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## Abstruse Ideas about Qualia and Feedback

Here’s a problem I’ve been stewing over for several hours now inspired by Raymond Tallis.

Say you have a device called an autoencephelograph. This device will project whatever you are subjectively experiencing onto a display of some kind– TV screen, projector screen etc.

Now lets say you look at the display with the autoencephelograph nearby within view. Will this display be your subjective experiences, objectively out there in the public arena? Or will the autoencephelograph and the display itself still be within your own subjective experience, creating a sort of fractal, nested self- similar experience? Or both-and?

I think that it can be modeled this way:

c = d (Q – Q’)

I’m setting the variable c (which I’m not-unintentionally using to reference the speed of light, but that’s a whole other sidebar) to be the distance or difference between the raw qualia Q and the projected qualia Q prime.

fc = ‘ ^2

fc is the Feedback (or function) of c, and I’m saying that it is the square of the primeness, that is, the inauthenticity of the projection is squared. The inauthenticity here is the degree to which the projection is an imperfect imitation of the original. This might also be called simulacra translation, which is different from mere signal degradation, because each copy is not only losing fidelity with the original and thus becoming more generic, but it is also gaining the qualities of M (the medium).

In the case of visual Q, the Q’ is optical if it is seen through our eyes (rather than if the autoencephalograph is projecting into our brain directly), and it is technological relative to whatever devices are being used to collect and project the brain measurements. So the in addition to the simulacra translation fc = ‘^2, you add +M, as the quality of the medium (say optics + video) increases its presence in Q’.

– extra credit:

fc = ‘ ^2 +M

This +M is part of what I call disimmediation.

“If we pay attention to the aesthetic particulars of the glitch – the scratches on the record, the pixelation of a digitally compressed video, we can see that they contain clues as to the mechanisms behind the media. Disimmediation is a window into other Perceptual Inertial Frames (PIF), to optics or computation, analog or digital recording, screenwriting and theatrical production, etc.”

This +M qualia can be modeled as well, but this gets even more esoteric. The medium’s qualia is being seen from the public facing side, so it’s compressing the whole history of that medium and its context as a kind of fisheye lens from eternity. It’s the hole in the cookie dough of eternity, rather than the cookie…which makes it a different kind of simulacra…an impersonal kind which is not only noise but truth-telling, and therefore orienting in a scientific-artistic way (metatheoretical and metaphenomenal).

Think of it this way: The color orange intrinsically references red and yellow, which intrinsically references the warm end of the visual spectrum, then color in general, then seeing in general, and in our frame of reference optics, lenses, prisms, etc. Seeing references sense modalities, which references sense itself, and through that nesting, implicit coherence is preserved from outside of spacetime.

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