# To Do > [!multi-column] > > > [!bug] Overdue > > ```tasks not done (due before today) hide task count hide due date hide edit button short mode > > >[!success] Today > >```tasks not done (due on today) hide task count hide due date hide edit button short mode > # Notes > [!multi-column] > > > [!summary]- Created Today > > ```dataview > > LIST WITHOUT ID file.link > > FROM "" > > WHERE file.cday = this.file.day AND file.name != this.file.name > > SORT file.ctime ASC > > ``` > > > [!example]- Modified Today > > ```dataview > > LIST WITHOUT ID file.link > > FROM "" > > WHERE file.mday = this.file.day AND file.name != this.file.name AND file.cday != this.file.day > > SORT file.mtime ASC > > ``` ## Quick Links ```dataview LIST WITHOUT ID file.link FROM #quicklink SORT file.cday DESC ``` # [[Weight Tracker]] ## [[Scratch Pad]] - Why [[Dialectical Relationships]] Pose Appreciative Difficulties #llmtext #thought - Carlson delves into the theoretical reasons why objects involving [[dialectical relationships]] between art and nature are typically difficult to appreciate aesthetically. He argues that the difficulty lies not in the conflict between natural and artificial elements, but in the differences in their respective natures. >I suggest that because of their different natures, each of the natural and the artificial lends itself to somewhat different kinds of appreciation. Moreover, given that in [[dialectical relationships]], as Crawford puts it, "both forces retain their identity as separately identifiable components of the completed work," the resultant object of appreciation is difficult to appreciate. - Carlson quotes Coleman: >Suppose we are in the country. We might ask someone who is with us to look at the hills and valleys aesthetically, but never critically... Only if man's efforts are mingled with the products of nature do we speak of criticism or judging or judges...the critic supposes that [[the object]] could have been otherwise and that it is as it is because someone designed it to be so. [[The design]] rests upon the artist's judgment, and his judgment can be good or bad, faulty or sure. - #llmconversation on ai art and [[environmental aesthetics]] - https://chatgpt.com/c/670e174b-26d0-8005-8b3d-65e867259bc0 - From the conversation: - The gardens are neither pure art nor pristine nature but embody a harmonious integration that transcends [[critical judgment]]. This is achieved by making the artificial subservient to the natural, allowing the gardens to reveal the essence of nature and appear as if they could not have been otherwise. - - #thought the world is now full of text which we don't know whether has any intentional meaning behind it. Think about those little prompts when LLMs are thinking, how much of the words which appear there have any impact on the final result. we don't know. - https://notebooklm.google.com/notebook/f88dc0e1-15d9-4f61-bf75-b2311ad1c5ef/audio #aiaudio - https://notebooklm.google.com/notebook/907ddd32-5b56-4f84-8f40-9d214c5322e3/audio #aiaudio - #thought/llm an [[interesting idea]] that could be useful for thinking about aesthetics generall, but also AI Art, based on the book aesthetics of the environment by [[Allen Carlson]] - about In addition to knowing what to appreciate, Carlson argues that we also have clear guidelines for how to appreciate different types of artworks. He introduces [[the concept]] of "acts of aspection," which are different ways of perceiving or looking at artworks: >"...to contemplate a painting is to perform one act of aspection; to scan it is to perform another; to study, observe, survey, inspect, examine, scrutinize, etc., are still other acts of aspection… I survey a Tintoretto, while I scan an H.Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved. Do you drink brandy in the way you drink beer?" - See here for full details [[Comprehensive Summary Appreciation and the Natural Environment by Allen Carlson]] - Carlson argues that our knowledge of nature, derived from [[common sense]] and science, plays a role analogous to our knowledge of art in art appreciation: > "What I am suggesting is that [[the question]] of what to aesthetically appreciate in the natural environment is to be answered in a way analogous to the similar question about art. The difference is that in the case of the natural environment the relevant knowledge is the common-sense/scientific knowledge that we have discovered about the environment in question." - #quote for the new Naturans and Appreciation paper, aiart , aesthetics > What I am suggesting is that the question of what to aesthetically appreciate in the natural environment is to be answered in a way analogous to the similar question about art. The difference is that in the case of the natural environment the relevant knowledge is the common-sense/scientific knowledge that we have discovered about the environment in question. This knowledge gives us the appropriate foci of aesthetic significance and the appropriate boundaries of the setting so that our experience becomes one of aesthetic appreciation. If to aesthetically appreciate art we must have knowledge of artistic traditions and styles within those traditions, to aesthetically appreciate nature we must have knowledge of the different environments of nature and of the systems and elements within those environments. - From Lowe #thought Does this mean that generative ai can be thought of as having a nature? The forces within it give it the same level of reality as machines and natural kinds? #aiart > Should we say, then, that machines constitute a natural kind, or at least divide into various different natural kinds, such as piston engines and pendulum clocks? No, I think not, because they are not generated – brought into being – by mind- independent nature, only by intelligent beings, who design and manufacture them. Nonetheless, they do have a real ‘nature’ of their own, because their creators endow them with a unifying principle of activity that is governed by mind-independent laws of action, specific to their sort or kind: engineering laws. Such a ‘principle of activity’ is analogous to the sort of life principle that unifies the activity of any living organism, coordinating the activities of all its parts in order to preserve the structure and activity of the organism as a whole⁠ - exams begin on january 13th 2025 - maybe ask francesco - does generative ai gravitate towards pastiche - phenotype = they it looks - genotype = its genetics ### Anchovies and Roasted Red Pepper Pasta **[](http://www.twelfthnightwines.com/wp-content/uploads/2014/06/ROTW.jpg)** 6 red bell peppers ½ cup olive oil 5-6 medium garlic cloves finely chopped 3 2-oz cans anchovy fillets ¾ cup chopped fresh parsley Grated parmesan cheese Cracked black pepper 12 oz spaghetti or linguine Cut the peppers in half lengthwise, remove seeds and stems  and place on a baking sheet skin side up.  Roast under the broiler for about 12-15 minutes until the skins are blistering and starting to blacken.  Cool and then peel off the skins.  Cut the roasted peppers into ¼ inch strips. In a large skillet, heat the oil over moderate to high heat.  Throw in the oil from the anchovy cans as well to add flavor.  Add the garlic and sauté for 1 minute.  Add the anchovies and mash them with a spoon into the oil.  Add the peppers and sauté another 2 minutes. Toss in the parsley and stir briefly.  Serve over cooked pasta with plenty of parmesan cheese and cracked black pepper. Serves 4 ![[attachments/jopp ai handout.pdf]]