A love that brings you false hope-The process of trying to sweep the damaged pieces of a shattered heart-Letting go of the fantasy that binds us to toxic love-Naked Thoughts takes you through it all.
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1000 tulosta hakusanalla Lillian Bertram
An anthology of seven decades of English-language outputs from computer generation systems, chronicling the vast history of machine-written texts created long before ChatGPT. The discussion of computer-generated text has recently reached a fever pitch, but largely omits the long history of work in this area--text generation, as it happens, was not invented yesterday in Silicon Valley. This anthology, Output, thoughtfully selected, introduced, and edited by Lillian-Yvonne Bertram and Nick Montfort, aims to correct that omission by gathering seven decades of English-language texts produced by generation systems and software. The outputs span many different types of creative writing and include text generated by research systems, along with reports and utilitarian texts, representing many general advances and experiments in text generation. Output is first and foremost a collection of outputs to be encountered by readers. In addition to an overall introduction, each of the excerpts is introduced individually and organized by fine-grain genre including conversations, humor, letters, poetry, prose, and sentences. Bibliographic references allow readers to learn more about outputs and systems that intrigue them. Although Output could serve as a reference book, it is designed to be readable and to be read. Purposefully excluded are human-computer collaborations that were conceptually defined but not implemented as a computer system. Co-published by Counterpath Press
Finalist for the New England Book Award From a National Book Award nominated poet, this collection is about a life lived in the red, on the edges of great lack and great abundance, of financial and emotional margins Negative Money follows a speaker continually coming of age while probing the binary thresholds of racial and gender identity, violence and safety, security and precarity, love and loneliness. For readers of Readers Claudia Rankine, Torrey Peters, Ocean Vuong, and Jericho Brown, NBA nominated Lillian-Yvonne Bertrams's poems are innovative, conceptually thoughtful work. Through experimentation and muscular lyricism, Bertram maintains a style that observes a speaker's attempt to understand and exert multiple identities within the binary confines of race and gender. Playing and gliding from acrostics to sonnets to maps, these compassionate, cerebral, and irreverent poems plainly recognize the larger and potentially escapable oppressive systems that dominate all of our lives by narrating the exhaustion that comes from living under constraining systems of relentless extraction, systems whose powers fracture all attempts at genuine love and intimacy.
Winner of the Benjamin Saltman Poetry Award, But a Storm is Blowing From Paradise emerges at a time when science is discovering more and more about the mystical particles that make up our universe and our bodies. From tidal forces and prairie burns to ruminations on racial identity while standing at the foot of Mount Rushmore, these poems chart a travelogue through mental and physical landscapes and suggest that place, time, love, and bodies are all shifts in the \u201cundulate cosmos.\u201d Straddling the lyrical and experimental, these poems conjure and connect the cosmological, the carnal, and the personal in a country—and a universe—that is gobbling itself into oblivion. But a Storm is Blowing From Paradise is in love with the universe of language—its forms, its sounds, and even its static.
a slice from the cake made of air processes the physical and mental trauma of abortion coupled with the desires for sexual and emotional love against a backdrop of contemporary culture—with all the sexualization that comes with race, gender, and landscape. From front to back the book is wound through with a single poem whose language is permuted, translated, and retranslated (from English to English) as it cycles around abortion, both asking "what artifact / do I resemble" and stating "small love / small / you failed it / in person." The poems directly confront the sexual self ("This isn't a real orgasm, a real patellar fatigue") and take up the thesis abstract as a malleable form for interrogating the inevitable intersections and overlaps of brains and bodies. Sexy and volatile, a slice from the cake made of air winds over and through itself, with no conclusions or solutions for the mess of living in the world.
Like a ghost in the machine, Travesty Generator remixes programming codes and turns them to ruminate on the intersections of race and gender. Rhythmic, hypnotic, and percussive, the poems are iterative and suggest the infinite recursions of nano data. The poems pay homage to lives taken too soon, those of Trayvon Martin, Eric Garner, pulls heroes like Harriet Tubman into the present, and offers the wisdoms spoken by Black mothers to their children. Travesty Generator reminds us that programming languages and computer codes are not neutral. But while oppressive algorithms abound, the poems hack their way into new connections and possibilities for Black life.
In a q&a after a reading I gave at George Mason University in the spring of 2023, I paraphrased a conversation I had with my brother earlier that year. We were on the stoop of his home in Bed-Stuy, talking about technology, about AI and ChatGPT in particular. He uses it for coding, I have used it for writing. I don't remember, not exactly, the details of the conversation but I said something about training GPT on all the emails and texts our mother had written. "After all," I said (and thought), "what else is it good for?" Why else have we built such a strange and challenging tool if not to return to us that which will always be taken? What better use is there? The New York Times recently ran an article called "Using A.I. To Talk to the Dead: Some people are using artificial intelligence chatbots to create avatars of departed loved ones. It's a source of comfort for some, but it makes others a little squeamish." People have always longed for some sort of "direct line" to the dead. Along with purpose-made devices (like a s ance trumpet), people have claimed to hear the voices of dead loved ones through the static of everyday radio waves, giving rise to the "ghosts in the machine." Even Thomas Edison tried to invent a "spirit phone," a means of using technology to commune with the dead. In this way technology has always been "haunted" and seen as a gateway to other worlds outside of our perception. In the spirit plane lurk our loved ones, anxiously waiting for the right technology to close the circuit, to connect. Even knowing that the psychic is likely a hoax or the Ouija board unreliable, it is still tantalizing to invest any purported otherworldly connection with a crumb of what if? My own work fine-tuning large language models is influenced by this kind of haunting, the what if, and inquires into how these models model voices that no longer exist, voices of writers we don't often get to hear, such as Gwendolyn Brooks. (No offense, Shakespeare, but you've been dead a while and we hear you all the time.) It is perhaps wrong to say that these models model voices: some machine learning models do generate audible voices, but large language models use wizardry called deep learning to generate new text by analyzing textual data for its patterns. The text in this manuscript has been generated using the large Generative Pre-trained Transformer text-generating neural network known as GPT3. A large language model, or LLM, is a machine learning model that algorithmically processes, understands, and predicts language in a variety of language tasks-such as question and answer chatbots, machine translation, document summary, and more. ChatGPT is a question-and-answer program that uses LLMs as its base architecture and it can perform language tasks quite well, such as writing a book report or term paper for Rhetoric 101. These models have been pre-trained, meaning they're already trained on the task of text generation. Fine-tuning is the process of further training a pre-trained language model, like GPT, on domain-specific data so that it performs better on specific language tasks. The predictions given are more adapted to the new data set, which is usually orders of magnitude smaller than the original training set. For example, an LLM fine-tuned on all of Shakespeare should theoretically perform better on a task related to Shakespearean-style writing than the standard model. I am not a machine learning researcher so I cannot speak to exactly how fine-tuning works or why even a small corpus of text is successful in shifting the model's tone and approach.
What happens when the imagined life and the stories we tell ourselves become terrifying, given our human ability to inhabit both mental and physical worlds? Bertram’s third full-length collection pivots on an extended piece of creative nonfiction, “Forecast,” which shows how obsessive thinking can begin in actual occurrences that are then exploded in the imagination. The science is personal, as the factual is tinted and stylized, filtered through a self grappling with the difficulty of knowing what is “real.”
"Die Gedichte in Lillian-Yvonne Bertrams Farcen-Generator sind bahnbrechend. Bertram nutzt Open-Source-Codes, um eindringliche Elegien auf Trayvon Martin, Eric Garner und Emmett Till zu schreiben. Indem sie ihre 'Gegenerz hlungen' Schwarzer Leben in Code formuliert, zeigt Bertram auf brillante Weise, wie die Erfahrungen Schwarzer Menschen kodifiziert, homogenisiert und f r die kapitalistische Verbreitung abgefertigt werden. Code, geschrieben von wei en M nnern, ist Teil des vorprogrammierten Systems der white supremacy, in dem sich strukturelle Gewalt selbst verst rkt. Bertram aber hackt sich in diese Sprache ein. Sie arbeitet sie um, indem sie das lyrische mit dem Programmierskript synthetisiert. Sie bernimmt damit den Staffelstab von Harryette Mullen und den Oulipoeten, und eilt mit ihm in die Schwarze Zuk nftigkeit des kommenden sp ten 21. Jahrhunderts. Farcen-Generator ist genial." Cathy Park Hong
Bertrand Russell's Philosophy of Morals
Lillian Woodworth Aiken
Literary Licensing, LLC
2013
nidottu
Lillian a British middle-aged woman who's the bookish type falls for a man half her age Jimmy. She divorces her husband re-marries the young man and buys a flower shop to support his desire to be a gardener. What she doesn't know is that Jimmy has a heart condition and that his restless energy is because he doesn't have long to live.
Keiran is an unmotivated highschool graduate, struggling to find his place in society. Lillian is a strange and dark teenage girl, plagued by a lust for death. Amongst their romance, Lillian is consumed by her demons. Keiran is forced to choose between the girl he loves and the shadow she becomes.
For most of us, the varied parts of our personalities are woven together and unified by our memories. But what happens when we have no memories? What happens when the components of memory (facts, feelings, and body states) are split apart and no longer relate to each other?When this story began more than 40 years ago, doctors and psychiatrists were mystified by patients with more than one personality. The diagnosis at the time was Multiple Personality Disorder. Lillian was afflicted with this condition owing to severe abuse during her childhood. Her mind held each trauma separately. Each personality took over her body, developing a life and personality of its own.Lillian's aunt, Jean, became friends with 22 personalities. She played hide and seek with four-year-old Mary, taught five-year-old Amy to write, shopped for undergarments with Robin Jean, and communicated endlessly with each of the others. In the process, each personality revealed its beginnings. Over time, each personality revealed its own memories of their trauma and eventually became integrated.This is an exquisite and beautifully written story of poverty, transgenerational abuse, mental illness, and the healing power of love, science, and spirituality.As one reader puts it: "You will laugh, cry, turn away and come back again to its compelling truth."
For most of us, the varied parts of our personalities are woven together and unified by our memories. But what happens when we have no memories? What happens when the components of memory (facts, feelings, and body states) are split apart and no longer relate to each other?When this story began more than 40 years ago, doctors and psychiatrists were mystified by patients with more than one personality. The diagnosis at the time was Multiple Personality Disorder. Lillian was afflicted with this condition owing to severe abuse during her childhood. Her mind held each trauma separately. Each personality took over her body, developing a life and personality of its own.Lillian's aunt, Jean, became friends with 22 personalities. She played hide and seek with four-year-old Mary, taught five-year-old Amy to write, shopped for undergarments with Robin Jean, and communicated endlessly with each of the others. In the process, each personality revealed its beginnings. Over time, each personality revealed its own memories of their trauma and eventually became integrated.This is an exquisite and beautifully written story of poverty, transgenerational abuse, mental illness, and the healing power of love, science, and spirituality.As one reader puts it: "You will laugh, cry, turn away and come back again to its compelling truth."
Clarene Evans has a way with words that puts you right there in the scene with her characters as they come to life on the pages. LILLIAN is a story, set in the 1800's, about a young girl born into privilege on a tobacco plantation in Southern Virginia. Married at sixteen under unusual circumstances, Lillian's world is soon turned upside down and after only two years of marriage. the young eighteen year old finds herself making a life choice that most of us only dream about. Come with Lillian on a journey into the Western territory of Wyoming and watch as she finds that one true constant that gives her life new meaning and stability. Lillian finds a simpler way of life and learns exactly why she was put here on this earth. Now at long last she can live and love and finish the life God offered her when He breathed life into her very being.
Clarene Evans has a way with words that puts you right there in the scene with her characters as they come to life on the pages. LILLIAN is a story, set in the 1800's, about a young girl born into privilege on a tobacco plantation in Southern Virginia. Married at sixteen under unusual circumstances, Lillian's world is soon turned upside down and after only two years of marriage. the young eighteen year old finds herself making a life choice that most of us only dream about. Come with Lillian on a journey into the Western territory of Wyoming and watch as she finds that one true constant that gives her life new meaning and stability. Lillian finds a simpler way of life and learns exactly why she was put here on this earth. Now at long last she can live and love and finish the life God offered her when He breathed life into her very being.