Jean Louis <b...@static.rcdrun.com> writes: > * Van Ly via Emacs news and miscellaneous discussions outside the scope of > other Emacs mailing lists <emacs-tangents@gnu.org> [2025-03-10 11:10]: > > There was never a single situation where model said "I don't > know". That is the level of conversation I would like to get one time > in future, where model is objectively real.
Yes. That remains unsolved. The models don't operate on error bars. > I have no idea how AI techniques could arrive to the thought that > model doesn't know something. Maybe minimizing temperature and > teaching model somehow (don't know how) to provide only information > that is objectively real. This short story appeared on my feed. ask a foolish question * robert sheckley => https://www.gutenberg.org/cache/epub/33854/pg33854-images.html a short story > There is always something to say. Blah blah. > > I don't like using it for accuracy, I am using it for guidance, text > correction, list generation, brainstorming, improving my expressions. I was reading the GNU Emacs documentation and discovered `hooks' are now called something else. That coincided with the phrase "hooks and eyes of memory" in a reading on cogsci. mind as machine: a history of cognitive science vol. 1 & 2 by margaret a boden xAI Grok3 generated the response to the prompt: in cooleridge's work on poetry what are the hooks and eyes of memory -- quote In Samuel Taylor Coleridge's work on poetry, particularly in his critical writings such as Biographia Literaria (1817), the phrase "hooks and eyes of memory" is not a direct quote but rather a metaphorical concept that scholars and readers have associated with his ideas about imagination, memory, and the creative process. Coleridge didn’t explicitly use this exact phrase, but it aligns with his discussions of how the mind connects fragmented experiences and ideas into a cohesive whole, especially in poetry. Coleridge was deeply interested in the workings of the human mind, and he distinguished between two faculties: Fancy and Imagination. The "hooks and eyes" metaphor can be understood as a way to describe how memory operates within these faculties, particularly Fancy. Let’s break it down: Fancy and the "Hooks and Eyes" Fancy, according to Coleridge, is a mechanical process of the mind that aggregates and rearranges pre-existing images or memories. It doesn’t create anew but instead links things together associatively—like "hooks" catching onto "eyes" (as in the fasteners used in clothing). In this sense, the "hooks and eyes of memory" suggest a process where memories or sensory impressions are stored and then hooked together in a somewhat arbitrary or external way, without the deeper organic unity provided by Imagination. For example, in a poem, Fancy might string together vivid images or recollections (e.g., a flower, a sunset, a sound) based on their surface similarities or associations, rather than a profound, transformative synthesis. Imagination vs. Fancy In contrast, Coleridge’s Imagination (especially the "Primary" and "Secondary" Imagination) is a higher, creative faculty that unifies and transforms these raw materials of memory into something original and organic. It doesn’t just hook things together; it fuses them into a living whole. The "hooks and eyes" imagery, therefore, is more aligned with Fancy’s limited, patchwork approach than Imagination’s deeper, more vital process. Application to Poetry In Coleridge’s view, great poetry relies on Imagination to transcend mere recollection or mechanical assembly. For instance, in his own works like The Rime of the Ancient Mariner or Kubla Khan, he draws on memories and sensory details, but they are transformed through Imagination into something visionary and symbolic—not just hooked together by superficial connections. Origin of the Phrase While Coleridge didn’t coin "hooks and eyes of memory" verbatim, the metaphor may have been inspired by his vivid language and later interpretations of his work. It echoes his interest in how the mind links past and present, a theme also explored by contemporaries like Wordsworth (e.g., in The Prelude), with whom Coleridge collaborated closely. Conclusion The "hooks and eyes of memory" can be seen as a way to describe Coleridge’s concept of Fancy—a process of stitching together fragments of memory into a poetic composition. However, for Coleridge, true poetic genius lies in the Imagination, which goes beyond such mechanical connections to create something greater than the sum of its parts. If you’re referring to a specific passage where this phrase appears, feel free to clarify, and I can refine the answer further! -- quote ends -- vl --- via emacs-tangents mailing list (https://lists.gnu.org/mailman/listinfo/emacs-tangents)
