The concept being,// what allows us to approach cognition,// not just human cognition,// converges in systems of representing numeracy, or a general magnitude sense modality.// Specific living phenomena,// analyzed by determinism,// in causal structures,// to establish concepts of thought and object,// as geometries,// in reciprocal determination,// however,// between proof and construction there’s a gap, incompleteness,// and this means cognition and digital modeling follows a geodesic…// For example,// the epsilon machine hierarchizes,// by modeling minimal computations for finite descriptions,// such that the causal hierarchy for an agent, generated out of finite resources,// utilizes inductive inference for recognition.
— Geophilosophical Branding, p. 120
3:AM: Before we dig into the body text of Geophilosophical Branding, its title alone is quite suggestive and worthy of dissection. Geophilosophy is a neo-materialist philosophy which was first introduced in A Thousand Plateaus by Gilles Deleuze and Félix Guattari to categorize an empirical system of social environments that bridge the theories of Marx, Nietzsche, and Freud to current scientific trends. What is the fundamental notion of “branding” in relation to “geophilosophy”? Can the audience/consumer/user transcend these material hierarchies?
COISE: The fundamental idea is interaction, allowing movement into the queer space. The business rationale of the system I’ve been describing is to focus on the audience, so that their situations can be public and managed by namespaces. I see this branding as something within geophilosophy. There is no transcending it.
3:AM: It is our understanding that Geophilosophical Branding exists to address xenofeminism—a movement favoring gender experimentation and fluidity—which first evolved laterally from Leftist Accelerationist theory and has now become an independent political effort. Is this correct?
COISE: Geophilosophical Branding is a response to the Xenofeminist Manifesto, which I read as a complex thinking of non-being, the no one in particular, rather than focusing on identity or self, focusing on the alienated allows designing—not for a generalized everyone who is no one. Alienation, as the conditions of evolution, allows reengineering technological mediation to end gendered inequality, evidencing the very concept of human being as an ego construct. The xenofem is uniquely prepared for coming transformations, in the structures underlying hyperconnectivity. My interest is the role of language here, human and machine readability through the back and forth of surrogates. And yes, even this builds on entrenched economic acceleration from the IT revolution.
3:AM: Can you expand upon some ways Helen Hester’s seminal Xenofeminism (Theory Redux) differs from your definition of the xenofeminist rationale?
COISE: Helen Hester’s xenofeminism is politically correct. My version is empathetic. Compassion leads me to make weaker claims. In advancing genetics, I focus more on the role of mindfulness.
The proof of the image of horizontal and vertical paths, as a categorization technique, bypasses the part and whole concept. Nonexistent entities have no primary relation to origin. Rational clarification of meanings are needed for inferential and linguistic tokening.
Nonidentity defines the information system, but there is far to go in the implementation differentiating spontaneity and causality. I have been using intransitive clauses to separately express deixis, path or manner in the former and transitive clauses conflating figure, ground and path in the latter. It is a xenofeminist enterprise to look for alternatives to setting access points as names, but I am more sympathetic to considering traditions.
3:AM: Geophilosophical Branding’s sole unnamed protagonist is represented by her drab routine behaviors interrupted only by internal monologues that signal sentiments of social alienation, contrasted by her longing for communization with like-minded others. Where do you find yourself within these linked perspectives?
COISE: The great problem with perspectives is their histories of viewing women as inferior. I do believe xenofeminist thinking can help unhinge us from institutionalized patriarchy by calling for a synthesis with machine intelligence. This can be in terms of either abstract machines or actual mechanical procedures for it is just about finite steps, the steps to deepen education and maintain particularities.
In a time of increasing automation and cyborgization, it is clear that what defines human being is an insecurity in facing death. Machinic intelligence allows representation as steps in which histories can be preserved, a back and forth of reversible and irreversible. This alternation of roles, or exchanges of viewpoints, I do not notice in most naturalist observations.
“Experiments will show us the way”. Entering another realm. The imaginal entity is growing.// They begin smoking. “Our work isn’t analysis, but synthesis”.// Looking at it. It’s changing colors. They see it glowing. “Let’s roll”. Enter forest. Looking at each// other. “Thinking, even when looking is a sin”.// ‘That we are doomed to be embodied, that it stands in the way of being with another”? “Why did// you leave? Hasn’t politics united us?// What holds us together, communization? Telepathy isn’t the answer”. “And Nature?// Romanticism// closeness”
— Symphony in White: Songs of heroic deeds from a true winner, p. 4
3:AM: Symphony in White, No. 1, also known as The White Girl, is a painting by James Abbott McNeill Whistler. Was this painting the inspiration for your similarly titled Symphony in White: Songs of heroic deeds from a true winner?
COISE: Yes, and it is also affirmation of non-content. Origins aren’t important. As a part of my concern for search anticipation, I study controlled vocabularies. The Symphony in White chapbook is a search solution for collating entities relating to that painting—which is, in fact, a painting of my great great grandmother.
3:AM: Homotopy Theory—the study of topological spaces and classes of continuous algebraic mappings—is a recurring discussion throughout Symphony in White. Was your goal in emphasizing homotopy theory purely mathematical?
COISE: It is right to emphasize mathematics. For constructing time as nonexistential, for automating “identity” recognition, there are many techniques for segmenting. In Geophilosophical Branding I wrote about spectral analysis, mel frequency cepstral coefficients, for recognizing time domains in frequency domain representation. I started to think of this kind of feature extraction as linear representation that could undergo Dynamic Time Warping.
Automating recognition requires some Homotopy Type Theory for the geometrical deforming of attributes. In my system these are inputs from the consumer—multidimensional categories made accessible through a probabilistic model: P(G) invariant is formulated as P(G|W) where P(W) is prediction based on priors. This is very useful for considering words as shapes in time, as determined by distances of characters. It is unfortunate that writers don’t work more with mathematics. HoTT (homotopy type theory) is a great model for making questions out of what is considered natural.
3:AM: A singular sense of liminality, anomie, and transformative ambition are evident throughout the pages of Symphony in White. What was the basis for this work and some of its structural inspirations?
COISE: Symphony in White emerged by adjusting parameters in my classification model, by training class matching, collecting feature vectors from the input signals from consumers. Dynamic Time Warping was used to improve the vocabularies’ type prediction. Without assuming linearity, Hilbert Huang transformation can be used as a method of feature extraction using intrinsic mode functions. As applied in my schema, search generates the topics, extracted through categorization of situations. Values are auto-populated by calling templates. Consumer histories make up a base corpus that can be instantiated and transformed with access structures.
My taxonomy establishes links as shareable and customizable, interfaced through predicative expressions. It retrieves objects in collections by structuring relevance using machine processable description. This follows traditional division of classes through correlative cosmology. Categories are conceived holistically. I use basic machine learning through recursive grounding in search contexts. This is paralleled in Symphony in White‘s fictional moves beyond meaningful phenomena, physical trivialities.
“illusion// can one be oneself? I’m afraid// we?” Rain. Sun. Walking. “Where are we going?” “We’re here”. They get out at a theater. “It’s// always rainy”.// “Mother death, there is no limit to pain”. “Do we believe in another’s pain?” Unpacking// equipment into the empty theater.// “Days are like film frames, continuity”. Feeding vitamins to possession, hunger. “Programming// automation bio-currents// mutual reciprocation// lacking// methods”. “A puzzle. That is, if this were still on or in Gaia. Readying action of words. We have// vision. Initially structure system.// Hive mind”. Spectrograms. Turning. See a double. “It’s raining”. Call. Run back and see.// Passed out. Using a syringe, feel their pain.// “I felt you and you were nothing like what I imagined”. Another of you appears.// Enjoying walking, clothes get caught on something.
— Symphony in White: Songs of heroic deeds of a true winner, p. 5
3:AM: Any words of advice to anyone considering to adopt the xenofemminist rationale? How can an aspiring xenofeminist, for instance, contribute to gender abolitionism or any of the other movements within the xenofeminist ideal?
COISE: Clarifying ways of living in a pluralist framework is about contextualizing and remaking. The rationale relates receptivity to emptiness. Aptitude at navigating vertical axes and horizontal arrays of stacked time is critical for biohacking. In response to the call to strategize negotiations in economic networks, but also with space itself, I advise to consider (without saying it is right or wrong) if you chastise freedom from suffering.