[Fis] Fwd: A Seussian Poem About The Plight Of A Vaccinated Man In Covid-"Morton Sues The Who"

Mon Feb 27 13:56:36 CET 2023

Dear Colleagues,

*Poetry and Reality*

Thank you for the nice poems, including the creations by robots, which have
also been foreseen as possible alternatives of sequences of words. While
the robots’ creations surprise us by the regularity and common sense of
arguments of the sentence which conveys a meaning to us, the poems are
charming by their non-regular, but possible, sequence of invocations in the
reader’s mind of connotations. Mastery is to convey a meaning by using such
words that are connected by some secondary or tertiary meanings
(associations, connotations) and require the reader to use a wider
perspective, in which the concepts’ sequence does make a sense.

The robots point out such relations among concepts which are to be expected
to be existing, kind of no-na relations, referenced to a common grid of
common understandings of words. The poems do not name the concepts, they
refer to them.

A robot’s communication should in theory be never ever surprising. The only
surprise a robot’s message can create is that about one’s self. How come
one has not thought sufficiently correctly, far enough or grammatically
exact. If one had thought well, there could be no surprise in receiving a
message that refers to facts and their rational relations. There should be
no subjectivity in the style of a robot.

The poet, if he does his work well, (‘if they do their work well’ in the
new language), talks to us by utilizing such aspects of words (concepts)
which were chosen by the poet’s subjective feeling. It is permissible to
refer to the rosy fingers of dawn when one speaks about sunrise. This will
come in handy later, as he speaks of grey stripes of sorrow as he depicts
the evening. Our surprise is about him taking the color of the hours, and
not say the temperature. He could have said ‘during chill in retreat as
petals open’ and ‘slowly dissipating memories of the warmth of the day’.
The key is in keeping the reference multitude stable. In needs to be the
same background before which the change can be perceived.

The two presentational styles both allow depicting images, situations,
relations among concepts that refer to pictures declared and understood to
be reality and to pictures also that are declared or non-declared,
understood or not, which refer to states that are (purely) imaginary. The
difference does not lie in the presentational style of a thought. One can
express a simple fact poetically and one can argument by rational syntax
the idea of phlogiston and of witches.

*Poetry and the coherence of succession*

As I was young, *schizophrenia *was even less understood than today. We
were told to watch for the symptom of a *loosened up of coherence of
succession’. *How many times *{hence, therefore, because, due to, etc.} *are
used or should be used. In a technical piece of literature, in Wittgenstein
speak, from a person with Zero tendency of schizophrenia, the consistence
and coherence of the succession is ideal (say near One). The other extreme
is the clinical case, where the convoluted utterance does not follow any
usual patterns of inner consistency.

There is no discrete dichotomy. The measure is graded and has many
segments. Even in technical literature, one does not explicate every single
little conclusion but rather relies on the reader’s mind to have the
necessary ability to connect by creating some missing half-steps. Friends
talking to each other may abbreviate their common vocabulary, creating
their own dialect of the language (in which they know what the sentence *‘…and
then you take the red one…’ *exactly means).

Poets choose a level of explicitness and coherence and use that level as a
carrier medium. Here, their work comes close to that of composers. Both can
finish a chain of thoughts by ending in an unresolved mystery, with endings
that are left for you to fill in. The dark balladic hints and silences are
a method of addressing a solution to the tensions created by the previous
terms of the work. The poet relies on the inner consistence of the
succession to bring to your level of perception that what he wants to say,
without him saying it explicitly.

Robots should not work by using poetic allegories. But, and this is why I
write this poem, robots could make themselves as understood as poets do*.
It is within the domain of the logical language to communicate by using not
the denotation but connotations of each word.*

*Robots, Poetry, and the Vocabulary*

The mechanical poet utilizes a well-referenced lexicon as vocabulary. He
makes use of the immanent set of cross-references which comes with
reading *a+b=c
*in some detail. Fired up by the Muse’s *16 *kisses, he decides that
everything that can be said about the world is contained in the varieties
of the Muse’s kisses in the morning and those in the evening. (There is
some romantics here, which only those in love and Eddington understand, why
no more than *136 *variants of kisses of a day can be talked about,
differentiated, exist.)

The variants coexist as possibilities. The Muse herself is subject to
periodic changes of mood. It is in dependence of her mood, which
possibilities are aggregated into a reality which reflects her mood. The
reality is the succession in which she dispenses her *136 *variants of
kisses.

Being of an exquisite nature, the Muse periodically changes her moods, and
tries to keep up the maximal liberty to be in any of moods she chooses. She
actually crosses her own plans at times. The inner conflicts are
predictable and have an archetypical typology. She is different if she is
in a conflict because she should be *chez les coiffeurs* while she is
already late to do the tax returns. This logical archetype is clearly
distinct to that she produces if she should do the cooking while being late
to tend the garden. The logical archetypes are frozen conflicts.

The Muse is also very *adroit *in matters of space, distances and order.
This is a stable property of her. Whatever her moods, she always looks that
together with her yesterday’s and her tomorrow’s position, her overall
position remains close to *18, 33 *(some *tailles* that reflect on her
being close to perfect in her 3D appearance).

Each day with the Muse is connected by zillions of liens to the previous
and the next day with her (she avoids the topic, but it is true that her 3D
appearance is not completely in her power: her daily appearance is
dependent not only on her appearance of yesterday, but also of that of the *day
before yesterday. *In this regard, she is a dedicated groupie of Fibonacci,
with her insistence that *fn=fn-1+fn-2.) *

Each kiss of the Muse is related to every other kiss of the Muse, not only
by the history of coincidences in various phases of 3D appearances of the
Muse, but also during which moods of her one kind of kiss will come next or
previous of *k *distances far to any other kind of kiss of her. Not only is
the connection how fat she was at the two times but also during which fits
she called the poet what name.

There exists a collection of elementary occurrences. For non-poets, this
are readings of *a+b=c *being on specific places among their peers during
reorders on aspects of *(a,b)*. The elementary occurrences are
possibilities for a whole to be consisting of two parts. Periodic changes
cause elementary occurrences to assemble into linear sequences. The song is
about which linear sequences can run concurrently during which periodic
changes. This determines, what elementary occurrences can be
contemporaneous.

The lexicon is a system of tables. The factual entries (*(a,b) are at
pos(x,y) in reorder [ab]**↔[ba]*) are accompanied by entries that describe
probabilities, namely that this fact is contemporaneous with a different
fact. There exists a web of (probabilities of) coincidences of occurrences.
Some of these come into observable existence as objects. The material
object is an anomaly of space, an over dense segment of space. These may be
called in the left Euclid space *neutron, *in the right Euclid space *proton.
*How many of unit anomalies of space can aggregate is determined by the
types of agglomeration conflicts *(= logical archetypes)* among cycles that
appear as an implication of reorders.

>From the sub-atomic level up, the lexicon is cross-referenced. Poets and
robots can both use it. We can understand their productions, because in our
brain the same mechanism is at work, ordering our concepts.

*Poets can predict the future, robots can learn to do so, too.*

We can profit from using the very rational idea that elementary logical
symbols do have individualities, immanent to them. Let us create the
Habitat, in which 136 logical primitives pursue their happiness.

Of this assembly of symbols, many logical sentences can be said, but not
endlessly many. The collection of what we can say contains sentences that
are true and sentences that are not true. Using computers, we are in a
position to discuss the grammar of false logical sentences. As the property
of being true or not depends on the external influence of periodic changes,
the interplay between true and false sentences will have its own rules.

In practical reality, we do make use of the false sentences, eg by
eliminating alternatives. Yet, it is an uphill battle to raise awareness to
the fact that the information and the meaning are read out of the
background of false sentences. That what is not the case merits our
attention. The Master said: About that, of which we cannot speak, we should
keep silence. The novelty is that we can speak nowadays about things that
are not the case. Let us use the collection of sentences *a+b=c *and
investigate, in which circumstances what logical categories are present,
from *certain *to *impossible*. The entries in this table are extremely
well cross-referenced. Our brain uses a working version of the catalogue
rules for grouping and individuating, placing and finding contents.

Both poets and robots can use this same catalogue.

Karl

Am So., 26. Feb. 2023 um 15:47 Uhr schrieb Michel Petitjean <
petitjean.chiral en gmail.com>:

> Dear Plamen,
> I don't know about ChatGPT and I don't about Dr. Kory.
> About ivermectin, the review (167 refs) written by Satoshi Omura
> (Nobel Prize in Physiology or Medicine 2015) was published in the
> Japanese Journal of Antibiotics, March 2021.
> Title: Global trends in clinical studies of ivermectin in COVID-19.
> My own opinion is unimportant, build your own one by tourself.
> Best regards,
> Michel.
> Michel Petitjean, retired scientist
>
> https://urldefense.com/v3/__http://petitjeanmichel.free.fr/itoweb.petitjean.html__;!!D9dNQwwGXtA!QqMqGeRNkSvTEAca9QUtKDQfFH0J4P22Cz25Cfuy-wdZ7ETiWeknF_jCZKyV7JIkktvU6Go9h8csT_BdEBgLC1WVJjQ1$
>
>
> Le dim. 26 févr. 2023 à 10:02, Dr. Plamen L. Simeonov
> <plamen.l.simeonov en gmail.com> a écrit :
> >
> >
> > I wonder if ChatGPT would be "allowed" to create such a poem,.see
> below,.. despite all its creative writings.
> >
> > Best,
> >
> > Plamen
> >
> >
> > ---------- Forwarded message ---------
> > From: Dr. Pierre Kory’s Medical Musings <pierrekory en substack.com>
> > Date: Sat, Feb 25, 2023 at 11:13 PM
> > Subject: A Seussian Poem About The Plight Of A Vaccinated Man In
> Covid-"Morton Sues The Who"
> >
> >
> > ...
>
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