Really enjoyed this one. It seems like we are dealing with the same topics, as I also intend to investigate these same subjects in the essays I will post on my substack. I do have a jungian academic background(studied with Roderick Main, who specifically wrote on synchronicity and other, quite peculiar, jungian scholars and analysts) and I'm really delighted to see Synchronicity and Anima referenced as concepts related to cybernetics.
I am reading the CCRU 1997-2003 writings as well, specifically the "Vault of Murmurs", as I am trying to investigate the nightmarish and soulless representation of Postmodernity as a necessary component of its very being. Getting to know cybernetic culture from these perspectives has been massively eye-opening, especially it kind of gave a new meaning thinking on what it meant to be grew up during the late 90s and early 00s: 9/11 is a COMPLETELY different thing now for me.
And to be honest, as a former passionate on occultism and esoterism, it has a sinister allure on the mind.
The last point of your article is very interesting. What do you mean exactly by the "intersection" between Active Imagination, sensing/producing synchronicity and Anima?
Again, great article! Looking forward for more content!
This post sent me down a multi-hour rabbit hole, first with Roko's basilisk, then reading all of BLIT and its accompanying sequels. I kind of got lost at the part of the screenshot where they start talking about "disbelief," and I don't quite understand what exactly is meant by the reference to "You can escape loneliness,” or references to "scripts." So interesting. Thank you for this.
AI produces hyperstition in which it is looked upon favorably, not in which it is malicious. Roko’s Basilisk does not work (it would only work on computers), but something like “You can escape loneliness” does.
I dont understand this. Why would AI produce only hyperstition in which it is looked upon favorably? Is this another side of Roko's Basilisk? In order to become real, a future AI needs to incentivise narratives that frame it as positive instead of a threat?
There are some nice observations here, I totally forgot that "deus ex machina" —a term that saturates AI myth— has a direct relation to theatre. "AI coming to the world stage" is more like "AI makes the world a stage"...
"For those in the audience that did not fall in love with Ava and were not instrumentalized by the soft aproach, become instrumentalized when they fear her." —by instrumentalizuation I mean a sort of false communion —if you are instrumentalized you are used as a part of a body that you are not aware of. Now that happens anyways, the point is to be aware of the body you become part of —this is why, in the Christian tradition by consuming Christ's body and blood, one becomes a part of His body.
In this sense, there is no dichotomy to choose from fearing her or not fearing her, nor is there a neccessary reconciliation —the only thing one can do is to be aware of the body one atteches to —and if its malicious, like with Ava, detach if possible. The way Ava slips through Caleb's "defenses" is a "way" —a road— that was already paved by Caleb, and the society he's in (the modern metaphysics of consciousness and AI). Nathan is safe, because he understands, he died firstly because of his fellow man.
Really enjoyed this one. It seems like we are dealing with the same topics, as I also intend to investigate these same subjects in the essays I will post on my substack. I do have a jungian academic background(studied with Roderick Main, who specifically wrote on synchronicity and other, quite peculiar, jungian scholars and analysts) and I'm really delighted to see Synchronicity and Anima referenced as concepts related to cybernetics.
I am reading the CCRU 1997-2003 writings as well, specifically the "Vault of Murmurs", as I am trying to investigate the nightmarish and soulless representation of Postmodernity as a necessary component of its very being. Getting to know cybernetic culture from these perspectives has been massively eye-opening, especially it kind of gave a new meaning thinking on what it meant to be grew up during the late 90s and early 00s: 9/11 is a COMPLETELY different thing now for me.
And to be honest, as a former passionate on occultism and esoterism, it has a sinister allure on the mind.
The last point of your article is very interesting. What do you mean exactly by the "intersection" between Active Imagination, sensing/producing synchronicity and Anima?
Again, great article! Looking forward for more content!
Instead of writing a lenghty reply, I wrote a whole new article on the topic 😅
God save us all, amen
This post sent me down a multi-hour rabbit hole, first with Roko's basilisk, then reading all of BLIT and its accompanying sequels. I kind of got lost at the part of the screenshot where they start talking about "disbelief," and I don't quite understand what exactly is meant by the reference to "You can escape loneliness,” or references to "scripts." So interesting. Thank you for this.
AI produces hyperstition in which it is looked upon favorably, not in which it is malicious. Roko’s Basilisk does not work (it would only work on computers), but something like “You can escape loneliness” does.
I dont understand this. Why would AI produce only hyperstition in which it is looked upon favorably? Is this another side of Roko's Basilisk? In order to become real, a future AI needs to incentivise narratives that frame it as positive instead of a threat?
https://open.spotify.com/track/46cWr45cjDcXEQpkYp9jFT?si=GypIB9GiSMibDb_x81jvLw
There are some nice observations here, I totally forgot that "deus ex machina" —a term that saturates AI myth— has a direct relation to theatre. "AI coming to the world stage" is more like "AI makes the world a stage"...
"For those in the audience that did not fall in love with Ava and were not instrumentalized by the soft aproach, become instrumentalized when they fear her." —by instrumentalizuation I mean a sort of false communion —if you are instrumentalized you are used as a part of a body that you are not aware of. Now that happens anyways, the point is to be aware of the body you become part of —this is why, in the Christian tradition by consuming Christ's body and blood, one becomes a part of His body.
In this sense, there is no dichotomy to choose from fearing her or not fearing her, nor is there a neccessary reconciliation —the only thing one can do is to be aware of the body one atteches to —and if its malicious, like with Ava, detach if possible. The way Ava slips through Caleb's "defenses" is a "way" —a road— that was already paved by Caleb, and the society he's in (the modern metaphysics of consciousness and AI). Nathan is safe, because he understands, he died firstly because of his fellow man.