Iconophage Ingest Prompts

Iconophage Ingest Prompts

Published On: 11/24/24, 13:53

Author: Julian Bleecker

Contributor: Julian Bleecker

Tags
OCCULTRITUALS AND PRACTICESIDIOMSWORLDBUILDING
Reference URLs
https://www.zonebooks.org/books/158-iconophages-a-history-of-ingesting-imageshttps://boutique.purple.fr/products/purple-42-the-magic-issue
Type
CLASSIFIED ADARTICLE
Title

Iconophage Ingest Prompts

Subtitle
Explainer

Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as to be ingested, these figured artifacts have been not only gazed upon but also incorporated—taken into the body—as solids or liquids. Imagine this but ingestion as a practice with LLMs and AI has evolved to people ingesting images, prompts, and other forms of the same material that AIs and LLMs use in trainign as a kind of occultist iconophage practice.

Descriptive Text
Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption. So it may or may not seem odd that the practice has found its way into the rituals of training large language models and artificial intelligence. Ingesting images, prompts, and other forms of the same material that AIs and LLMs use in training as a kind of occultist iconophage practice. The idea is that the ingestion of these images and prompts is a way to embody the training data, to make it part of the body, to internalize it in a way that is more than just a visual or cognitive experience. It may seem unusual, at a minimum, but it is increasingly ritualized, particularly with models that are used in prognostication, divination and related forms of future forecasting, as well as intelligence models used in various forms of incantation of spells. “Some see these interminglings of the occult and the computational as just a kind of alchemical practice that just happens to be centered around digital computation. Others see it as a kind of magical thinking that is a kind of last resort when the computational models are not providing the results that are expected. Still others see it as a kind of playful way to engage with the otherwise opaque and mysterious processes of machine learning and artificial intelligence,” says Jérémie Koering, a researcher and art historian who's book ‘Iconophages A History of Ingesting Images’ describes the practice. “Ingestion is, of course, what we're doing to the machine in the training and retrieval-augmented generation”, explains Koering. “So some might consider that this ritual might not be a component of the intermingling between artificial and human intelligences. Much like the heraldic wafer or such rituals of ingestion, doing so with a representation of the 'big question' or 'big wish' one may ask a machine intelligence seems consistent, particularly as it is one way to ritualize and thereby make the intention of the interlocutor more 'sincere' and reverant to the spirit some see as lurking within or surrounding these 'intelligences'. It’s a way to make the invisible visible, to make the mysterious more tangible, to make the inscrutable more accessible.” “I saw someone at one of the GPT Cafés in the Data Center District of Chang Mai, Thailand,”, said Peter Geimer, an anthropologist who has been studying the cross-cultural practices of GPT Cafés and the evolution of human consciousness in the Intelliocene. “They were doing this kind of ingestion ritual with a small, piece of rice paper where their query or request had been written down. Some spoke to the rice paper without writing. They were holding it up to their mouth and then they would just kiss it sort of reverently put it on their tongue. It was a kind of playful, but also serious, way to engage with the machine intelligence that was going to be asked the question. It was a way to make the question more real, more tangible, more present in the moment of asking.” Whether the iconophage ritual had any material effect is debated. “We don't know if it has any effect on the machine learning model,” says Geimer. “But it certainly has an effect on the human who is doing the ritual. We wouldn't discount the importance of rituals in other culturla practices out of hand. Many adults have grown up in a world where magic, the alchemical, occult were very much a part of their early lives, things like Harry Potter for example. This is both a symptom and a cause of a shift in the cultural sensibility and zeitgeist of contemporary times, right at the threshold of the 21st century. Harry Potter embodies and marks the shift from a science-fiction imagination to a magical imagination. If in the second half of the 20th century, science fiction played the role of initiation into reality and its possible transformations, then since the early 2000s, it is magic that has characterized most of the myths through which the world reveals itself to those who have just entered it. This kind of ‘magical ritual’ to some is standard operating procedure — it fully and completely is consistent and sensical to do this kind of thing, as is clear by the prevelance and acceptance of this ‘prompt ingestion.’” These hubs for these evolving and ritualized interactions with alternative intelligences are a unique alternative to the more pragmatically—seeking high-powered models used for complex utilitarian problem-solving. The GPT Cafés and Psychic Hubs are like spiritual sanctuaries offering magical and mystical practices that have real, deep meaning to the believers. In these sanctuaries, hundreds of sanctified models are on offer, bespoke, fabricated, and ‘blessed’ by local healers, psychic prognosticators, and respected elder-engineers. For these adherents, the models are not merely functional tools; they are regarded by some as oracles, capable of divining answers to profound questions, or casting technomagical spells. Like votive candles or other ritualized mechanics, these computational systems are elevated in their role. These are entities imbued with spiritual significance. Patrons engage in acts that blend the symbolic with the practical: whispering queries to edible artifacts, performing small gestures of reverence, or even lighting incense to create a contemplative atmosphere before accessing the machines. These rituals highlight a cultural shift we are now experiencing. Magical Imagination, a worldview deeply influenced by a new alchemical era in which sense-making practices and occultism coexist with digital innovation, a blend of ancient traditions with cutting-edge technology leading to profound and unexpected outcomes.

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“Legend has it that the idea for Harry Potter came to the author during a train trip to Manchester in 1990. The manuscript, completed in 1995, received 12 rejections before it was accepted. From June 26, 1997, the day the first volume was released in Britain, to the present, the series has been translated into 80 languages and has had a worldwide success unparalleled by any other teen or young adult novel. Beyond its literary merits, Harry Potter is both the symptom and the cause of a shift in the cultural sensibility and zeitgeist of contemporary times, right at the threshold of the 21st century. Harry Potter embodies and marks the shift from a science-fiction imagination to a magical imagination. If in the second half of the 20th century, science fiction played the role of initiation into reality and its possible transformations, then since the early 2000s, it is magic that has characterized most of the myths through which the world reveals itself to those who have just entered it.

“The reasons for the movement that sociologists all over the world have begun to call, alternately enthusiastically or contemptuously, “the return of magical thinking” must be sought in the lines of this saga: Harry Potter is the myth that best expresses a global commons that thinks differently about the meaning of history and technology, the idea and role of knowledge, and the mutual relationship between nature and culture.”

A short essay by Emanuele Coccia via Purple Magazine, Issue 42, The Magic Issue

Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as to be ingested, these figured artifacts have been not only gazed upon but also incorporated—taken into the body—as solids or liquids.

How can we explain such behavior? Why take an image into one’s own body, devouring it at the risk of destroying it, consuming rather than contemplating it wisely from a distance? What structures of the imagination underlie and justify these desires for incorporation? What are the visual configurations offered up to the mouth, and what are their effects? What therapeutic, religious, symbolic, and social functions can we attribute to these forms of relations with icons? These are a few of the questions raised in this investigation into iconophagy.

Iconophages aims to retrace, for the first time, the history of iconophagy. Jérémie Koering examines this unexplored facet of the history of images through an interdisciplinary approach that ranges across art history, cultural and material history, anthropology, philosophy, and the history of the body and the senses. He analyzes the human investment, in terms of culture and imagination, at stake in this seemingly paradoxical way of experiencing images. Beyond the hidden knowledge unearthed here, these pages bring to light a new way of understanding images, just as they illuminate the occasionally outlandish relations we maintain with them.

“Brilliantly written, this groundbreaking study combines the vividness of historical case studies with the lucidity of philosophical reflection… Iconophages makes a fundamental contribution to a comprehensive anthropology of the image.” —Peter Geimer “This long-awaited transhistorical study of iconophagy is remarkable for its scope. With eloquence and erudition, Koering marshals an astonishing array of materials often seen as archaic, marginal, or primitive to demonstrate the ubiquity of image ingestion within the western tradition. Taking us far beyond the default ocularcentrism of art history, Iconophages engages current concerns with embodiment and materiality in a study with significant implications for the consumption and conception of images in and before modernity.” — Finbarr Barry Flood, Director of Silsila: Center for Material Histories and William R. Kenan Jr. Professor of the Humanities, New York University

“Iconophages is a tremendously entertaining book, an exploration of a permeable boundary that has developed between recent art history, anthropology, and religious studies, permitting histories that can encompass living images: images that speak, ‘operate,’ kill, and eat. After an opening look at Egyptian and Greek practices, Koering goes on a tour of edible images in Europe. He considers representations of Saint Catherine drinking blood (‘the best of sauces’ according to a sixteenth-century source) directly from Christ’s wounds, the unappetizing Sicilian pastries called ossa dei morti (‘bones of the dead’), the idea of drinking the Virgin’s milk, and iron presses for figured Eucharistic wafers.” — James Elkins, Chair of the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago

“Iconophages invites us to take a new and different look at the objects of art history. Far beyond our common understanding of images as primarily visual phenomena, Koering reveals a fascinating practice of touching, tasting, and ingesting images – from magical practices to modern art, from the sacred to the profane, from the natural to the supranatural world. Brilliantly written, this groundbreaking study combines the vividness of historical case studies with the lucidity of philosophical reflection. By opening up hitherto little-known aesthetic, religious, and cultural dimensions of visual artifacts, Iconophages makes a fundamental contribution to a comprehensive anthropology of the image.” — Peter Geimer, Director, German Center for Art History, Paris