“In the end, we self-perceiving, self-inventing, locked-in mirages are little miracles of self-reference.”

{ Douglas R. Hofstadter }

I Am a Strange Loop

I am definitely one of those strange loops, and I wouldn't have it any other way. It does tend to mess with one's sense of "is"ness on a daily, even hourly basis, however. ｡◕‿◕｡

Location: At Home in my virtual paradise

Windlight: Annan Adored Dusty

Water: Glassy

Both of me is/are wearing goods by:

Kooqla, Illmatic, Lode, Ladies Who Lunch, Reverie, Schadenfreude, Maitreya

Along with 'us' on the journey:

Tartessos Arts Antique camera, +Half-Deer+ origami boat, Mesh Mafia fishes, fishing rod from a chair by {What Next}, Off-sim lighthouse can be found on the SLMarketplace (it was dirt cheap, might still be, search: lighthouse)

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Hélène Adamo

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Karim Ben Khelifa

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Hélène Adamo

Please ask before use

Exposure to ambiguous or mixed information can intensify opinions on a matter, not refine them.

(Khan & Lao, 1996)

CC image courtesy of: www.flickr.com/photos/circulating/2638267660/

www.will-lion.com/mindbites

The Design of Everyday Things

by Donald A. Norman

Currency and Doubleday

Copyright 1988

ISBN: 0-385-26774-6

Jacket design by Janet Halverson.

Jacques Carelman: Coffeepot for Masochists.

Copyright 1969-76-80 by Jacques Carelman

and A.D.A.G.P. Paris. From Jacques Carelman,

Catalogue of Unfindable Objects, Balland, éditeur, Paris-France.

Used by permission of the artist.

www.amazon.com/Design-Everyday-Things-Donald-Norman/dp/03...

1,825 page views on February 6th, 2015

4,062 page views on December 20, 2020

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Hélène Adamo

Please ask before use

A lone, curious fox poses for a passerby.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Hélène Adamo

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Karim Ben Khelifa

Please ask before use

Louvre, Paris

Often used as a representation of the mind or soul, Psyche has been adopted as a symbol of the field of psychology - see the figure in the top left of the British Psychological Society's website at www.bps.org.uk/ for example. So this fabulous statue means more to me as a psychologist than simply a Greek myth, rich though that story may be.

At various times in its relatively brief history psychology has been in danger of becoming irrelevant through its attachment to a dull orthodoxy that had little to do with the greater issues of human life. This happened during the 1940s and 50s when behaviourism and psychoanalysis were the dominant influences, during the 1970s and 80s with cognitive science, and potentially today with the rapidly increasing influence of neuropsychology.

During the 1950s psychology was revived through the influence of humanistic psychology, which brought the whole person back into consideration. More recently, positive psychology animated a field in danger of being stifled through an excess of cognition. Will the recent and rapid rise of interest in mindfulness breathe life into a psychology which seems overly impressed by the reductionism of neuroscience?

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Karim Ben Khelifa

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Karim Ben Khelifa

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Barreling waves alongside barreling rocks.

In February 2012 the Wysing Arts Centre produced a limited-edition artist publication entitled “The Starry Rubric Set”, co-edited by Gareth Bell-Jones and by the designers An Endless Supply. Contributing artists were asked to respond to an invitation to “predict two points in motion that will come into alignment”. The response offered by Joe Banks was…

“To fulfill my prediction, draw two points as dots, about 5mm wide and 10cm apart on a card, and bring them into motion by moving the card backwards and forwards in front of your eyes - the lines described by the motion of these points are parallel and therefore aligned. Cover your right eye with your right hand, and, holding the card with your left hand, focus your left eye on the right point, but remain aware of the left dot in your peripheral vision. Keeping the left eye focussed on the right point, move the card to and fro, adjusting the viewing distance, until the left dot... disappears. The blind-spot experiment is well-known, however, beyond the physiological truism that a section of the retina is insensitive to visual information, what's less well understood is that the images the mind places over blind-spots are illusions that we experience not only as experimental anomalies or visual novelties, but as part of everyday visual reality. It's not so much a question of the mind passively failing to perceive a point, as the mind actively creating an image to replace it with.”

The Wysing publication served as a testing ground for an idea that was subsequently explored in the “Rorschach Audio” book (pages 170 and 173), and in an article in Shoppinghour magazine (issue 10, Spring 2013), and ultimately condensed into the assertion (published in May 2016 on the website of the AXNS Collective) that, on the basis of visual phenomena such as retinal inversion, blind-spots, and kinetic depth effect and Necker cube illusions etc, that “visual reality is in itself a carefully constructed optical illusion”.

The evolution of this idea is also documented here -

www.flickr.com/photos/disinfo/31076959064/

“The Starry Rubric Set” features contributions from Aaron Angell, Ed Atkins, Joe Banks, Ruth Beale, Chris Chippendale, Kaavous Clayton, Tom Cobbe, Patrick Coyle, Lucy Conochie, The Constitution of the Damned, Arnaud Desjardin, Harriet Loffler, Grizedale Arts, Kit Hammonds, Jonathan Harris, Lizzie Hughes, Karin Kihlberg & Reuben Henry, Hilary Koob-Sassen, Lawrence Leaman, Gil Leung, Fay Nicholson & Oliver Smith, Am Nuden Da, Uriel Orlow, Kate Owens, EP Park, Francesco Pedraglio, Paul Pieroni, Nigel Pennick, Philomene Pirecki, Laure Prouvost, David Raymond Conroy, Paul Richards, Damien Roach, Phil Root, Giles Round, Emma Smith, Cally Spooner, Adam Thomas, Nick Thurston, Mark Titchner, Unrealised Projects, Lawrence Upton, Mark Aerial Waller & Jesse Wine. The image above features page 16 of “The Starry Rubric Set” publication, with the publisher's colophon copied-and-pasted over the previously blank section at the bottom of the image.

rorschachaudio.com/2012/12/17/wysing-arts-centre/

Up close, the faces all look like Albert Einstein. Move back, or scale the photo down, and they turn into (from left to right, top to bottom:

• Harry Potter (Daniel Radcliffe)

• Marilyn Monroe

• Sigmund Freud

• Salvador Dalí

• Sean Connery

• John Lennon

• Madonna

• a different Albert Einstein (??)

The illusion was made by Aude Oliva, an "Associate Professor in the Department of Brain and Cognitive Science at MIT, leading the Computational Visual Cognition Laboratory, a research team, part of the Perceptual Science Group." These images come from her Hybrid Images work:

"A hybrid image is a picture that combines the low-spatial frequencies of one picture with the high spatial frequencies of another picture producing an image with an interpretation that changes with viewing distance."

You can read about the technique in dense academic paper-ese (PDF), or follow along with possibly clearer presentation slides (also PDF). There's also a gallery of hybrid images on her web site.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Hélène Adamo

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Karim Ben Khelifa

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Hélène Adamo

Please ask before use

Fortean Times review of the “Rorschach Audio” book (by Mark Norton, FT 300, page 62) - 7/10 - “Exceptional” - view at the largest available size - www.forteantimes.com/

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Hélène Adamo

Please ask before use

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Karim Ben Khelifa

Please ask before use

The quote “visual reality is in itself a carefully constructed optical illusion” is taken from an article published on the website of the AXNS (Arts X Neuroscience) Collective, 18 May 2016. More detail was added in a companion piece which appears on the website of the “Rorschach Audio” research project, published 12 June 2016. The AXNS Collective have since ceased operation, so the article has been re-published on-line by Clot Magazine, 3 Oct 2022...

Feature in Clot Magazine – tinyurl.com/mr7vxmtk

rorschachaudio.com/2016/06/12/visual-reality-optical-illu...

The “Rorschach Audio” research project initially focussed on ambiguities and mechanisms of perception of sound, however, in the book “Rorschach Audio - Art & Illusion for Sound”, which was published in 2012, and elsewhere, the discourse is expanded to incorporate diverse phenomena of aural, visual and linguistic perception. The ideas about visual perception also relate to a kinetic art installation called “The Analysis of Beauty”, which was first exhibited at Kettle’s Yard gallery in Cambridge, in January 2000. The quote from the AXNS / Clot Magazine article expresses, in condensed form, ideas which were also articulated in the “Rorschach Audio” book – where the article states that “visual reality is in itself a carefully constructed optical illusion”, the way the book put it was as follows…

“If it may seem counterintuitive to suggest that the mind is really capable of imagining, or, even more dramatically, of actually inventing aspects of what we perceive as (and rely upon to be) reality, in fact such inventions are among the most fundamental aspects of visual experience, and again we are normally oblivious to vision’s imaginary aspects precisely because those inventions are in fact so convincing. A good example of this is that (as is well-known) the visual image transmitted into the eye, through the pupil, appears projected onto the retina at the back of the eye upside-down. This is also the case with images projected onto the insides of photographic cameras and the camera-obscura. In the case of our visual system however, it is the mind alone which re-inverts that upside-down image, so that we perceive our visual world as being the right way up. Such corrected images may therefore be considered in one sense to be forms of illusion...” (page 170)

“The aspect of the blind-spot phenomenon that is most interesting here, is not the obvious physiological truism, that the visual system passively fails to perceive a particular point, but first the fact that the mind actively creates images which it uses to fill-in the missing information, and second the fact that we perceive these illusory fill-ins not only as amusing visual novelties and experimental anomalies, but as necessary elements of everyday reality. The ramifications of this last aspect are profound – not so much from the point of view of “proving” that reality (or at least some aspect of reality) is comprised of illusions, but more from the point of view of showing how some illusions have been evolved to help us to construct and to navigate reality accurately...” (page 173)

The same ideas were also explored in an article by Joe Banks for an artist publication called “The Starry Rubric Set”, produced by Wysing Arts Centre and An Endless Supply in Feb 2012, which states that…

“The blind-spot experiment is well-known, however, beyond the physiological truism that a section of the retina is insensitive to visual information, what's less well understood is that the images the mind places over blind-spots are illusions that we experience not only as experimental anomalies or visual novelties, but as part of everyday visual reality.”

Finally an article in Shoppinghour magazine, issue 10, Spring 2013, states that...

“An easier way to show that normal perception is partly illusory, is to point out that the sense-data projected into the eyes consists of two images and is optically upside-down - it is the mind that fuses these images into a single perception and which inverts them so they can be of practical use. A simple demonstration can be used to show that the mind copies-and-pastes information to fill-in blind-spots on the retina, to help us construct and navigate everyday reality. Likewise, as soon as our attention is drawn to certain visual obstructions, we notice them - glasses and our own noses for instance; so, as with blind-spots, normally the mind edits-out such obstructions, to create the perception of an uninterrupted visual field, which is itself partly an illusion.”

rorschachaudio.com/2015/11/28/shoppinghour-audio-rorschach/

rorschachaudio.com/2012/12/17/wysing-arts-centre/

rorschachaudio.com/book/

A rough sketch of the input mode of the Database of Descriptions (the DOD). The DOD functions as an interface for accessing and organizing elements from the Realm of All Relations (the ROAR).

Once elements are organized in this way (with appropriate metadata, of course), they can be fed into various recombinant structures for the fluid exploration of the space_time_meaning continuum.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Learn more at arts.mit.edu

All photos ©Karim Ben Khelifa

Please ask before use

Graphic diagrams an experiment, showing that a spider bypasses the incorrect route (which leads to a box with no prey) and climbs a longer path to reach a box containing prey.

In laboratory experiments, Portia spiders are able to execute planned detours to get to their prey. Portia starts out on the tower at the center of this apparatus with a view of two boxes, only one of which contains a potential meal. The spider must descend the tower to a platform surrounded by water and use the correct walkway to reach the prey.

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Read more in Knowable Magazine

Spiders are much smarter than you think

Cognition researchers are discovering surprising capabilities among a group of itsy-bitsy arachnids

knowablemagazine.org/article/mind/2021/are-spiders-intell...

Take a deeper dive: Selected scholarly reviews

Spider Diversification Through Space and Time

Annual Review of Entomology

Spiders make up a remarkably diverse and successful lineage, but hypotheses about the patterns and evolutionary drivers of spider diversification are often contradictory and need further study.

www.annualreviews.org/doi/10.1146/annurev-ento-061520-083414

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Knowable Magazine from Annual Reviews is a digital publication that seeks to make scientific knowledge accessible to all. Through compelling articles, beautiful graphics, engaging videos and more, Knowable Magazine explores the real-world impact of research through a journalistic lens. All content is rooted in deep reporting and undergoes a thorough fact-checking before publication.

The Knowable Magazine Science Graphics Library is an initiative to create freely available, accurate and engaging graphics for teachers and students. All graphics are curated from Knowable Magazine articles and are free for classroom use.

Knowable Magazine is an editorially independent initiative produced by Annual Reviews, a nonprofit publisher dedicated to synthesizing and integrating knowledge for the progress of science and the benefit of society.

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We love to hear how teachers are using our graphics. Contact us: knowablemagazine.org/contact-us

This graphic is available for free for in-classroom use. Contact us to arrange permission for any other use: knowablemagazine.org/contact-us

End Times Control Grid: Voluntary acceptance of it through Technology... 1.Television Mass Programming devices replace other traditional human activities in the center of the home. Children increase input from television while parent’s input and local surroundings decreases. Adults see benefit of it as babysitting device to make more time for selfish interests.

2.Television time was limited to what was on and on schedule, and went off at night. Recorded media allowed any program to be watched at any time for any duration, without censorship of language or other moral restrictions.

3.At first unthinkable to allow a child to watch television unsupervised, parents later allowed a television in the child’s room. This reduced interaction time with the child, especially when school/ daycare was not available to watch them.

4.Entertainment became more easily accessible as computers became smaller, choices increased and interactivity increased. Television broadcast and Internet searches became interconnected followed by linkage between this and the telephone voice communication system. Life’s time became more and more taken by this virtual type environment. Humans were being trained to not exist without technology from childhood.

5.Cell phones turned into camera phones linking voice calls to photographs taken. Texting on the screen to reduce voice communications was encouraged. The purchases of these technologies throughout the decades funded the trans-humanist goal of no life without the use of hive technology. The human was trained to never be separated from this control device. It provides all needed knowledge and records all of the interactions and movements.

Schools replacing human teachers with technology

"And that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name." Revelation 13:17...

Technology Addiction.

Control Grid Technology accepted through convenience is constantly shrinking in physical size.

Forced tattoos used to mark prisoners of war, as property in past times. Modern New World Order backed media/TV/Music, opened acceptance of voluntary Tattooing/Marking; This reduces innate aversion to marking or cutting the body in preparation with radio linked computer network implant.

World War 2 Identification marking on Nazi Prisoner.

Modern Voluntary desecration of the body(Tattoo), “What? know ye not that your body is the temple of the Holy Ghost which is in you, which ye have of God, and ye are not your own?” 1Corinthians 6:19 Holy Bible.

-KiskiPlanter

www.visualcomplexity.com/vc/project_details.cfm?id=79&...

This Java applet (build with Processing) is a demonstration of "Interactive Activation and Competition" neural networks, as first described by J.L. McClelland in the following paper: McClelland, J.L. (1981). Retrieving general and specific information from stored knowledge of specifics. Proceedings of the Third Annual Meeting of the Cognitive Science Society, 170-172. The model was a landmark illustration of how simple networks of interconnected elements (artificial neurons, so to speak) can be organized so as to form a memory system that exhibits several crucial properties of human memory. In this demo and in the original article, the model captures what someone might know about characters inspired from the 1961 musical "West Side Story", in which two gangs (the "Jets" and the "Sharks") fight for territory and overall dominance. Units, the activation level of which represents the fact that the feature they stand for is true to some degree, are organized in separate groups, each corresponding to the different possible values of a single feature, such as the name of an individual, his age, his education level, his marital status, his occupation, or the gang to which he belongs.

Pictures taken during a trip to Athens and Kalymnos on the occasion of the Annual Summer Interdisciplinary Conference (ASIC) organized by Rich Shiffrin.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.

Award-winning photojournalist, Karim Ben Khelifa, is widely known for his coverage of the Middle East conflicts, especially the Iraq and Afghan wars, where he covered the insurgent sides. While a Fellow at the Open Documentary Lab at MIT, Ben Khelifa designed and prototyped his latest project The Enemy. This immersive installation uses VR to bring the audience into conversations between enemies within longstanding global conflicts. During his residency, he collaborated with Fox Harrell of the Imagination, Computation and Expression (ICE) Laboratory, to integrate concepts from cognitive science and Artificial Intelligence-based interaction models into the project to engender empathy.