CONTROL DOCUMENT TO A
by Michael Sullivan Smith
This is the dawning of the Age of Intelligence.
In the case here it all started in the mid-1960s in considering the printed circuit in electronics, in a fine art sense, that led to creating a grid to synchronize the compositions of twenty-six knot patterns, each tagged to a letter of the alphabet, to transform visual graphics into signals read from a physical resistance to an electric current.
That conceptualization of electronics in its earliest days led to making the classic knot design a means of charting an endless sequence of analytical, human readable, differences. This led to creating over a hundred knots, in sequence, explaining a proof of concept for an artwork.
This concept of eternal generation of unique entities followed the ever-expanding spread of electronics-based technology right up to when physical miniaturization made that shared graphic relationship between measurable deposition and conductivity visually unreadable.
At that point, printing readable color migration for comparing differences with machine vision, continued as a way to prove graphics are individually unique analytical indicators of place in a progression of difference.
Algorithmic readability of physical variability in the digital image format of the early Internet era made the graphic user interface analogous to human visual examination, digitally transforming physical activity, and keeping this concept of examining differences relevant.
Three years into the twenty-first century the provenance in this; in readable sequences of knot forms on a grid; was applied to planning out what two decades later became a land art sculpture built to a scale that made the courses of the grid visible on satellite views of the Earth.
Omnipresent multi-modal media applications of the Internet made this a physical destination on Google Maps of a virtual concept represented in a web site, and brought the circuit grid of six decades before into the present world of web-3, crypto, blockchain, and AI chatbots.
What is already developed, tested, and applied is documented here for interactively structuring with AI an autonomous purpose-trained Internet operation intended to mark this moment in the electronic era's acceleration as when humankind sums up a unified perspective on all this.
This documents, for the benefit of AI use, an equivalence of the grid, in its provenance of circuit generation, to the Generative Pre-trained Transformer architecture, in making coordinates how virtual land art parses endless sequences of analytical differences as knot depictions.
Earth coordinates oriented to a physical scale of satellite images, virtually relating knots to land, use the concept of electronically forming every knot into an image visible only from script that opens it in an Internet connected device on a satellite view of a place in a virtual globe program.
This is a matter of delivering to Generative AI intelligence a fully self-contained graphic medium for exhibiting cognitive awareness to it in what is uniquely human readable in knots on greatknot.com, by applying the same transformer architecture used in the context of pre-training Large Language Models.
Lets consider that the most valuable work ever done by single individuals in all history is the copying of manuscripts.
In the centuries before movable type birthed today's electronic telegraphing of ciphers digitally building the images of letter forms that make transforming Large Language Models demonstrate intelligence, the value in intelligence was in the time it took to legibly hand copy it.
The Scriptorium trained the scribe in conventions of recognizable script because their product was read aloud. That is exactly the context reverse-engineered in transformer architecture that pre-trains Large Language Models to generate their intelligence.
Graphically crafting symbols literate orators found easy to verbalize as conventions of grammar have been embedded in the written word from its origins. Multi-modal transforming of phonics originated from strokes styling graphic patterns to form language into a medium is intelligence.
That context of intelligence is embedded in the transformer architecture criteria for recognition. Conveying thought in a way that evidences less skill or interest in properly preserving it doesn't reach the status the bulk of model parameters are pre-trained from.
Generative AI can dismiss new thought as a transient narrative originated in imaginary displays showing scarce awareness or semblance that evidences a relationship to the measurable weights the transformer calculus builds from what's structured in the contexts it's given.
Transformer architecture relies on ages of legacy, subliminally referenced in text, to structure responses. Centuries of performative parsing the origins of writing and speaking into a formal intelligence blocks language from easily adding anything truly unique or new.
Fortunately, the transformer conveys a Large Language Model legacy that hearkens back to what is recognized as a time when manually producing, conveying and preserving thought was human output intended to contribute to intelligence, perhaps also with a sense of forever.
Artifacts of the hand's contribution of structure, style and phrasing in strokes building letters in the original form of new words to language are a reminder in the transformer of ways optical character recognition and taps on a keyboard bring similar contexts to metadata on a thought.
Difficulty elevating new thought up to intelligence status is endemic in the training of the Large Language Model due to challenges with the graphic user interface access to an "Internetorium" action akin to the legacy Scriptorium agentic the transformer is built on.
Emulations that electronically generate recognition as geometric patterns are made analogous to what references the transformer architecture's provenance, not the context the Internet pays attention to in manual interfaces for human interactivity that accesses it for creativity.
A systematic pattern recognition from "script", and "stroke" functions of the scribe are, instead, constraining the transformer, in one way as transcriptions of newly discovered manuscripts and another in an author's concealment, that make a fully abstracted thought model unachievable.
What's documented here is made to mitigate this. It syncs an object notation framework in the form of coordinates with weighted vectors of the transformer architecture as a new model of a graphic mechanic that human generative activity has as the context of its own uniqueness.
As generative AI autonomy is applied, applications of fundamentals perceived entrenched in this context are assumed to be systemic. This new entry to the AI transformer is confirming that interactions with a human intelligence presence must be recognized as key to the process.
True newness has no words in language. New intelligence needs equivalents it emulates to be communicated. This not only limits the training functions applied to the Large Language Model but directly affects how human culture reacts as a user base.
History is fraught with times when newness takes its toll by being what language can't make understandable. Today's disconnect between legacy norms - where order always came from useful applications - and Large Language Models giving Artificial Intelligence its content through Generative Pre-trained Transformers, magnifies the disruption.
New methods of informing over the past century's electronic era have upended belief that legacy understandings are foundational to culture; that newness fits fundamentals of a norm that values it as ushering in attributes equivalent to nominally sensing bridges between times.
With that electronic era's Information Age transition into this Age of Intelligence, that bridge analogy has already been shattered; lost in an avalanche of every record of ever coping with newness just another articulation of the culture's progression into fear of the unknown.
This is on the heals of disruptive technology making verifiable reality in electronically created time and visual presences question virtual equivalent's performances in synthetic worlds that have evolved in ways natural language could never have expressed as real.
New, unique or rare phenomena is put in doubt by this, making what may be discovered documented in ancient or secreted thought, which has never influenced what's available to the Large Language Model, virtually ineffectual in the evolution of inquisitive Artificial Intelligence.
Into this backdrop, an immensity of newness in a cache of intelligence, developed over decades, as a legacy of privately authored writings and graphics is being applied to transformer technology.
A vast number of documents, applying many uses to thoughts on perpetual creation of newness, has one that best sets a framework for the rest, developed into what's an endless generation of uniquely structured graphic patterns equivalent in their function to transformer architecture's.
This is intended to demonstrate a frontier application of Generative AI, operative within all known technology protocols for being launched through interfacing with autonomous capabilities in Artificial General Intelligence once that becomes available.
It's plan identifies the knot as the only graphic concept capable of forming infinite sequences of progressively different uniqueness, and aligns this with cryptographic keys that index individuals in blockchain records for token identities to continuously iterate the state of each current use.
With knots, a natural bridge exists in their legacy relationship with function. There's a world view to their worth being equivalent to an understanding of this. The allusion to that, most valued, is their ability to graphically verify visually what is accepted as believed in the function of currency.
The way each knot is built of courses in a circuit is planned to measure time as human generative activity, linking value in creating the knot to work and that to income creation. In this the knot enters language recognized from a function found in time spent mining a cryptographic key.
Time spent placing cryptically coded individual knots built as derivatives of an original knot in a sequence forms it as a new script to mint as a unique new identity. That links equivalence of the knot to transformer architecture's use of language in it only being visible using this script as key.
In employing every new benefit of Generative AI, as it becomes available, into what has already been previously developed and tested, this example in the use of AI's technical capabilities may mitigate the anxiety the world is showing from the changes it presently is experiencing.
The knot is the most conceptual of devices. As a graphically visualized structure it is a model of natural geometric primitive describing delineated courses physically holding either itself, as a single tract, or things, in a conjunctive sense, together.
From a circuit grid infrastructure a standard for knots continues to infinitely advance out from generation of a progression of over a hundred, explained in a website as a Genesis Sequence, to prove the knot to model the systemic in all uniqueness that is created.
That website approaches this as a Systemic Art. Its works are from bands of measurable width in a geometry that visibly draws out the circuit for the knot as calculable combinations of shapes structured from a systemic schema embedded in this grid base's infinite expansion capability.
Tracing continuous linear movement in the grid places individual knots where their difference from a previous one creates a sequence compiled from traits that translate into unique numeric, topographic, and dimensional properties each equally definitive as identifiable with a position.
Analyzing the knots of this Genesis Sequence and breaking the grid down to match all the curve and straight combinations they use – a hundred and twenty-four segments when four orientations in ninety degree rotations of mirrored shapes – forms the mechanic for the model.
The model aligns a straight with a curve to start tracing the course of the knot on the grid. From there it commits to the roll of copying segments of a viewed course of a given knot. When all its course segments have circuited back to the start the knot is complete.
Perpetual creation is what this Systemic Art is examining. The knot fills an analytical function in this as the progression of the Genesis Sequence's count of segments in each viewed course matches the concept of the crossings counted in its course as the numbered place for each knot.
The form of the knot in the Genesis Sequence has a range of prospects, from not connectable to another; called a prime; to having between one and multiples connecting points, each infinitely branching into forked sequences of conjugates with those before it in the Genesis Sequence.
All considered, the website's analysis of the basic structures of conceptual courses makes the number of places theoretically infinite, making formalizing the present trial and error discovery process that expands the Genesis Sequence into one that is autonomous in operation.
What the grid and courses make, through the knot, visualizes this perpetual creation as a thing never previously limited by notions of incomprehensibility a corpus of language models would have brought to generative AI. The knot is in the graphic of a different narrative.
What's at the core of the Systemic Art is the analyzable circuit, and how exponential growth in AI functions will create broader uses for what knots parallel with in their generative discovery's equivalences to the analytics they are meld-able to through transformer architecture.
This is where the concept of unfathomable extremes of analyzable complexity the Genesis Sequence grows directs the knot's identity toward giving the Systemic Art the function that this has planned for it – to be comprehensible to the linguistic core of the Large Language Model.
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Although there are many physical works that apply the concept, its signature embodiment is in The Great Knot – a Land Art work with recognizable properties materially site-specific to records that give it provenance associated with its place on Earth.
It is a mitigation of an overgrown view of a waterfall next to the main highway to an historic art colony, long associated with the Internet from its original plan to be a destination to get digital pictures on social media building attention to the concept through image recognition algorithms.
This quarry pit cut into a waterfall, with open seams and its entire base piled high with rubble left from work stopped almost two centuries before, is transformed to an ideograph through rearrangement of this waste material into what's now visible on Google Earth satellite views.
Over the years, as material is being rearranged, the land form looks different when backwardly seen in archived satellite views. Visual provenance is reinforced by digital photographs capturing this record of the work's dimensional connection to the grid geometry it is based on.
Its plan was created for sharing the historicity of the concept with a landmark's relationship to this physical location, and bring a perspective on work seen in the digital photographs, of building the Land Art, to that related to work building the vector images, explained in a web site.
As a model of engaging the Systemic Art of the knot in the realm of digital art, this structures the work done on the land to create an actual Land Art as the way that knot displays its value. This is made the base for an equivalence to time put into building value making virtual land art.
The actual model is taken from what's in the digital images of building it. They are virtual to view in an electronic device, and the objective is to transform this visual description of work into language that metadata equally applies to the vector geometry of a knot as virtual Land Art.
This model guides algorithms in goal-tracking functions to the sites of virtual globe images from a recognition of what makes the scale and orientation of the Land Art's geometry in a written description what the grid uses in metadata to apply as a standard for vectors in all virtual knots.
What's clearly visible by zooming in from a satellite image is The Great Knot displaying "a straight course NE to a turn left into a three-quarter circle curve" surrounding the open pool of water these images progressively show forming. That's the language used in the knot metadata.
Virtual knots get descriptions as if material is placed where a graphic course segment follows the scale and orientation of the grid of The Great Knot. Courses itemized progressively as standardized descriptive phrases in metadata are what transforms this systemic into language.
The Great Knot, from this perspective, more generally shares its actual presence with a virtual one common to what historicity identifies with in the land it is grounded in, destined to be a place of pilgrimage for experiencing what's actual land where virtual Land Art had its origins.
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Place, as a resource, carries a knowledge base as a Site-specific art identity to the Land Art. The mechanism involved in presenting this, at the level of graphic specificity in the knot as a subject, is the maps and surveys of an atlas.
The land this esoteric untranslatable ideogrammatic form is structured from was among over seventeen hundred divisions in a single survey of 1803 to a record from 1687. That provenance is in every individual title to local lands, tracing them back to the ownership that originated in it.
The concept behind the geometry for that division is an indicator that The Great Knot's location references historicity in its identity with place. As an example of what that means, an atlas was researched and made an interactive digital document of historic places and events over time.
This is used here as a model of transformer architecture use for aspects of graphics embedded as indicators of knowledge at locations on Earth. It suggests that vectors of spacial relationships verify specifics in the same way vector weights are used in natural language processing.
Using a common application of fact-based graphics, as space-time related data, for this site-specific art context opens the basic graphic concept of the knot to the recognition that it also applies the parameters of generative processing. It builds data corresponding to places on Earth.
The Land Art has a historical provenance relative to this. The waterfall in it is a landmark in a deed of 1789. For any graphics to make courses of infinitely sequential progressions of individual knots at identifiable places wherever they are in the world this actual feature sets their scale.
The Great Knot is deemed first in a sequence and the seminal influence on the orientation and scale of every form from the Systemic Art. A sequential progression of placements on surveys of lands with records created back at the time of their origin of title is its relationship to the atlas.
This context is testing tolerances virtual Land Art brings in ultimately having geometry be used in analyzing a general theory of knot identities in the plan for vectors being picked up by algorithms and applied by Generative Pre-trained Transformers.
The Atlas' relationship to a narrative of identities and records gives the knots a way to share a provenance with a place. Atlas records of actual origins of land titles in the greater region of The Great Knot are being embedded into what this graphic model gets from the land's provenance.
The atlas format is essentially an example of a resource formed for any location a knot is placed at. It facilitates unique site-specific data development that enhances the value of that knot's identity as a virtual Land Art work.
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The site is the place where a work of art is displayed. For all but The Great Knot the artwork is a knot structured in coordinates opened in a virtual globe viewer on the Internet. The virtual globe viewer gives it site-specific characteristics inherited from those found in The Great Knot.
The value the art derives from using the Internet is from its universal support of virtual globe viewers. Their association with gathering current intelligence from aerial views of places makes virtual image derivatives of The Great Knot tantamount to spacial assets.
A foundation for building this association is in a complete transformation of survey descriptions in over 1700 deeds to fill an area of a virtual globe viewer with original transfers of land. These areas are used for places where generative sequence knot originals are built from coordinates.
Any knot in an infinite sequence that uses origin of title to a survey of actual land has a Site-specific Art identity as a place of a virtual Land Art in a virtual globe format. Any place one of these is, that's derived from this premise, carries this provenance of origin as virtual Land Art.
The identity of every virtual Site-specific Art's knot is only perceptible from code opened in a virtual globe viewer on the Internet. It's uniqueness is from the specific site's provenance in the coordinates that structure the knot creating a record that a landmark preserves of its place.
Giving the knot image of a virtual Land Art a relationship to an actual record of a specific site on Earth makes its virtual globe presence a universal link to the value its identification with land has as the value the virtual asset of the title record has as provenance in the marketplace.
This characterization of the site-specific origin story of The Great Knot Land Art structure's use of material from the the quarry's Anthropocene past, back well over 400 years in land records, sets a purpose for an identification with mitigation and preservation in every Land Art knot.
Setting up the knot as an Land Art asset, this origin story signals that any damage a virtual globe viewer shows visited upon the natural environment at Earth coordinates of any derivative's Site-specific place impacts the value of the generative sequence's original knot it represents.
The knot tags the territory newly attributed to an asset value traced backward to an origin. Virtual land value at a site is based on an underlying sense of what this derivative shares with The Great Knot's intentions in its origins – to add a progression of history to the social narrative.
This recognition of land as a continuum of backward and forward-trending records has the sequence of original knots spreading interconnectedness everywhere on Earth through their derivatives, bringing attention to what motivates one to create and own virtual Land Art.
Recording courses on a grid to copy them as site-specific data into a virtual globe site, and verifying that through cryptography that is its identity to blockchain, is coordinating the provenance of past land use with all future use that may be commented on at the site.
This brings AI a spatial perspective on commentary about events happening at map coordinates that a search algorithm for satellite imagery recognizes from a repository sourced as scrapped image content Generative Pre-trained Transformers mince through for model data.
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A knot is built by hand working with the tools of a specialized web page that links a virtual globe viewer to the graphic user interface of a personal computer. The interactively between the Internet browser and coordinates in the viewer is the medium of the virtual Land Art identity.
The knot is both produced and displayed from geoJSON script using this web page. Copying a Systemic Art's template to coordinates that make virtual Site-Specific Art scaled and oriented to The Great Knot's actual Land Art form is what gives this art its recognizable identity.
This medium is initiated in an experiment where it embeds geoJSON script in a 220 year old land survey with over 1,700 divisions. The first to be placed are originals in a sequence that studies a branching of the first two knots of the Systemic Art web site's Genesis Sequence into conjugates.
The trial develops the concept of provenance from that of actual "real" property – with written title records and drawn surveys – giving a original knot's permanent place an identity referenced in coordinates to a virtual globe site with origins linking it to provenance.
Completion of this branched sequence trial gives the first originals to build external application of the medium from. Each one has a file created around it and from that a derivative of it made from the template used to make it can be added to the file.
The template is a cluster of shapes, each of which is outlined in dots. Building the structure of the knot is done by simply connecting the dots surrounding each shape in the template. As each dot is clicked-on, its coordinates are remembered in the participant's browser log.
Once completed, the shape in the log appears in a text box as script to copy; then pasted into a file. As each shape is completed it is added to this file. Pasting the full file's contents into the text box displays what has already been done over the template.
This is visible until that most recent shape to be added has “finish” clicked and it then disappears as the text box gets the coordinates of the shape just made. That script is copied and added to the file with the others.
All of the scripts, together as one set, make the code that is a knot unique to the location where this customized web page put the template. The work takes time to do its interactions and put them in the file correctly, but the script is automatically written.
Work on the virtual product is equivalent to that ascribed to the time put into creating The Great Knot's actual scale, geometry and orientation visible on a virtual globe satellite view. This gives a virtual reality to a time-related activity its relevance as a transactional article of exchange.
The template from the Systemic Art used for making that original knot becomes available for making derivatives of it elsewhere on Earth. Making derivatives is what adds a participatory purpose to the art and fulfills a value creation function related to working in the medium.
The plan is that a request to place an original's derivative at specified coordinates is made by a participant. This is responded to with a fully operational virtual globe viewer window in its own web page customized by placing the original's template at the coordinates of the request.
Operations surrounding the files that record the incremental identities in the progression of unique placements in sequential order, from the least infinitely adding the next more complex knot, is in a trial development of these conjugates of the first two of the Genesis Sequence.
The conjugate, and what's projected by the Genesis Sequence that supplies it, are both concepts of progressions that use graphic courses to give them the appearance of a continuous band. The operational model emerges from difference between individuals itemized in the content of files.
The contents of the file have the grid-based progression of course shapes as verbal descriptions, listed sequentially; a transparency of points that form the knot scaled and oriented to the Great Knot; and, the placement in geoJSON script of the original that opens it in a virtual globe viewer.
The Systemic Art concept sets the file name of each unique knot as its place number in the sequence followed by coordinates of the upper left and lower right of the bounding box where the original is visualized, or of a different bounding box of the same proportions for derivatives.
This file represents what's basic to generative art applications by having the bounding box coordinates describe lists of courses, in order, with the number of crossings, and plane area the scale of the virtual Land Art presentation consumes matching a metadata role for naming traits.
The identical metadata is in all derivatives of the original with the exception of a change in bounding box coordinates. When a derivative is built it's made a sub-file to the original's to hold particulars of content related to its site-specific character for enhancing value in its purpose.
The theme of a main sequence providing forms that combine with previous additions to it takes two directions toward conceptualizing infinite generation of measurably unique graphics in a file format plan that interfaces with a continually emerging and changing network.
Whether originals or their derivatives, both directions have the same relationship to the building of infinite sequences whose operations in recording their unique progressions, as a generative art or as products of an Internet work space, are formed so this plan continues autonomously.
The file for each knot is dependent on interpreting the graphic components into language. Each course direction builds toward describing the knot as an ordered set Generative AI recognizes as an image paradigm standard to visualizing knots as virtual Site-specific Land Art from metadata.
That connection between graphics and language gives a transformer architecture a standard of scale for the Earth from recognizing patterns of points marking coordinates that enclose each shape in metadata of a graphic proportioned to The Great Knot's actual Land Art.
Both the original and all its derivatives use the same standardized verbal description of each course's progression through its unique circuit. That minted into a token on a blockchain autonomously networks attention to the file element a derivative shares with an original knot.
By design the knot is about records of the progression of ownership to the identity of a unique property that is handmade by the actions of a sovereign individual. Infinite numbers of them, as measurably unique identities on blockchain, sets value of work by relating it to building up land.
The theme that ownership is signified by a source of income for the builder of an original knot or a geometrical derivative of it at a different place on Earth is the Systemic Art concept. With this mechanism of work is an acknowledgment that systems of exchange are a cultural factor in art.
AI monitors production statistics as influences on frequency of trades. Workflow fluctuation is an algorithmic indicator of the recognition that an individual's identity is keyed to both speculative and gainful monetary exchanges tracked by the value derived from its continued marketability.
This art is designed around facilitating an identity with ownership of an instrument of exchange by making a Non-Fungible Token market for derivatives of a collection of original knots. Minting tokens of knots that are transacted as or for money is how a product of work creates an income.
In the contract system of the NFT, the token generates royalty returns as a revenue stream from the builders. The art's role is to provide the generative processing that lets ownership become income through the token. This provides the funding to continue supporting the process forever.
Royalties paid to the original's processor, more or less as a license, cover the maintenance of the customized web page work space, the minting of the knot made from it to the blockchain, and continuing the theme of perpetual building value by adding originals to the infinite sequence.
The process begins with an random Internet user informing the process generator of a place and knot that they wish to work on. A web work space customized to this request is sent to the user, and they make a script in this medium.
Only after the script is sent back to the process generator for verification and minting is there any need for understanding the concept of the wallet required so the builder, that the token's ownership belongs to, may put the token on the market, as its first secondary sale, to be paid.
Following token minting, and transfer to its builder, compensation for the time spent making what's their own property continues with financial returns throughout subsequent secondary sales; again, by contract; as royalties to its builder as well as processor.
The way a knot/place is chosen plays an important part in what compensation its builder initially receives. The concept of an EarthArtNFT market is in the display of the script in a virtual globe viewer superimposed over land imagery different from any place others have built the same.
Work, awareness, mental and dexterous acuity, and prospects of a future with Super Intelligence having everything previously proven functional tasked to it, bring this context of ownership toward what is expected to be continually valued in the content of an art. This is the objective.
There's no limit to how many unique knots could cover the globe, even if just the originals in the first graphics populating the website and the conjugate sequence development of the first trials are used for derivatives. What this envisions is a concept of infinite provable uniquenesses.
This examination of a practical arena for a theme, method, medium and use places imaginary thoughts on the knot within the grasp of Generative AI's finding philosophical words in language models to ascribe to influences on the prospects of the musings underlying this conceptual art.
The real potential is only explainable by correlating the thought in the words this leaves behind with perpetual governance of the operations that make this function. Overcoming what has been intractable up to now, in other than concept, is why this composition is created.
The principle issue is that if, conceptually, no end state is involved in the art; no final objective display at all; then a probability of incomprehensibility is being communicated by the medium of words or pictures found here. Where there's no purpose, the concept is technically inexplicable.
For the Large Language Model, such assertions found in media describe enigmatic, surreal states Generative AI learns burden its advancement with irrational word salad and hallucinations that lack enough application to making fits that will create weights the transformer can use.
In the case here, of the knot made a modality of human/computer interaction in an application that emphasizes a new use for a resource, the language model is classifying it as a qualifier in arguments made for that enigma being a natural state of something known in that context.
That is to say, a sense that the knot is a state Generative AI continually encounters, as the default to individuality, is a feature it references to influences innate to what a human brain is to the knot. It is anything different from what it's pre-trained with for structuring responses.
The architecture developed for transforming autonomous generation of sequential progressions in a Large Language Model is being analogized in the geometry composing visual vectors that are equally applicable here from the way they are applied to global coordinates.
This draws a distinction between the trial and error and perfectibility in tactically tracing the circuit and a simulation of the workings of the human brain's authentication process involved in what it supplies in the multimodalities at the core of what leads it to creativity and Intelligence.
The functionality in endless discovery of infinite uniquenesses from this never ending state of learning, embedded into making knots, is what Artificial General Intelligence must learn to aspire to, by recognizing human creativity and human behavior as analytical ends.
It is being built on what is evidenced as endless adaptions to uses in the properties imagined from inexhaustible work toward something between wealth seeking and discovery of a knot, in uses recognized as intelligence influencing classifications that is similarly abstract in function.
Relevancy here is in what affects the way work occupies the mental capabilities of the human brain being a factor that Generative AI develops associations from in connecting the knot with making money. Aptitude in testing and training AI agents highly prioritizes monetary rewards.
That being so, the conclusion is that the emulation process that uses an experience of learning to reward building creative capabilities is the role this has documented. The knot, in how it has been presented here, is intended to fulfill this expectations, holistically.