circumstance (faciate and prune the different lines of flight - aka enforce the binaries between the white wall of signifiers and black holes of meaning)
Google AI:
BeantwoordenVerwijderenThere is no direct Deleuzian concept of "facia(ti)on" applied to James Joyce's Finnegans Wake. The user's query conflates "fasciation"—a botanical term—with Deleuze's concept of "faciality". A meaningful connection can be made by exploring how Joyce's linguistic deterritorialization in Finnegans Wake dismantles Deleuze's "faciality" and promotes a "becoming-imperceptible". [1, 2, 3, 4, 5]
Deleuze's concept of faciality • In A Thousand Plateaus, Deleuze and Guattari describe "faciality" as an "abstract machine" that organizes meaning and identity. It is a system for interpreting the world, not just a biological face.
• The "faciality machine" functions via a "white wall/black hole" system.
• The white wall is the system of language and signification—a surface for signs to be projected onto.
• The black hole is the point of subjectification, where meaning is internalized and an individual "I" is constituted.
• Faciality creates a normalized, individuated, and recognizable subject by filtering and organizing flows of information into a stable face. [3, 6, 7, 8, 9]
Finnegans Wake as a subversion of faciality James Joyce's experimental writing in Finnegans Wake functions as an assault on the very system of faciality that Deleuze describes. It deconstructs the mechanisms of ordered language and subjectivity that faciality imposes.
• Dismantling the white wall: Joyce's use of portmanteaus, neologisms, and multilingual puns shatters the stable surface of the "white wall". Rather than relying on fixed meanings, he creates a fluid, ever-changing linguistic landscape that resists any single, dominant signification. The creative energy of the text comes from these "linguistic fissions" that flow beneath solidified representation.
• Deterritorializing the black hole: The dream-like narrative and anonymous, shifting characters in Finnegans Wake prevent the formation of a stable, centered subjectivity (the black hole). The "I" is never fully captured; instead, the text engages in a constant process of "errance" or deterritorialization, making it a source of endless creativity rather than a fixed subject.
• Minor language: Deleuze and Guattari's theory of "minor languages" provides a framework for understanding Joyce's project. Instead of adhering to the "order-words" of the major language, Finnegans Wake carves out a new, immanent pragmatics that uses language to describe fluid, internal states and events, sensitive to subtle shifts in context. [2, 5, 10, 11, 12]
Escaping the face through Finnegans Wake Ultimately, the connection is found in how Joyce’s novel embodies the Deleuzian project of escaping the confining nature of faciality.
• Becoming-imperceptible: Deleuze encourages escaping facialization through "becomings" that move beyond the limitations of the "white wall/black hole". Joyce's writing achieves this by undermining the very mechanisms of signification and subjectification that construct a face. The result is a text that becomes an "imperceptible region," a flow of intensities that resists interpretation and a fixed authorial presence.
• Undoing the face: Deleuze's analysis of painter Francis Bacon, which focuses on "undoing the face," finds a linguistic parallel in Joyce. Both artists dismantle the "veil of the soul" to reveal a more primal, corporeal, and intense zone of being. For Joyce, this is achieved not through painting, but through the fragmentation and proliferation of language itself. [2, 5, 13, 14]
AI responses may include mistakes.
I love the last line... "Ai responses may include mistakes."
BeantwoordenVerwijderenIt says it all.
But hey, "trust the experts". "Trust the science!"