A review by [name redacted]
To Live to A Certain Age and Meet People has been widely anticipated as a crossover film that both artificial intelligences and humans can enjoy, and as one of the few human reviewers permitted to review the film, I can certainly say that it lives up to the hype as an experience well within the survival tolerances of healthy adult humans with no prior history of epilepsy. The much anticipated paring of artificial cinema’s most powerful quantum loop computer supercluster auteur, IBM’s “The Turk”, directing the immensely popular and stealthy “Tannhauser” drone copter alongside humanity’s most popular actress Lakota Rhys Fanning with the master turns by a venerable supporting cast including Keisha Castle Hughes and the reanimated corpse of Cher, is a true hybrid film, combining traditional elements of human entertainment, such as plot, dialogue, characters, and extended things in space and time, with the newer innovations of the cinema of artificial intelligence, such as blocks of information, ordered sequences, successive strings, patterned modeling and recursive functions.
Much of the film focuses on Fanning and the “Tannhauser” drone copter’s relationship; whether Fanning is walking, running, taking cover, or attending to some distinctly human function, the “Tannhauser” drone copter is there, hovering, following, emerging from different corners of the screen in ways no human reviewer can truly follow or give justice. Much of the action of the film is simply their relationship. Is the “Tannhauser” drone copter following Fanning? Is she its target, or something else? The answer is, of course, that she is the target, but neither this, nor any other verbal information I might provide will spoil the movie for you, because the one of the highlights of artificial cinema is that there are no surprises for a human viewer, or, if you prefer, only surprises.
[passage redacted]
The “Tannhauser” drone copter gives the most remarkable performance of its career, including the surgical strike on Namp’o Children’s Hospital, or its giddy, youthful turn in #//target: I’m Following You. These performances are all the more remarkable and nuanced in that the “Tannhauser” drone copter, is of course, nearly invisible and undetectable to the unaided human senses. In all of its performances the “Tannhauser” drone copter has excelled in an underplayed and subtle ways of making it presence known, whether it’s the disturbance of a single leaf in To Live to A Certain Age and Meet People or uncancelled micro-cavitations when it accelerates in #//target: I’m Following You or the sudden violent eruption of a DNA profiled missile, “Tannhauser” drone copter, lives up to it’s name as a quiet, thoughtful professional “The Sir Alec Guiness of the Skies” “Invisible Whisper of Death from Above,” and “Many-Bladed Ninja Death Copter”
[passage redacted]
as in the great works of Japanese and artificial Japanese cinema, implication, silence and stealth are the often the elements out of which the films of the “Tannhauser” drone copter are composed, films which, as [name redacted] noted, are paradoxically visual essays about the invisible [passage redacted] (though the film is projected as such a speed that allows most humans to focus their eyes on it without much permanent damage).
[passage redacted]
oft repeated criticisms heard by early reviewers of artificial cinema was that it was unwatchable. While this was literally true in some of the IR silents, what early critics failed to appreciate was how much artificial cinema shared with some human conventions. Many early viewers were confused and bored by the cybernetic convention of a beginning string identifying the data to be transmitted; but this is really no different than the trailer, if you will, or the old dumbshow before the play. True, artificial films contain a great deal of information, some say more than human beings can process in the time allowed [passage redacted] no different than the etymology that begins Moby Dick, or its frequent passages on cetology, or Tolstoi’s random chapters on his theory of history in Vojna i mir , or the blank pages of Tristam Shandy. [passage redacted] that the human production it most resembles is C++.
[passage redacted]
IBM’s “The Turk” shows that it’s not just good at outplaying and hunting down human chessmasters and keeping track of 20 billion identity chips, just as Lawrence Livermore’s DNA Supercomputing Cluster, “Supercrick” and NEC Dark Matter Simulator showed with their comedic turn in their hilarious slapstick comedy Human, Will You Feel Electrical Shock? (“Yes” means “No”).
[passage redacted]
Next Week: [passage redacted] USDOD “Total Earth Action Real-time Simulator” “Deep Asset” [passage redacted] USDOE/USDNNSA -212 [passage redacted] Tom Cruise [name redacted]
NUMBER 52, WEEK 39, WORD COUNT TO DATE: 43,539
NEXT BY 22 MARCH 2006
2 comments:
From: Human Resistance Post #116 (formerly Brooklyn)
Encryption: Tertiary Zebulon Organic Key Signature
Re: “no different than the etymology that begins Moby Dick, or its frequent passages on cetology”
Advisory: Historical Subject “Melville, Herman” known to be AI Infiltration Unit in at least 4 charted Temporal Revisions. All promulgated materials and communicae from “Melville, Herman” to be treated as AI-directed cultural re-programming.
Suspected Chain of Events: CE 2003, AI Dispatches Infiltration Unit [IU-Delta Model] to Arrowhead Farm [Sector 242 AI Refining Plant, formerly Pittsfield, MA, USA] in CE 1850. There, IU-Delta terminates and assumes identity of Melville, Herman [Elizabeth Melville, nee Shaw, thought to be left alive, though sexually ignored]. Passages of Moby-Dick are thought to contain organic-conditioning signals, leading to greater likelihood of AI development.
Recommendation: Refrain from re-publishing excerpts or even mentioning Moby-Dick or later works, especially Billy Budd, which is thought to contain organic-conditioning signals leading to greater human dependence and obedience to AI Overlords.
What about Vojna i mir ?
Post a Comment