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

[Dr. Plamen L. Simeonov]

Yep, Karl. Everything is possible, relative and can be changed, learned and
imitated.
It is also possible that AI tools like ChatGPT can help replacing some
arduous work in communication between human beings.
It can even simplify writing research articles. I agree. But this is not
the question. The question is what comes out at the end of the pipe?

Imagine something between you and your peer you talk to or your audience
that acts as interpreter and slightly changes the contents of your
talk/poem/essay within fractions of a second only.  This is done silently;
nobody on both ends even notices what happens, and all of a sudden there is
perhaps either great love or great hate. Imagine that this “Thing”
continues to talk instead of you, provide instructions and advice to
others, and you are not needed anymore, no matter how skilled you are in
your profession and competence. Imagine then that all your works in digital
form “slightly change”, and all history and other past experiences recorded
on some digital carrier change in some way that when you read, watch or
listen to them you don’t think they are yours, but others believe that this
is you who is the author. Does anybody needs you anymore on this planet?
You can be easily replaced and eliminated, your identity stolen to create a
slightly different one that can be mixed with other identities to deliver a
patented amalgam of an engineered personality to be injected in another
human (bot) or machine. There are AI tools today that imitate the voce and
the appearance of artists to follow a scenario that suits a director’s
plans without the need to engage and pay the artists. Have you asked
yourself why so many famous rock stars have sold their entire music
inheritance they have created in the past incl. copyrights to corporations?
This appeared to me like a stock market sell-out. Imagine all this on a
much larger scale, related to all past human science, culture, history,
etc, Changes....You can be then easily replaced or transcended, or maybe
stored for later use, and what you and others before you have left -
changed as many blinded youngsters have been trying this during the past 3
years by demolishing memorials, paintings and other signs of the human past
for some weird artificially invented reason. All this is simply not human
anymore. So simple as it sounds. Do you wish that future for your kids and
grandkids?

Best,

Plamen


On Mon, Feb 27, 2023 at 1:56 PM Karl Javorszky <karl.javorszky at gmail.com>
wrote:

> 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 at 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 at 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 at 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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