Paradise of Machines
Overview
If we were to briefly define the Paradise of Machines, it is an industrial Lascaux. A sanctuary.
The Lascaux cave was painted by men who symbolized their natural environment, the wildlife on the walls of a cave, while the Paradise of Machines evokes the industrial era, in an environment that marked men from the mid-19th century to the mid-20th century, namely a factory.
It is obvious to me that the cave of Lascaux, the Chauvet cave, the tombs of the pharaohs, the Paradise of machines are occult worlds touching on so-called secrets, on what would not be visible.
Seeing these universes from another era transfigured on purpose allows us, through emotion, to be in contact with the soul of a lost world that has constituted the almost "natural" daily life of millions of people.
Machine Heaven is an allegory, that is, a narrative implementing concrete elements, each element corresponding to an abstract content.
the concrete elements are like humans, they wear a mask for their life in society and reveal another personality in another sphere. A boss can therefore be both dominant and serious, just like his role in his work and family life: he is a normal being with personality facets that make him a human like everyone else.
for machines it’s the same thing.
to illustrate this, the principle of this machine during its activity in the service of its boss was objectively to be a shear for cutting metals. she was painted black to be serious.
whereas, subjectively, it is very clear that this deceased machine (which has gone beyond its objective and functional reality, has been trans-passed) has become a small, joyful car ready to devour miles with its pelican’s beak. The machine went from a meaning of a thing to a symbolization of a concept.
From the reality of the machine-shears we deduce this abstraction of this small car, which will now live in eternity for itself. This is the definition of abstract art, which does not represent subjects or objects from the real world, but forms and colors for themselves.
In ancient times, we had already seen this : If the patron of the gods, Jupiter, had the gift of metamorphosis, it was because he went from his transcendent state to his own immanent state of his genitive form, Jovis, who gave the word Jovial, full of frank and communicative cheerfulness. If to achieve its ends it is a question of disguising, this does not pose any problem for someone who orders.
we can clearly see the joyful and jovial face of the car with its yellow mouth and green eyes
(real machine without any modification, just painted)
(reality will always surpass fiction)
In all civilizations there is an important part of the teaching of wisdom through humor, and in the West, it is Harlequin who is dressed in clothes adorned with a mosaic of colors does not say that the truth is black or white but breaks down the light into all the colors of the understanding prism.
The piano Allegory
The piano allegory is an absolutely disconcerting and absurd story, from Latin absurdus, from distant ab, isolated and deaf surdus: which sounds false, dissonant, nothing less.
In return, it is truly a course about prefixes. A prefix being only a particular angle from which one must see, consider a word; it is an abstraction that is placed before the reality of a word to give it meaning.
there was once a piano. It was a miniature grand piano that walked in a lame duck and did its swan song; after this final feat, it rang like a pot.
(no need to ask an AI to draw this, the result will only be below what we can imagine)
I made a deduction to reach the conclusion that it was dead.
(de=prefix meaning out of) (duction, from ductus in Latin meaning to guide; a canal guides water, copper guides electricity, the government guides the country, etc.)
conclusion comes from con=with and clusion means to close, to close; this implies that it died with something.
So, by trepassing, it has passed away life at the end of its career, tre= prefix for trans, through.
he passed into the afterlife towards another obscure reality (prefix ob=to form an idea of position in front, and also of reversal, what is obscene is then put in front of the stage when there is no need for it)
the piano has lost all attraction power (prefix at=towards)
If in his life he missed the mark, it’s because he was then a distraction (prefix dis=absence,lack) and he was outside the mark because miniature grand pianos are essentially made to be decorative. It’s not up their alley to produce a sound to be taken seriously, at best divertising (lack of virtues)
But it can become an abstraction (prefix ab = to distance, to isolate) namely an idea that one can study.
I did the work of going into a french dictionary to see what a piano can be in the form of words, in the abstraction of reality: either a musical instrument or a culinary tool. So I made the deduction that if I put an induction cooktop (prefix in=vers) instead of a keyboard, it would work again and in a much more useful way than before.
Moreover, since it was out of any consideration, it left its old life behind; it was therefore logical for me to place an induction cooktop into it, so that his new life would not be overheated from his previous life.
now it can cook Tournedos Rossini a marvelous way
whereas in his acoustic life he could only play the Rossini’s peas.
It allows for a very personal interpretation of J.S. Bach’s coffee cantata
that is enjoyed with Mozart’s butter bread.
Già la mensa è preparata
Supper is ready
So this piano is resusciated because it is no more finished,
it is definished differently (prefix de=out of)
The induction cooktop allows energy to be guided (ductus) towards (in) the container to be heated.
On the way out, the piano went from life to death, so since it is now defined differently and has gone from death to life for its return to life.
It’s a passing trick.
It’s magic.
Now I am going to see a craftsman or an industrialist to pro-duce this cooking piano in the prototype state (from the Greek prôtos, first, expressing the first rank, the priority) which will be produced by him through his business affair(af=towards)(we drive with staff, premises, raw materials, and machines) to highlight what he does (pro prefix); if he doesn’t like my idea because it seems too atypical to him (a = private, without a type but in fact it’s a real type of piano, it’s just different) it will be exited (ex = outside).
Maybe it’s something subversive (sub=below), that we shouldn’t say this to the children, so maybe we need supervision (super=above).
This allegory is totally surreal: it’s not completely wrong while not being entirely true.
there is a double magic in all this:
the transcendent philosophical principle of the piano, namely to make music through the keyboard,
was replaced by Incendiant -> the fire, from the heat of the induction cooktop,
it is the principle of immanence: which has its principle in itself.
Transcendence, on the other hand, derives its principle from an external element; for example, the State is defined through what is supposed to be within censors.
the only thing that mixes the interior, the mind, and the body is fire. the body and the soul together.
Our way of thinking, which is expressed only through the infrastructure of language, is consubstantial with us. Fortunately, there are ideas that can only be expressed in music, dance, painting, mathematics, etc. All this allegory of the piano is an absurd sophism; it sounds false, but sometimes reasoning through the absurd is admitted. just as dissonance is essential in music, to bring salt to a piece of music would be too smooth, too bland;
It is important to train our brain to distinguish between the true and the false in this beautiful story and to know how it is right. In any good manipulation, we slip real elements.
But it is a fact that abstraction is very important that it is part of the culture.
From the seed of a dead object can be born a new generation. art is something useless but absolutely essential, consisting only of making abstractions that appeal to the living from nothingness.
Considering this abstract painting by Robert Delaunay, Rhythm of 1930, one can see a mathematical progression going from bottom to top and left to right through cycles of life passing from the clear life to the dark death, and all the colors coming from the prism through which passes to the light. this applies very well to the technical progress of his time;
it’s a surreal painting.
At a time when all knowledge is digitized in computers, the Paradise of machines makes us operate mechanisms that artificial intelligence will never have, belonging to the soul.
It is certain that artificial intelligence does not have one, but what is the soul? To this question, Robert Musil said that it is easy to define it by the negative: it is what begins to shrink as soon as one starts counting. To define it in a positive way, well, André Malraux said that the supreme force of art as of love is to compel us to draw on inexhaustible; Emmanuel Kant, for his part, said that happiness is an ideal of imagination and not of reason.
Artificial intelligence also has no tradition:
Tradition is not the cult of ashes, but the preservation of fire (G. Malher)
the machine is dead, fire the machine, ashes
s
a powerful tradition is made so that the soul can resource itself there, in order to take off again, start anew, and renew itself without betraying its origins
the red and gold bird is the Phoenix reborn from its ashes (I painted the machine without knowing it was red and gold, the machine spoke and told me what those colors to fit with)
Once, was asked to Cocteau the question,
Your house is burning, what are you taking with you ? The fire, he replied.
There is nothing more important than getting the imagination off the ground.
