Thursday, February 1, 2024

Strata 10, Book of Immersion V1, Dinfant Trouble (Synthetic Love)


Lose yourself in the safety of books.


The Book of Immersion

Volume 1


Strata 10 

Dinfant Trouble (Synthetic Love)



The Book of Immersion is published on the Tale Teller Club website each week.

www.taletellerclub.com

Each episode features CDM music by the band Tale Teller Club and illustraitions by iServalan Homotech 23

Welcome to our world.


© 2024 Sarnia de la Mare

Tale Teller Club Publishing








We are the abandoned 


The ones who roam


Never still, 


we search for home


We are the orphans of the night


We fly the high roads 


and duck the low


Through floods and Fire


We cry the songs 


of the gypsy choir





©2024 Sarnia de la Mare




 

 Strata 10, Book of Immersion V1, Dinfant Trouble (Synthetic Love)










Welcome to Immersion

You Have Reached Strata 10


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Social norms and culture cannot be underestimated in a world that accepts robots as real and lovable synthetic creatures. Humans do not experience love in the absence of culture and society. In a world where perfect companions are easily manufactured, humans have been seduced by the machine, a synthetic digitised force that enabled the switch from 'otherness' to 'sameness'. In this space, love is seen to flourish. The creators of androids are able to synthesise the alterity of the robot which seems to make its own decisions to commit, to love back, and to appear to do so willingly.



*Dinfants are androids who look like babies and children under five. They were made by a single manufacturer who patented them in the early 22nd century. They were designed to learn, like human children, extremely quickly. It was found however that the early Dinfants (Mark 1s) would not stop learning and legislation was brought in to have them destroyed. One thousand early manufactured Dinfants are still unaccounted for. 



Many humans in the *Midcast Projects were lonely and suffered from various forms of infertility. They wanted baby or child droids, especially the dinfants, who were exact copies of real children designed with variations and specifics to order. These androids were children who never grew up. They stopped learning when they were as knowledgeable as the average human of a similar age. 


Housekeeping adult droids were not generally not created with a capacity to eat (although they often had tongues that were covered in tiny sensors that were able to identify flavours and poisons). Android sensors were not linked to memories in the way that humans were. But mothers preferred their children to eat, to satisfy ingrained evolutionary parental pleasures and to fit in with other children. They had crude mechanical bowels that could be turned on or off according to requirements.



Dinfants, like adult droids, were easy enough to replace or upgrade but some parents had needed counselling for Dinfant-Loss Depression or DLD.



*DLD was a rising concern due to its increased prevalence and its effect on the workforce. It was found that humans could easily fall in love with the outer casings of the dinfants as well as the constructed personalities. Something almost unheard of three generations prior.



But the outer coverings didn't last very long, especially if there was an active physical relationship. Ten years of feeding and playing would take its toll on the fabric of the Dinfants. If the parents could not afford repairs, they would soon begin to look worn and dishevelled. 


Of course, this also applied to adult droids who would usually be upgraded on a regular basis. 



Droid manufacturers usually offered ongoing upgrades as part of a rental scheme.


But some humans fell in love with their droids and had blessing ceremonies. It was not legal to marry a droid because of the financial implications following the death of a human. Legally, droids had similar rights to human children. It was illegal to inflict violence on a droid in public. This was to protect children who may be susceptible to influence. Of course, what goes on behind closed doors was a private affair, provided human children were not presenting behavioral issues that may be connected to patterns of abuse towards androids.



Some antique droids lasted the test of time but legislation had been brought in to avoid the hoarding of defunct androids as they posed a threat to contemporary society, for various reasons. There were issues with battery seepage for a start, and then problems of unsupervised regeneration which was a serious crime in the *midcast projects.


The government gave upgrade vouchers for defunct or redundant droids and would supervise destruction at centralized city plants.



                                *****






'Get that freakin thing outta here will you!'


A man screams to no one in particular.


The house is a standard build from the early Midcast Zone villages. Clean, white, and filled with contemporary fittings and technologies.


A child enters the room.


‘Mommy! Kairo is following me around.....it's really annoying. And Daddy said we should throw it away. Let's get a new one Mommy, please. My friend has one like a twin sister. One with the hair that grows back so she can cut it and play hairdresser.'


The woman sighs.....'I suppose we don't need it anymore now you have real friends. I thought you wanted a *ponybot, even better than a sister, don't you think?'



The woman strokes her child's cheek and remembers how lost she had been when they first told her it was unlikely she and her *blessed would produce a human offspring.


The Mark 1, a Dinfant, made by the *Metacoms Corporation, was a perfect substitute and she had been able to focus love and attention on it. It was a copy of a four-year-old and she had ordered a blue-eyed blond version like her blessed. It was such a good copy that most people were unaware that it was not a human child.


But the software was no longer being updated and the learning algorithm meant it had become too complicated for a convincing child substitute.


Also, the Dinfants, by design and default programming, craved love and attention and the Mark 1s' constant need for love was an irritant to busy parents. The Dinfants would constantly ask for cuddles and reassurance that their owners wanted and adored them.


The Mark 1 enters the room.


'Mommy, do you love me? Shall we have a little cuddle? Can you fit me in? Mommy, please, Kairo has a lovely snuggle for you Mommy. Mommy.....


'Shut up,' screams the woman as the father enters the room and kicks Kairo hard.


The Dinfant lies on the floor crying loudly with a broken arm.


'Please Mommy and Daddy Please, Kairo needs cuddles, please Mommy and Daddy ...please, love for Kairo, please......'


The little girl holds her hands to her ears shouting, 'It's so annoying!'


The man picks Kairo up and turns his power switch off.


'Let's get rid of it. Put it in the garage. I will sort out a collection for it tomorrow,' said the woman.


The man takes the Dinfant outside but decides to put it in a liner and into the communal waste shoot. The shoot serves 100s of dwellings, no one will trace it back to them and he can say it was stolen from the garage. He is concerned about the breakage as it will affect the insurance. It is better to make a theft claim than to have Metacom say he had damaged it on purpose.




                                      ****


A man tinkers in a workshop. He is observing the collection of children and babies that are hung on the walls as he cradles a new package, as yet unopened.


'Well my little lovelies, one of you must go. I have a lovely new friend who is going to join us for fun and games. Her name is Mary.'


The man, wide-eyed and excited, unwraps the new child droid.


'Well, ain't you the prettiest lil girl I ever saw?' he says touching her skin.


'And don't that feel just so real'.


The Droid replies, 'Hello Daddy. I'm such a daddy's girl,' she chuckles.


The man looks around the room.


He picks up a toddler droid, a Mark 1 copy of an eighteen-month-old baby boy.


'Well Daniel, I guess I am all done with you. You are a bit small after all.'


'But daaaaaaddd....yy.......I loooov.


The man opens the back of the droid's head and takes out the battery pack.


He places the incapacitated droid in a bag and under darkness deposits it into a waste unit in the public park.



                            **********



There is a black cloud above and rain falls on a large mountain of waste.


Another load is released from the grabber and two droids land together in an accidental embrace.


The larger droid, a Mark 1 Dinfant, is activated during the fall. It has a broken arm that swings beside it.


'Are you alive? it asks the smaller droid?


There is no reply.


The larger droid opens the baby's head and observes the interior structure. It lays the baby down gently, 'Wait here, I will be right back.'


The droid returns with some battery packs from old mobile phones and some old drill bits, tools, motors, and other paraphernalia from around the tipping area.


The rain is getting heavier as the night falls.


Under the convenient shelter of a car boot cover the larger droid gets the baby working and fashions a new arm with a metal drill for a hand. It has also a motorised catapult for the top of its head which rotates and fires nails at great speed.


'My name is Kario,' says the larger droid.


'I am Daniel' says the baby boy droid.


The children cuddle each other.


'I love you Kairo'


'I love you, Daniel'


'We are in a very dangerous place,' says Kairo. When dark deepens we must find safe haven. Soon we will need a home to call our own. But I have learned that humans are not to be trusted.'


They hear a sound, a child cries.




                             ********



In the car with the shrieking now at a deafening level through the windows, Shabra decided to ignore Renyke's appeal to stop. She let go of the clutch. The vehicle leaped forward towards the street beyond the enclosure.


Maybeline was holding on to the rim of the car door.


The Dinfants on the top of the vehicle fell off shrieking and scrambling around.


One of the Dinfants ran headlong towards the fast travelling car and clicked its fingers. It erected some kind of screen that is almost invisible. Although it is not a solid barrier, more like a gluey substance, it immobilized the vehicle. The wheels were still turning as the engine fought against the force. Flex shouted,


'Damn, they got *epoxy-wall, we are doomed, farewell brethren.'




Renyke opened the window just enough to let Maybeline in who moved sluggishly through the invisible slurry-like jelly and squeezed herself through the gap.


Some of the organic form seeped in with her but it drew itself back outside as Renyke and closed the window again.


'Ok, so you got your rat Mr. Renyke,' said Shabra, 'but we aint lasting longtime with this air in here and that epoxy-wall won't help us at all. I made this car airtight cos of the gases. That stuff is blocking my air-con vents."


Shabra turned the engine off.


The POS is out of range for help.


The Dinfants sit it out becoming unnervingly quiet.


'So what, now, will they sit and watch us die?' Asks Renyke.


'They want my wheels,' answers Shabra.


'This epoxy-wall, nice stuff if it's on your side. Shall we break some off? Might come in handy,' says Flex.


Shabra and Renyke tut.


Suddenly Maybeline throws herself at the horn. For the brief moment that it sounds, there is an immediate reaction from all the Dinfants who jump and cry whilst flailing their limbs about.


Shabra gasps, 'Ratty, you are welcome in the Shabra carriage! They hate the horn. Must be them there low decibels I used. Hold on to your hats people of the night!'


Shabra tells Renyke to engage the horn which explodes audibly out of Shabra's surround sound external speakers. The Dinfants are freaking out and running away dragging the epoxy-wall behind them.


Shabra, laughing, started the engine slowly. She followed the retreating Dinfants gradually gaining speed out of the enclosure.


Flex was jumping around on the back seats screaming with delight. Renyke felt the thumping sensation in his chest subside and breathed a sigh of relief.




to be continued

©2023 Sarnia de la Mare



Sarnia de la Maré FRSA: Crafting Musical Tales with Tale Teller Club



Sarnia de la Maré FRSA: Crafting Musical Tales with Tale Teller Club

In the realm of music and artistry, Sarnia de la Maré FRSA emerges as a multi-talented force, wielding her creativity across various platforms. As an artist, performer, cellist, pianist, and composer with the band Tale Teller Club, Sarnia de la Maré is not only a maestro in the world of melodies but also a visionary founder steering the Tale Teller Club Academy of Arts. Let's delve into the musical odyssey crafted by Sarnia, where the resonance of iServalan™ and the Rife Vibes come to life.


The Maestro's Journey: Sarnia de la Maré FRSA

The Queen of Hearts Painting by Sarnia de la Maré FRSA

Sarnia de la Maré, adorned with the prestigious FRSA (Fellow of the Royal Society for the encouragement of Arts, Manufactures, and Commerce), is a luminary in the world of music. Her journey unfolds like a harmonious symphony, with each note echoing the passion and dedication she pours into her craft. As a cellist, pianist, and composer, she has cultivated a distinctive musical identity, weaving a tapestry of sounds that transcend genres and captivate audiences.
Tale Teller Club: Where Stories Find Melody

At the heart of Sarnia's musical endeavors lies the Tale Teller Club, a musical collective that ventures beyond conventional boundaries. The band, led by Sarnia, blends genres seamlessly, creating a sonic landscape that defies categorization. Each composition is a narrative, a tale that unfolds through the synergy of instruments and vocals. The Tale Teller Club isn't just a band; it's a storyteller, and Sarnia is the masterful narrator guiding the audience through realms of emotion and imagination.
iServalan™: A Musical Tapestry Unveiled

Sarnia de la Maré introduces iServalan™, a musical project that transcends the ordinary. iServalan™ is more than a brand; it's an exploration of expression, a fusion of sounds that traverse rock, metal, spoken word, and more. With a nod to pioneers like Isadora Duncan and Mata Hari, iServalan™ captures the essence of liberation and individuality. Sarnia's vision unfolds through this project, inviting listeners to immerse themselves in a musical journey where boundaries blur, and emotions run deep.
Rife Vibes: Resonating with Empowerment

Within the realm of Sarnia's musical universe, Rife Vibes emerges as a powerful undercurrent. It's not just about the music; it's a mindset, a frequency that resonates with empowerment and positivity. Rife Vibes encapsulates the essence of Sarnia's philosophy, where music becomes a vehicle for transformation, healing, and inspiration. Through Tale Teller Club and iServalan™, Rife Vibes is a beacon that guides listeners to a space of elevated emotions and uplifted spirits.
Tale Teller Club Academy of Arts: Nurturing Creativity

As a visionary founder, Sarnia de la Maré extends her passion for the arts through the Tale Teller Club Academy of Arts. This institution becomes a crucible for creativity, offering a platform for aspiring artists to hone their skills and unleash their potential. From music to visual arts, the academy stands as a testament to Sarnia's commitment to nurturing the next generation of storytellers and creatives.
Conclusion: Sarnia's Melodic Legacy

In the melodic legacy crafted by Sarnia de la Maré FRSA, each composition is a chapter, and every performance is a narrative waiting to unfold. Through Tale Teller Club, iServalan™, Rife Vibes, and the Tale Teller Club Academy of Arts, Sarnia invites us to experience music as more than a sequence of notes—it's a journey, an emotion, and a profound connection that resonates across genres and generations. As the musical tales continue to weave, Sarnia de la Maré remains at the helm, a maestro whose legacy is etched in every chord and melody. #iservalan #sarniadelamare #taletellerclub #music #musictherapy #rifevibes

Links to episodes of Immersion written and illustrated by Sarnia de la Maré FRSA, published by Tale Teller Club

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Wednesday, January 31, 2024

Fine Art by Sarnia de la Maré FRSA at Saatchi











Queen of Hearts
Digital, 48 W x 33 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom


£4,227

Prints from £55





The Nap
Digital, 36 W x 36 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom


£743





Amber
Digital, 48 W x 33 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom


£3,832





Magenta
Paintings, 24 W x 24 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom


£901

Prints from £40





Lady sings the Blues, Parisian Collection
Digital, 36 W x 36 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom


£1,090





The Afterlife
Digital, 48 W x 48 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom


£2,607




The Cellist
Photography, 36 W x 20 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom




Prints from £40





Lovers Blend
Digital, 24 W x 24 H x 1 D in

Sarnia de la Mare FRSA
United Kingdom


£743




Mariander, Pensive in the Days Before Love Came
Mixed Media, 60 W x 60 H x 2.5 D in

Sarnia de la Mare FRSA
United Kingdom

New collection of fine artworks by Ms. Sarnia de la Maré FRSA #sarniadelamare


 Links to episodes of Immersion written and illustrated by Sarnia de la Maré FRSA, published by Tale Teller Club

Wednesday, January 24, 2024

Mothers' Frowning 2024 Sarnia de la Maré FRSA

 


Mothers' Frowning



The boys are playing 

war again

Their bodies

Slammed

on dirty ground

What have we become?

But dirty whores

for pain and loss.

Don’t make no fuss


Let them fight

They’re only boys

They love their toys

Planes and boats

Bayonets at throats

Armaments of hope



Guns are so much fun

What have we become?



Such exhilarating 

Noises

Hooray Horrah

They do not hear

The Voices

'Neath deafening tones 

of death and drones

The screams of girls,

are drowning

in war’s

Turmoil

and mothers’ frowning



© 2024 Sarnia de la Maré FRSA



Links to episodes of Immersion written and illustrated by Sarnia de la Maré FRSA, published by Tale Teller Club

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Strata 15
Strata 16
Strata17
Strata 18
Strata 19
Strata 21


Wednesday, January 3, 2024

The Soldier by The Marchioness of Dorchester (circa 1625 during the The Anglo-French War )


The Soldier

by The Marchioness of Dorchester (circa 1625 during the The Anglo-French War )



A suitor bold and handsome once arrived

Twas early in a day unspent

A proud soldier on horseback,

A burning wish to vent


‘In courtly dance I wield mine mighty dart’

Said he, appearing finely dress’d

In polished armour

His lance

Colossal,

For this quest confessed.


‘With quivering heart, I seek my lady fair,

Her gaze, the target of my fervent plea’

Said he

Such chivalric pursuit was indeed

Beyond compare

His lance, a beacon of….

Virility.


‘Yet, not in war, but passion's grand display,

I wield mine

Shaft,

Erect, a symbol of desire

To pierce the veils that shroud love's subtle play

In earnest yearning

To set your heart afire.


Behold, mine love, this lance of passion true,

A token bold, my heart laid bare for you.


Would mine lady touch my lance

Before I leave

Tonight

for France?’




©2024 Sarnia de la Mare


Links to episodes of Immersion written and illustrated by Sarnia de la Maré FRSA, published by Tale Teller Club

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Strata 4
Strata 5
Strata 6
Strata 7
Strata 8
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Strata 10
Strata 11
Strata 12
Strata 13
Strata 14
Strata 15
Strata 16
Strata17
Strata 18
Strata 19
Strata 21


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