Mostrando entradas con la etiqueta Reflexividad. Mostrar todas las entradas
Mostrando entradas con la etiqueta Reflexividad. Mostrar todas las entradas

martes, 8 de julio de 2025

A Virtual Machine Made of Virtual Machines

 

 

(Or—a peek from the peak)

 

One of the passages in Daniel Dennett's From Bacteria to Bach and Back in which he comes really really close to cracking the code of reality—or perhaps closer to blowing your mind away into smithermemes...  The passage in question is found in the chapter "Consciousness as an Evolved User-Illusion". 

Its title is unpromising,  

"How do human brains achieve 'global' comprehension using 'local' competences?" 

... but the going gets really good with the epigraphs—especially when the epigraphs get glossed and riffed in the text itself. The trip goes from a bon mot to a reflexive hall of mirrors in the funhouse of your brain, so...  brace your self for a dive ride into your own mind, and other minds as well:

 

 

Language was given to men so that they could conceal their thoughts. 

    —Charles-Maurice de Talleyrand

Language, like consciousness, only arises from the need, the necessity, of intercourse with others.

    —Karl Marx

Consciousness generally has only been developed under the pressure of the necessity for communication.

    —Friedrich Nietzsche


There is no General Leslie Groves to organize and command the termites in a termite colony, and there is no General Leslie Groves to organize and command the even more clueless neurons in a human brain. How can human comprehension be composed of the activities of unncomprehending neurons? In addition to all the free-floating rationales that explain our many structures, habits, and other features, there are the anchored reasons we represent to ourselves and others. These reasons are themselves things for us, denizens of our manifest image alongside the trees and clouds and doors and cups and voices and words and promises that make up our ontology. We can do things with these reasons—challenge, reframe, abandon, endorse, disavow them—and these often covert behaviors would not be in our repertoires if we hadn't downloaded all the apps of language into our necktops. In short, we can think about these reasons, good and bad, and this permits them to influence our overt behaviors in ways unknown in other organisms.

The piping plover's distraction display or broken-wing dance gives the fox a reason to alter its course and approach her, but not by getting it to trust her. She may modulate her thrashing to hold the fox's attention, but the control of this modulation does not require her to have more than a rudimentary "appreciation" of the fox's mental state. The fox, meanwhile, need have no more comprehension of just why it embarks on its quest instead of continuing to reconnoiter the are. We, likewise, can perform many quite adroit and retrospectively justifiable actions with only a vague conception of what we are up to, a conception often swiftly sharpened in hindsight by the self- attribution of reasons. It's this last step that is ours alone.

Our habits of self-justification (self-appreciation, self-exoneration, self-consolation, self-glorification, etc.) are ways of behaving (ways of thinking) that we acquire in the course of filling our heads with culture-borne memes, including, importantly, the habits of self-reproach and self-criticism. Thus we learn to plan ahead, to use the practice of reason-venturing and reason-criticizing to presolve some of life's problems, by talking them over with others and with ourselves. And not just talking them over—imagining them, trying out variations in our minds, and looking for flaws. We are not just Popperian but Gregorian creatures (see chapter 5), using thinking tools to design our own future acts. No other animal does that.

Our ability to do this kind of thinking is not accomplished by any dedicated brain structure not found in other animals. There is no "explainer-nucleus" for instance. Our thinking is enabled by the installation of a virtual machine made of virtual machines made of virtual machines. The goal of delineating and explaning this stack of competences via bottom-up neuroscience alone (without the help of cognitive neuroscience) is as remote as the goal of delineating and explaining the collection of apps on your smartphone by a bottom-up deciphering of its hardware circuit design and the bit-strings in memory without taking a peek at the user interface. The user interface of an app exists in order to make the competence accessible to users—people—who can't know, and don't need to know, the intricate details of how it works. The user-illusions of all the apps stored in our brains exist for the same reason: they make our competences (somewhat) accessible to users—other people— who can't know, and don't need to know, the intricate details. And then we get to use them ourselves, under roughly the same conditions, as guests in our own brains.

There might be some other evolutionary path—genetic, not cultural—to a somewhat similar user-illusion in other animals, but I have not been able to conceive of one in convincing detail, and according to the arguments advanced by the ethologist and roboticist David McFarland (1989), "Communication is the only behavior that requires an organism to self-monitor its own control system." Organisms can very effectively control themselves by a collection of competing but "myopic" task controllers, each activated by a condition (hunger or some other need, sensed opportunity, built-in priority ranking, and so on). When a controller's condition outweighs the conditions of the currently active task controller, it interrupts it and takes charge temporarily. (The "pandemonium model" by Oliver Selfridge [1959] is the ancestor of many later models). Goals are represented only tacitly, in the feedback loops that guide each task controller, but without any global or higher level representation. Evolution will tend to optimize the interrupt dynamics of these modules, and nobody's the wiser. That is, there doesn't have to be anybody home to be wiser!

Communication, McFarland claims, is the behavioral innovation which changes all that. Communication requires a central clearing house of sorts in order to buffer the organism from revealing too much about its current state to competitive organisms. As Dawkins and Krebs (1978) showed, in order to understand the evolution of communication we need to see it as grounded in manipulation rather than as purely cooperative behavior. An organisms that has no poker face, that "communicates state" directly to all hearers, is a sitting duck, and will soon be extinct (von Neumann and Morgenstern 1944). What must evolve to prevent this exposure is a private, proprietary communication-control buffer that creates opportunities for guided deception—and, coincidentally, opportunities for self-deception (Trivers 1985)—by creating, for the first time in the evolution of nervous systems, explicit and more globally accessible representations of its current state, representations that are detachable from the tasks they represent, so that deceptive behaviours can be formulated and controlled without interfering with the control of other behaviors.

It is important to realize that by communication, McFarland does not mean specifically linguistic communication (which is ours alone) but strategic communication, which opens the crucial space between one's actual goals and intentions and the goals and intentions one attempts to communicate to an audience. There is no doubt that many species are genetically equipped with relatively simple communication behaviors (Hauser 1996), such as stotting, alarm calls, and territorial markings and defense. Stereotypical deception, such as bluffing in an aggressive encounter, is common, but a more productive and versatile talent for deception requires MaFarland's private workspace. For a century and more philosophers have stressed the "privacy" of our inner thoughts, but seldom have they bothered to ask which this is such a good design feature. (An occupational blindness of many philosophers: taking the manifest image as simply given and never asking what it might have been given to us for).



*I have silently corrected a typo, or spello, substituting "peek" for "peak". Perhaps I shoudn't have—topsight makes a new height here.

domingo, 8 de septiembre de 2024

Synecdoche, New York

 

Viendo esta excelente película de Charlie Kaufman—Synecdoche, New York.  
 
Humor negro, no apto para depresivos—o quién sabe. Me pregunto si le hizo algún bien a Philip Seymour Hoffman. Como con el caso de Robin Williams, ahora se ven algunos de sus personajes como conteniendo mucha más parte del actor de lo que parecía, o sirviéndoles de expresión a una parte de su personalidad que no superaban ni trascendían mediante la actuación.
 
 
Aquí transcribo la excelente reseña que le hizo Roger Ebert, que vio en la película una auténtica experiencia (desengañada) de la vida—de la tuya, hypocrite lecteur.




I think you have to see Charlie Kaufman's "Synecdoche, New York" twice. I watched it the first time and knew it was a great film and that I had not mastered it. The second time because I needed to. The third time because I will want to. It will open to confused audiences and live indefinitely. A lot of people these days don't even go to a movie once. There are alternatives. It doesn't have to be the movies, but we must somehow dream. If we don't "go to the movies" in any form, our minds wither and sicken.

This is a film with the richness of great fiction. Like Suttree, the Cormac McCarthy novel I'm always mentioning, it's not that you have to return to understand it. It's that you have to return to realize how fine it really is. The surface may daunt you. The depths enfold you. The whole reveals itself, and then you may return to it like a talisman.

Wow, is that ever not a "money review." Why will people hurry along to what they expect to be trash, when they're afraid of a film they think may be good? The subject of "Synecdoche, New York" is nothing less than human life and how it works. Using a neurotic theater director from upstate New York, it encompasses every life and how it copes and fails. Think about it a little and, my god, it's about you. Whoever you are.

Here is how life is supposed to work. We come out of ourselves and unfold into the world. We try to realize our desires. We fold back into ourselves, and then we die. "Synecdoche, New York" follows a life that ages from about 40 to 80 on that scale. Caden Cotard (Philip Seymour Hoffman) is a theater director, with all of the hangups and self-pity, all the grandiosity and sniffles, all the arrogance and fear, typical of his job. In other words, he could be me. He could be you. The job, the name, the race, the gender, the environment, all change. The human remains pretty much the same.

Here is how it happens. We find something we want to do, if we are lucky, or something we need to do, if we are like most people. We use it as a way to obtain food, shelter, clothing, mates, comfort, a first folio of Shakespeare, model airplanes, American Girl dolls, a handful of rice, sex, solitude, a trip to Venice, Nikes, drinking water, plastic surgery, child care, dogs, medicine, education, cars, spiritual solace -- whatever we think we need. To do this, we enact the role we call "me," trying to brand ourselves as a person who can and should obtain these things.

In the process, we place the people in our lives into compartments and define how they should behave to our advantage. Because we cannot force them to follow our desires, we deal with projections of them created in our minds. But they will be contrary and have wills of their own. Eventually new projections of us are dealing with new projections of them. Sometimes versions of ourselves disagree. We succumb to temptation -- but, oh, father, what else was I gonna do? I feel like hell. I repent. I'll do it again.

Hold that trajectory in mind and let it interact with age, discouragement, greater wisdom and more uncertainty. You will understand what "Synecdoche, New York" is trying to say about the life of Caden Cotard and the lives in his lives. Charlie Kaufman is one of the few truly important writers to make screenplays his medium. David Mamet is another. That is not the same as a great writer (Faulkner, Pinter, Cocteau) who writes screenplays. Kaufman is writing in the upper reaches with Bergman. Now for the first time he directs.

It is obvious that he has only one subject, the mind, and only one plot, how the mind negotiates with reality, fantasy, hallucination, desire and dreams. "Being John Malkovich." "Eternal Sunshine of the Spotless Mind." "Adaptation." "Human Nature." "Confessions of a Dangerous Mind." What else are they about? He is working in plain view. In one film, people go inside the head of John Malkovich. In another, a writer has a twin who does what he cannot do. In another, a game show host is, or thinks he is, an international spy. In "Human Nature," a man whose childhood was shaped by domineering parents trains white mice to sit down at a tiny table and always employ the right silverware. Is behavior learned or enforced?

"Synecdoche, New York" is not a film about the theater, although it looks like one. A theater director is an ideal character for representing the role Kaufman thinks we all play. The magnificent sets, which stack independent rooms on top of one another, are the compartments we assign to our life's enterprises. The actors are the people in roles we cast from our point of view. Some of them play doubles assigned to do what there's not world enough and time for. They have a way of acting independently, in violation of instructions. They try to control their own projections. Meanwhile, the source of all this activity grows older and tired, sick and despairing. Is this real or a dream? The world is but a stage, and we are mere actors upon it. It's all a play. The play is real.

This has not been a conventional review. There is no need to name the characters, name the actors, assign adjectives to their acting. Look at who is in this cast. You know what I think of them. This film must not have seemed strange to them. It's what they do all day, especially waiting around for the director to make up his mind.

What does the title mean? It means it's the title. Get over it.
_______

Una importante adición, por tanto, al arte sobre la vida entendida como representación virtual y teatro vívido. Más sobre la vida como teatro aquí: 


García Landa, José Ángel. "Be Copy Now." In García Landa, Vanity Fea 24 June 2006.
    http://garciala.blogia.com/2006/062401-be-copy-now.php
_____. "Goffman: La realidad como expectativa autocumplida y el teatro de la interioridad." In Zaguán 29 May 2009.*
    http://zaguan.unizar.es/record/3358
    2009
_____. "Actuaciones." In García Landa, Vanity Fea 21 October 2009.*
    http://vanityfea.blogspot.com/2009/10/actuaciones.html
    2009
_____. "Somos teatreros: El sujeto, la interacción dialéctica y la estrategia de la representación según Goffman." iPaper at Academia.edu 30 May 2012.*
    http://unizar.academia.edu/Jos%C3%A9AngelGarc%C3%ADaLanda/Papers/1670984/
    2012
_____. "Hegel: La comedia y la vida como metadrama." In García Landa, Vanity Fea 15 July 2012.*
    http://vanityfea.blogspot.com.es/2012/07/hegel-la-comedia-y-la-vida-como.html
    2012
_____. "El mundo todo es máscaras." In García Landa, Vanity Fea 30 August 2012.* (Larra).
    http://vanityfea.blogspot.com.es/2012/08/el-mundo-todo-es-mascaras.html
    2012
_____. "El mundo como teatro." In García Landa, Vanity Fea  17 Sept. 2012.*
    http://vanityfea.blogspot.com.es/2012/09/el-mundo-como-teatro.html
    2012
_____. "El mundo, puro teatro." In García Landa, Vanity Fea 27 Sept. 2012.*
    http://vanityfea.blogspot.com.es/2012/09/el-mundo-puro-teatro.html
    2012
_____. "Role at Variance with Self." In García Landa, Vanity Fea 12 Oct. 2012.* (from McAlindon's English Renaissance Tragedy).
    http://vanityfea.blogspot.com.es/2012/10/role-at-variance-with-self.html
    2012
_____. "Retrospección del teatro y de la vida." In García Landa, Vanity Fea  11 May 2013.* (Styan).
    http://vanityfea.blogspot.com.es/2013/05/retroprospeccion-del-teatro-y-de-la-vida.html
    2013
_____. "El teatro vivido de El Curioso Impertinente." In García Landa, Vanity Fea  18 May 2013.*
    http://vanityfea.blogspot.com.es/2013/05/el-teatro-vivido-de-el-curioso.html
    2013
_____. "Más sobre la vida como teatro." In García Landa, Vanity Fea 26 Aug. 2013.*
    http://vanityfea.blogspot.com.es/2013/08/mas-sobre-la-vida-como-teatro.html
    2013
_____. "La evolución del dividuo social y de los espacios públicos." Lecture at the HERAF seminar on "Individuo y espacio público", Universidad de Zaragoza, 10 Jan. 2014. Social Science Research Network 12 Jan. 2014.*
    http://ssrn.com/abstract=2377963
    2014
_____. "El Gran Juego." In García Landa, Vanity Fea 2 Feb. 2014.* (Arsuaga and Martín-Loeches).
    http://vanityfea.blogspot.com.es/2014/02/el-gran-juego.html
    2014
_____. "Epifanía del Mundo como Teatro." In García Landa, Vanity Fea 4 Feb. 2014.* (Christopher Rush, Will).
    http://vanityfea.blogspot.com.es/2014/02/epifania-del-mundo-como-teatro.html
    2014
_____. "Veblen y la teatralidad." In García Landa, Vanity Fea 20 March 2014.*
    http://vanityfea.blogspot.com.es/2014/03/veblen-y-la-teatralidad.html
    2014
_____. "Aprendiendo a esconderse." In García Landa, Vanity Fea 24 July 2014.* (Berger & Luckmann; roles).
    http://vanityfea.blogspot.com.es/2014/07/aprendiendo-esconderse-learning-to-hide.html
    2014
_____. "Interaction as Reality-Maintenance." In García Landa, Vanity Fea 28 July 2014.* (Berger & Luckmann).
    http://vanityfea.blogspot.com.es/2014/07/interaction-as-reality-maintenance.html
    2014




—oOo—

viernes, 22 de diciembre de 2023

Más atención a la consciencia

Retropost, 2013:

 

Aquí hay un interesante artículo de Michael Graziano sobre el "efecto de consciencia" por así llamarlo:

 

Ese efecto generado, la experiencia consciente como una especie de historia que el cerebro se cuenta a sí mismo, lo liga Graziano a un análisis cognitivo del fenómeno de la atención, y de la dinámica de la representación cerebral, en retroalimentación dinámica con la percepción.

Un párrafo traduzco:

La atención requiere control. En los estudios de robótica modernos existe lo que se llama teoría del control, y nos muestra que, si una máquina tal como un cerebro ha de controlar algo, es útil disponer de un modelo interno de ese algo. Piensen en un general militar con sus modelos de ejércitos distribuidos en un mapa: le proporcionan una representación sencilla pero útil—no siempre perfectamente exacta, pero lo suficientemente aproximada como para ayudarle a formular una estrategia. De igual modo, para controlar su propio estado de atención, el cerebro necesita una simulación o modelo de ese estado  que sea constantemente actualizado. Al igual que los ejércitos de juguete del general, el modelo será esquemático y escaso en detalles. El cerebro se atribuirá a sí mismo una propiedad, y esa propiedad será un sustituto simplificado de la atención. No será preciso y exacto, pero sí transmitirá información útil. ¿Cuál es exactamente esa propiedad? Cuando está prestando atención a un objeto X, sabemos que el cerebro normalmente se atribuye a sí mismo una experiencia de X—la propiedad de ser consciente de eso, o estar conscientemente atento a eso. ¿Por qué? Porque esa atribución le ayuda a seguir la pista del foco siempre cambiante de la atención. Llamo a esto la "teoría del esquema de atención." Tiene como núcleo una idea muy sencilla: que la consciencia es un modelo esquemático del estado de atención de uno.

Attention requires control. In the modern study of robotics there is something called control theory, and it teaches us that, if a machine such as a brain is to control something, it helps to have an internal model of that thing. Think of a military general with his model armies arrayed on a map: they provide a simple but useful representation — not always perfectly accurate, but close enough to help formulate strategy. Likewise, to control its own state of attention, the brain needs a constantly updated simulation or model of that state. Like the general’s toy armies, the model will be schematic and short on detail. The brain will attribute a property to itself and that property will be a simplified proxy for attention. It won’t be precisely accurate, but it will convey useful information. What exactly is that property? When it is paying attention to thing X, we know that the brain usually attributes an experience of X to itself — the property of being conscious, or aware, of something. Why? Because that attribution helps to keep track of the ever-changing focus of attention. I call this the ‘attention schema theory’. It has a very simple idea at its heart: that consciousness is a schematic model of one’s state of attention.

En suma, mucho se parece esto a la teoría que yo vengo llamando de la consciencia entendida como reflexividad activa o "retroproyección" de representaciones para generar la realidad, en una circulación entre impresiones perceptuales y representaciones simbólicas que las procesan dentro del cerebro, y se retroalimentan a los centros de percepción. Expuse unas especulaciones neurológicas al respecto en mi artículo sobre la "Interacción internalizada: el desarrollo especular del lenguaje y del orden simbólico". Y por supuesto, tratando de esquemas, es una teoría que apunta muy bien a integrarse con los análisis sobre la construcción social de la realidad en la escuela de Berger y Luckmann, Mead, Goffman, el interaccionismo simbólico en general. (Ver por ejemplo La realidad como expectativa autocumplida, para una teoría goffmaniana de la consciencia individual que es también consciencia socialmente generada).  Y tiene asimismo interesantes conexiones esta cuestión y este planteamiento sobre la atención consciente con otras reflexiones sobre la naturaleza virtual del mundo simbólico en que nos movemos, esa Matrix que algunos confunden con "la realidad" sin más, como si ésta se pudiese patear. George Berkeley ya estaba en esta película, claro, hace trescientos años.



lunes, 31 de octubre de 2022

The Enigma of Awareness (of Awareness)

Retropost, 2012:

 
Consciousness as simplification, of decision, of making the world manageable. (See my theory on Attention). And then, the mystery of our awareness of this process, the reflexivity of the whole. With Zizek:





"The subordinate mediator becomes the subject". That seems to be a quite general law governing human action and attention, or, to be more precise, what becomes the subject (and the object of attention) is a successful subordinate mediator.


In this respect, we might consider Malabou's reading of Hegel's linguistic anthropology: "Chapter 3 [of The Future of Hegel] then raises the question: if humans are not the only animals that develop habits, what is it that gives us a capacity for self-determination that other animals lack? Chapter 4 responds that the use of language differentiates human beings from other animals and makes our habitual behavior unique: "Man is exemplary because the human formative power can translate the logical process into a sensuous form" (74). This, Malabou concludes, makes each of us capable of plastic individuality, of transforming our own singular essence in unforeseeable ways by incorporating what was formerly accidental."

Note btw that Malabou's reading is consistent with my own view of Hegel as a demythologizer in religion, and as a philosopher who acknowledges the productive dimension of reflexivity.


____


Zizek: "History means there is no metalanguage" —you cannot stand on your own shoulders, cognitively speaking, and any panorama of philosophy, any reading of another philosophy, is done from a situated philosophical standpoint. For Hegel, the meaning of an act arises through the act itself; meaning is not pre-existing: it is created retroactively. History is one big process of exaptation.



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