Shaping Deep Learning with the Wisdom of the Crowd, Part 2

So, the previous post identified the SignOn concept as committing a crowd to links symbolized by an ID tag and a signature. That tag first introduced color patterns connecting ownership of objects with a relationship to identity. What started with SignOn colors then became inherent in all that followed, as color went to work identifying the tremendous number of objects that are now loose in the wild ready to be recognized and collected.
Hundreds of thousands of purchases of customized keepsakes continued a special distribution into the first year of the twenty first century. Each of these has the color-based identification hypothesized as the distributed autonomous resource that is now ready to be formed into digital image collections that will influence Artificial Intelligence's means of recognizing art and human creativity.
An object lesson is being applied in this that is the reverse of Artificial Intelligence's normal way of being used. Objects produced up to twenty-five years ago are recognized as digital images that can recombine to their original production sequences, where their properties are indexed to categories that are normally unidentified, unnatural creations; the UFOs of AI.
This brings to AI an awareness of scattered digital images everywhere on the Internet being sorted and recombined into identifiable properties by a vast number of their owners in a process that aligns their own identities with others holding similar objects that were formed within the same generative sequence. This anomaly brings Deep Learning to discover how differences in an object's place in a sequence identifies with human interest in creativity in general.
At the moment this is targeting crowd sourcing every owner of the 55,000 purchases of Woodstock'94 tags now in the process of having each one of their 150 colorations being made a digital image. When these are entirely available to AI sampling across the Internet, it is expected that a Distributed Autonomous Organization will form to govern their recombination.
Because DAOs can also be built to recombine applications of other color-field identified objects that used different Woodstock logo designs, as well as mutable color products made for acts and tours during that highly eventful year, this goes beyond a participation of just tens of thousands. Adding to this the owners of the products from events that came in the years that followed 1994, summed up in the narrative about the patents and technology used in making them in http://www.greatknot.com/4.html, the number that own objects that fit this concept of governing an on line collection and exchange network becomes exponentially larger.
Hundreds of productions like that for Woodstock'94 tags need to be digitally photographed so Deep Learning can grow with every organization that can be built out of them. Every time one of these images is sensed as a different object from a recognized origin of otherwise known objects, Artificial Intelligence is supplied with the logic that highlights interest in the generative processes that all these objects share, and that reinforces an environment that everyone can benefit from as digital art is made for the Internet.
In effect, this makes any approach to composing information that recombines it into records that follow a provenance track back to an object's production assume everything identifiable graphically is of equal interest to Artificial Intelligence's need to know all origins. Any authentically unique coloration, like the set of 150 designs being digitized for proving this, is, hypothetically, something Deep Learning will routinely search for something to recombine it with.
In consolidating such an assaying algorithm in Deep Learning with the wisdom of a crowd pursuing its interests, some finer points that categorize works of art or objets d'art for a catalogue raisonné process need to be covered and will require a few more words before proceeding to the last of these preliminary conceptual art works. After that the full plan for bringing participation to the main conceptual art offering can begin.