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Archive for August, 2015

Further to AI: Emlyn saw the ostrich

Monday, August 10th, 2015

[ by Charles Cameron — following on from A difficulty with DoubleQuotes — in which Emlyn and his mother exhibit different forms of recognition ]
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For the record, my son Emlyn looked at the middle frame in this image:

negative2 cropped

and “saw” the ostrich.

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He immediately pointed me to one of a series of double imgages comparing the facial expressions of an ostrich and the BBC’s latest Mycroft Holmes:

ostrich mycroft

Hm, yet another use of DoubleQuotes!

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Here’s the “ghost ostrich” — the middle image in the set of three above, juxtaposed with the ostrich as Emlyn recalled it from his encyclopedic interest in the great detective:

ghost ostrich

Can you see the resemblance? Frankly, I can’t.

**

In any case, Emlyn’s mother had it right, I think. She saw the original dog image (left, below)

nichon frisee
Bichon Frisé image, right, via Dog Breed Information and Pictures

and suggested it was a Bichon pup. If so, it’s a feisty one. I wouldn’t know..

On the various uses and modes of DoubleQuotes thinking

Monday, August 10th, 2015

[ by Charles Cameron — working my way towards that ever-elusive Grand Theory of Linkage ]
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Standard_legirons_taiwan01
Ahem — not unlike my DoubleQuote format, these Taiwanese leg-irons offer another form of linkage

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Here’s a cross-cultural DoubleQuote embedded in a Guardian paragraph — from Xiaolu Guo, writing on the Analects of Confucius in Ten Books that Changed the World:

If you are Chinese, lines from the Bible such as “Love your enemies and pray for those who persecute you” can only bewilder you, as Confucius said nearly the opposite: “It is only the truly virtuous man who can love and hate others.” Hate is a necessary moral stance for a Chinese man.

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More elaborately, Marcy Wheeler over at emptywheel has an entire post using what’s in effect a DoubleQuotes form of argument, comparing Buffalo’s ISIS Supporting Terrorist and Its Klan Supporting Terrorist as her title puts it, and including such quotes as these..

Concerning Michael O’Neill:

On January 21, 2015, the Niagara County Sheriff’s office responded to a report of an explosion at the house of Chair of the Niagara County Legislature, William Ross. They discovered that his stepson, former corrections officer Michael O’Neill, who lived with his mother and stepfather at the house, had blown off his leg while working with explosives in the garage. In addition to the one that exploded, there were 6 completed Improvised Explosive Devices in the garage, along with shrapnel, fireworks powder, and other explosives precursors.

and..

That evidence shows that the work bench at which Ross’ stepson was emptying fireworks for powder and adding nails to IEDs was decorated with a Stormtrooper poster, a picture of Nathan Bedford Forrest, a Confederate flag, and a poster advertising, “The KKK wants you.” O’Neill also appears to have had a sword (most visible in Exhibit 14) not mentioned in any legal document.

Concerning Arafat Nagi:

A week later, on July 29, also in the Buffalo area, FBI Agent Amanda Pike arrested US citizen Lackawanna resident Arafat Nagi on charges of attempting to materially support ISIS. The complaint laying out the case against Nagi relied on trips to Turkey and Yemen (Nagi has family in the latter), a slew of tweets supporting ISIS, and some 2012 and 2013 purchases of military equipment — including body armor and a machete — and Islamic flags from eBay. The complaint also included pictures Nagi had tweeted out depicting ISIS and extremist flags and Abu Bakr al-Baghdadi

— and concluding:

Still, these two extremists were working their way through the same court room at the same time. The contrast between the two cases is instructive.

Read her entire piece for further elaboration.

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A DoubleQuote in my DQ format is intended to work as a sort of haiku, or perhaps a stem christie, incorporating in miniature a change of direction or leap of insight — they come to much the same thing.

A single, glorious gothic arch — you get the picture.

It is becoming ioncreasingly obvious, though, that the DoubleQuote method of comparison and contrast has far wider application — and as my collection of DoubleQuotes in the Wild has hopefully shown, that the basic idea continues to strike artists, writers and analysts as a powerful means of corralling and communicating concept and meaning.

It’s a naturally occurring form for thought, in other words, and at best my graphical DoubleQuotes format can bring a formal unity to many of its possible examples, and thus sharpen it — as a the general idea of a branch can be “formalized” into the concept of a fishing rod or baseball bat — into a tool.

A difficulty with DoubleQuotes 2: Benzon

Sunday, August 9th, 2015

[ by Charles Cameron — following on from the AI dog / ostrich, this ]
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No sooner had I posted my piece on the similarities and diffrerences between two humanly similar images — one of them identified as a dog by a neural net, the other as an ostrich — that I came across my friend Bill Benzon‘s piece, also posted today, Visual Resonance, in which he plays with Photoshop filters and a couple of his own images.

Synchronicity? Zeitgeist? GMTA?

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Here is one of Bill’s photos, which he claims “no sensible photographer would shoot”..

Benzon 1

As Bill says:

The setting sun is low in the sky and reflecting strongly off a glass encased building, so strongly that the camera really can’t deal with it. Also, I’m shooting through the branches of a small tree or bush nearby and they show up as a mis-shaped dark area in the left half of the shot. I like to take such shots to see what I can pull out of them.

Here’s a second version, this one tweaked with a filter..

Benzon 2

Frosted?

I think there’s a fairly peasily perceptible family resemblance there, no?

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But then we come to this one..

Benzon 3

in which a different filter has been applied to the same image..

To my eye. this is very different from the original — almost pure jazz in fact, and yes, Billplays jazz trumpet — though the palette “seems the same”..

And then there’s this..

Benzon 4

.. which seems to me discernibly similar to both the previous and the original images, and in fact consists, if I’m reading Bill right, of an overlay of the two of them.

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All this leads me to tentatively revise my formulation that “likeness and unlikeness appear to me to find themselves on a spectrum which approximates closely to identity at one end .. and absolute distinction at the other“, renaming my spectrum “same-same, same-diff, diff-same, diff-diff“.

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Sameness and Difference, One and Two, Three in One and One in Three — as the writer I referenced anonymously towards the end of my previous post said:

Even angels and the spirits of men were matter by Greek thinking. In a sense, there are only two substances in the universe. One is God — whatever the substance is that constitutes God — and the other is matter. Athenagoras, a Christian apologist writing in A.D. 168, tells us:

We employ language that makes a distinction between God and matter and the natures of both.

The question being asked at the Council of Nicea was …

  • Is Christ of the substance of God, or
  • is he made of matter like us and the angels?
  • Sameness and Difference, One and Two — we’re back in the heart of the Presocratics, of Pythagorean mathematics, of the Tao — the One and the Many.

    One Another.

    A difficulty with DoubleQuotes

    Sunday, August 9th, 2015

    [ by Charles Cameron — from artificial intelligence to the Council of Nicea in one easy blog post ]
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    It seems fairly easy for a human to tell likes from dislikes, but for a computer to tell likes from unlikes appears to be a far trickier business. Consider the following DoubleQuote in the Wild, which I found in David Berreby‘s Nautilus piece, Artificial Intelligence is Already Weirdly Inhuman:

    adversarial example dog ostrich 601

    You might think these two images are the same. Or that they’re a little different, as the images from your left and right eyes always are, but that if you squint at them just right they will merge into a single image with a vivid sense of depth, like a movie seen with 3-D glasses. You mivght even think the differences between them are a matter of steganography, encoding some IS battle plan under cover of a diggie pic.

    But you are unlikely, I suggest, to think the image on the left is of a dog, while that on the right is of an ostrich. Which is what “artificial intelligence”, in the form of a neural net, figured out.

    **

    And how different are they “in fact”?

    The middle image here shows the amount of variation in pixels between the two outer images:

    negative2 cropped

    The image on the right — the one the neural net iodentified as an ostrich — is an example of what the researchers, Christian Szegedy, Wojciech Zaremba, Ilya Sutskever, Joan Bruna, Dumitru Erhan, Ian Goodfellow and Rob Fergus, call an “adversarial example”.

    **

    It’s not my intent to dismiss neural nets by any means: I have one myself.

    What interests me, though, as someone preoccupied with analogy and metaphor — with likeness and unlikeness — is the deep question of what likeness and unlikeness mean.

    That question lies at the heart of my DoubleQuotes and HipBone Games.

    Back in my Oxford days, my tutor in Dogmatic Theology had me thinking about the difference between the two words Homoousion and Homoiousion, homoousion meaning of the same essence, and homoiousion of similar essence. The distinction was important in Patristic theology, the questionn being whether the Son and Holy Spirit were of the same essence as the Father (one God in three Persons) or of similar essence (three Persons in one God).

    You’ll see from the way that I’ve phased the distinction in brackets (one God in three Persons vs three Persons in one God) that I find the distinction itself less than helpful — and I said so in the essay I read my tutor. Those who hold the Three Persons are the same God (the homoousios doctrine) are saying they are both similar as to the recognition of their common Godness and dissimilar as to the recognition of their separate Personhood, whereas those who hold that they are of similar essence (homoiousios) are, perhaps unexpectedly, also saying they are similar but different: it’s all a matter of emphasis.

    My tutor, much to my surprise and delight, mentioned that he had made the same point in a paper he had recently published in, if I recall, the Journal of Theological Studies, and gave me a signed offprint.

    Similarity and dissimilarity, likeness and unlikeness appear to me to find themselves on a spectrum which approximates closely to identity at one end — but if two things are identical, how can they be two? — and absolute distinction at the other.

    Yet the difference beween homoousion and homoiousion was decided in favor of homoousion at the Council of Nicea, a decision which one writer calls a “bloodless intellectual victory over dangerous error” and “of far greater consequence to the progress of true civilization, than all the bloody victories Constantine and his successors.”

    And okay, there’s more to it, as always…

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    Dogs and ostriches, apples and oranges — what’s the diff, eh?

    And G*d knows best.

    Great photography? Nah, and then Yah

    Sunday, August 9th, 2015

    [ by Charles Cameron — captivated by, capturing the light of the moon — a meditattion on art, science ]
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    dscovrepicmoontransitfull

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    According to The Smithsonian:

    Great photography often comes down to snapping the right subject from the right vantage point at the right time. This image from NASA is just that. It was taken by the camera onboard the Deep Space Climate Observatory (DSCOVR) satellite, one million miles away from Earth — the perfect spot to capture the Moon passing across the sunlit face of our planet.

    Nah, not really. As I said in an earlier post, Don’t you mess with my mother the moon, the great moon photo is Ansel Adams’ Moonrise, Hernandez, New Mexico<:

    moon-over-hernandez

    **

    Yes, Adams’ photo captures “the right subject from the right vantage point at the right time” but it does so with a great eye — the eye, experience, vision of an Ansel Adams. The NASA photo of the moon transiting the earth, by contast, is brilliant, stunning, extraordinary — but offers sight, not insight. Once again, I think of Blake:

    I question not my Corporeal or Vegetative eye any more than I would Question a window concerning a Sight. I look thro’ it & not with it.

    That’s from his A Vision of the Last Judgment — apocalypticx, again — and famnously reads in context:

    “What,” it will be Questioned, “When the Sun rises, do you not see a round Disk of fire somewhat like a Guinea?” O no no, I see an Innumerable company of the Heavenly host crying “Holy Holy Holy is the Lord God Almighty.” I question not my Corporeal or Vegetative Eye any more than I would Question a Window concerning a Sight: I look thro it & not with it.

    **

    Ah, but how easy to quote the Ansel Adams imager — it has long been famous for being a great photograph.

    And yet the greatness was in Adams, in the moment, not in popular opinion:

    I had been photographing in the Chama Valley, north of Santa Fe. I made a few passable negatives that day and had several exasperating trials with subjects that would not bend to visualization. The most discouraging effort was a rather handsome cottonwood stump near the Chama River. I saw my desired image quite clearly, but due to unmanageable intrusions and mergers of forms in the subject my efforts finally foundered, and I decided it was time to return to Santa Fe. It is hard to accept defeat, especially when a possible fine image is concerned. But defeat comes occasionally to all photographers, as to all politicians, and there is no use moaning about it.

    We were sailing southward along the highway not far from Espanola when I glanced to the left and saw an extraordinary situation – an inevitable photograph! I almost ditched the car and russed to set up my 8×10 camera. I was yelling to my companions to bring me things from the car as I struggled to change components on my Cooke Triple-Convertible lens. I had a clear visualization of the image I wanted, but when the Wratten No. 15 (G) filter and the film holder were in place, I could not find my Weston exposure meter! The situation was desperate: the low sun was trailing the edge of the clouds in the west, and shadow would soon dim the white crosses.

    I was at a loss with the subject luminance values, and I confess I was thinking about bracketing several exposures, when I suddenly realized that I knew the luminance of the moon – 250 c/ft2. Using the Exposure Formula, I placed this luminance on Zone VII; 60 c/ft2 therefore fell on Zone V, and the exposure with the filter factor o 3x was about 1 second at f/32 with ASA 64 film. I had no idea what the value of the foreground was, but I hoped it barely fell within the exposure scale. Not wanting to take chances, I indicated a water-bath development for the negative.

    Realizing as I released the shutter that I had an unusual photograph which deserved a duplicate negative, I swiftly reversed the film holder, but as I pulled the darkslide the sunlight passed from the white crosses; I was a few seconds too late

    **

    See: science.

    Back in the day artists were alchemists — grinding their own colors from exotic shrubs (dragonsblood), insects (crimson lake), stones (lapis lazuli) and so forth — and remain so to this day, as in the case of Jan Valentin Saether:

    saether epiphany

    Those shadows! The light..

    **

    Is Moonrise, Hernandez, New Mexico, science, then — or art?

    Is “art or science” even a real question?

    And that “desired image” of a “cottonwood stump near the Chama River” — isn’t that in some way the negative of Moonrise, Hernandez, New Mexico? The drawn bow that propelled Adams’ arrow to its mark?


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