DeLanda | Neural Networks
…what I find fantastic about this is precisely the open endedness aspect of the project the fact that it is it is a cauldron of creativity the fact that the limits are really the limits of the imagination of the designers of neural nets and therefore it’s not going to be the kind of argument that can be settled by logic alone it has to be settled by getting your hands into reality interconnecting those units creating new designs training them testing them and see what they can do in other words gonna be a lot about know-how not knowing how to design new neural nets so know how that level of the body is now beginning to interact with the first technological objects that actually can learn know how that can learn from experience and from that interaction Hume will be recovered and Hume will be in fact validated now I tell my students only as you are a very strict conceptual artist who all that he or she wants to do is things with words if you are just about any other kind of artist a musician a choreographer a painter someone who deals with colors with sounds with with intensities you are much better off with a theory of perception a theory of experience as human because humans all about those intensities and even your subjectivity when when you are in the in the process of creating a new work of art and you feel you lose yourself in the work of art well that’s also very human because humans your subject your ego they did your personal you’re more or less stable personality is something that emerges through habit is a kind of crystallization in a world of sensations not only external sensations but internal sensations feelings of pride and humiliation feelings of hatred and love feelings of sadness and joy and you we are psyched the psychic agency is simply a crystallization in a field of perceptions that is not ours and the way you can tell that is when you go into a delirium cabin fever or even a fever of 105 degrees I mean that’s one of the things I love about this it’s just how easy it is to get rid of the subject you know this turn on the button the fever button a little bit 105 106 and you’re in a delirium and when you’re in a delirium you now are fuzzy you are you don’t I don’t know who I am anymore but your sensations are there only now they are forming a wild delirium there’s so many ways of triggering that state sensory isolation chambers even an excess of alcohol that it gives us a sense of how our sensations are not really ours we’re inhabiting we as a psychic entity we’re having a body that has its own life and the sensations and if both internal and external have a life of their own we tend to think that there are hours because be a habit and routine we have given given them a certain territoriality we have we have made it ours but then when we begin to dissolve via a variety of methods we begin to rediscover how the sensations have a life of their own and how as artists we may owe them something how us artists you may it may be not the right thing for us to do to try to break you know slave all those sensations to language to words and affirm that it is the words that give them sense and coherence but rather to give them their own autonomy their own independence even if we use them to our own benefit so to conclude this talk where as Hume did not have a paradigm that was that was robust enough throughout the 20th century to make it into a viable option for our and for thinkers and therefore the 20th century was mostly neo-kantian today towards the end of the 20th century the beginning of the 21st we finally have found that paradigm that doesn’t mean that language is going to become irrelevant language is clearly very important but it’s going to be caught down to size and we need to right now rethink the role of intensities visual auditory the smell intensities texture intensities in our lives and in our art