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Animation
Animation doesn’t make sense as a property which emerges from a computation, it is inferred through an expectation which is aesthetic rather than functional. The information content is the same whether there are rapid updates of static frames or whether there is an animated flow, yet our sense of realism is hinges on the sense of continuous motion.
It makes sense to me that when sense is interrupted by another level of sense, the result is a representation which as an artificially static quality. The conversion from a waving over time to a shape of a wave in space is a destructive compression. The wave shape can be strung together with variations of itself, but that doesn’t automatically imply an narrative experience, only a collection of ordered shapes. If computation is the animation of logic, then logic is at once the dis-animation of sense and the automation of sense.
The genuine dynamism of sense is derived not from position and momentum, but from the transformation of effort into satisfaction. Each micro movement we make subconsciously satisfies countless agendas on every scale – neurological, physiological, psychological, intuitive….thousands of sub-personal negotiations being worked out in real time right under our noses. Scratch an itch, shift position. Paying attention to these things can make us nervous and self-conscious. By bringing our personal awareness into the sub-personal, we slip into recursion and undermine our self-confidence – our power to control our effort and satisfy our personal level agendas.
Curiously, when simple figures are animated into cartoons (the word cartoon comes from the canvas or cards that artists would use to draw them on), the aesthetic of realism is charged with what could be called ‘levity’. Watching a cat chase a mouse in real life might elicit anxiety or agitation, but as a cartoon, the figures of mice and cats are recontextualized as delightful or hilarious. The idea that this is an emergent property of computation alone is technically possible, but only if we have already given computation the benefit of the doubt of producing all of these functionally superfluous aesthetic qualities. It seems to work better the other way. In animation, we see that which is closer to what we are made of – we see imagination ‘brought to life’.
From Scott McCloud’s excellent Understanding Comics, he points out the cartoonists mastery of the palette of subjectivity and objectivity. The more realistic detail is added, the more information there is – the more that has been calculated and measured, and the more that it reflects the power of reality to arrest consciousness. The unrealistic face promotes an informal state of mind, where the vacuum of information does not stand empty as it would in RAM, but is instead filled in with self-identification.
Alien Hand/Limb Syndrome
“The alien hand syndrome, as originally defined, was used to describe cases involving anterior corpus callosal lesions producing involuntary movement and a concomitant inability to distinguish the affected hand from an examiner’s hand when these were placed in the patient’s unaffected hand. In recent years, acceptable usage of the term has broadened considerably, and has been defined as involuntary movement occurring in the context of feelings of estrangement from or personification of the affected limb or its movements. Three varieties of alien hand syndrome have been reported, involving lesions of the corpus callosum alone, the corpus callosum plus dominant medial frontal cortex, and posterior cortical/subcortical areas. A patient with posterior alien hand syndrome of vascular aetiology is reported and the findings are discussed in the light of a conceptualisation of posterior alien hand syndrome as a disorder which may be less associated with specific focal neuropathology than are its callosal and callosal-frontal counterparts.” – http://jnnp.bmj.com/content/68/1/83.full
This kind of alienation from the function of a limb would seem to contradict functionalism. If functionalism identifies consciousness with function, then it would seem problematic that a functioning limb could be seen as estranged from the personal awareness, is it is really no different from a zombie in which the substitution level is set at the body level. There is no damage to the arm, no difference between one arm and another, and yet, its is felt to be outside of one’s control and its sensations are felt not to be your sensations.
This would be precisely the kind of estrangement that I would expect to encounter during a gradual replacement of the brain with any inorganic substitute. At the level at which food becomes non-food, so too would the brain become non-brain, and any animation of the nervous system would fail to be incorporated into personal awareness. The living brain could still learn to use the prosthetic, and ultimately imbue it with its own articulation and familiarity to a surprising extent, but it is a one way street and the prosthetic has no capacity to find the personal awareness and merge with it.
Tip of the Iceberg
Another look at how the uncanny valley relates to the explanatory gap.
Attack and Redemption of Computational Theory of Mind
- 1. There is nothing at all which cannot be reduced to an encounter*, and that encounters can be presented directly (phenomenally) or re-presented indirectly (physically or semiotically).
- 2. That the nature of encounters can be described as aesthetic re-acquaintance, nested sensory-motive participation, or simply sense.**
- 3. In consideration of 1, sense is understood in all cases to be pre-mechanical, pre-arithmetic, and inescapably fundamental.
My challenge then, is for CTM to provide a functional account of how numbers encounter each other, and how they came to be separated from the whole of arithmetic truth in the first place. We know that an actual machine must encounter data through physical input to a hardware substrate, but how does an ideal machine (e.g. Turing machine, Universal Machine or program) encounter data? How does it insulate itself from data which is not relevant to the machine?
Failing a satisfactory explanation of the fundamental mechanism behind computation, I conclude that:
- 4. The logic which compels us to seek a computational or mechanical theory of mind is rooted in an expectation of functional necessity.
- 5. This logic is directly contradicted by the absence of critical inquiry to the mechanisms which provide arithmetic function.
- 6. CTM should be understood to be compromised by petito principii fallacy, as it begs its own question by feigning to explain macro level mental phenomena through brute inflation of its own micro level mental phenomena which is overlooked entirely within CTM.
- 7. In consideration of 1-6, it must be seen that CTM is invalid, and should possibly be replaced by an approach which addresses the fallacy directly.
The next three points have to do with my own hypothesis (Multisense Realism), submitted here only for those who might ne interested.
- 8. PIP (Primordial Identity Pansensitivity) offers a trans-theoretical explanation in which the capacity for sense encounters is the sole axiom.
PIP is the conjecture that sensitivity is the sole capability that is required for all phenomena. If we wanted to conceptualize a ‘unit’ of this pansensitivity, I suggest the aforementioned terms ‘aesthetic encounter’, ‘sensory-motive participation’, ‘re-acquaintance’, etc, or any other neologism which suggests a pre-monadic generator of pre-self and self-like perspectives.
My conjecture is that self is a type of symmetry within sense. There is no self except for self vs not-self. What is distributed by pansensitivity is not solipsism, but opportunities to modulate self-like symmetries. Selfhood is a particular form of sense distribution in which the symmetry between the absolute and the conditional is recapitulated twice. From the absolute perspective, the self becomes a branch toward isolated locality, while from the conditioned perspective, the self (the condition) stands in for the absolute.
- 9. CTM can be rehabilitated, and all of its mathematical science can be redeemed by translating into PIP terms, which amounts to reversing the foundations of number theory so that they are sense-subordinate.
Here I am talking about turning the assumptions of mathematical theory on its head. Platonic forms, for instance, would be conceived of as superficial emblems of sense rather than profound and perfect absolutes. Sacred geometry, while imbued with numinous meaning locally to a self (as it reflects the symmetry to which it owes its elaboration), but from the absolute perspective, sacred geometry is akin to a test pattern – crystallized reflections of aesthetic depth, but containing no depths themselves.
- 10. This effectively renders CTM a theory of mind-like simulation, rather than simulating macro level minds, however, mind-simulation proceeds from PIP as a perfectly viable cosmological inquiry, albeit from an impersonal, theoretical platform of sense.
All that I mean here is that because CTM trades in symbols of reflected sense-making rather than sense encounters, it doesn’t ever have a chance of capturing the important features of consciousness. It can, however, capture important features of how consciousness is distributed.
EDIT: Details added for clarity –
*Encounter can be thought of as ‘stimuli’, but need not include any information. It can be thought of as ‘qualia’ but it need not include any subject or object. The intention here is to reduce all phenomena to its absolute minimum – an opportunity for modes and motives for discernment to arise.
**This sounds jargony, for sure, but I’m inventing a precise vocabulary here, so as to avoid being misconstrued as a standard argument for what might be called ‘pseudo-subtance idealism’ (everything is made of energy, love, vibration, fields, etc) or information panpsychism (conscious experiences are produced by complex systems, functional states, etc).
John Weldon’s “To Be”
If you say yes to the scientist, you are saying that originality is an illusion and simulation is absolute. Arithmetic can do so many things, but it can’t do something that can only be done once. Think of consciousness as not only that which can’t be done more than once, it is that which cannot even be fully completed one time. It doesn’t begin or end, and it is neither finite nor infinite, progressing or static, but instead it is the fundamental ability for beginnings and endings to seem to exist and to relate to each other sensibly. Consciousness is orthogonal to all process and form, but it reflects itself in different sensible ways through every appreciation of form.
The not-even-done-onceness of consciousness and the done-over-and-overness of its self reflection can be made to seem equivalent from any local perspective, since the very act of looking through a local perspective requires a comparison with prior perspectives, and therefore attention to the done-over-and-overness – the rigorously measured and recorded. In this way, the diagonalization of originality is preserved, but always behind our back. Paradoxically, it is only when we suspend our rigid attention and unexamine the forms presented within consciousness and the world that we can become the understanding that we expect.
The Sound and Style of Consciousness
In music, timbre also known as tone color or tone quality from psychoacoustics, is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the perception of timbre include spectrum and envelope.
a signal with its envelope marked in red
What I remember from my 7th grade general music class about timbre is that it is what made modern pop and rock different from other forms of music. All of those sound effects that become possible with electric amplification allow us to transform the same kinds of melodies that have always been a part of music into new kinds of sonic textures. Any song can be made into a heavy metal or punk song by cranking up the amplitude and distortion and manipulating the tempo.
The Wiki gives a list of subjective experiences and objective acoustic properties, such as:
Subjective Objective
Vibrato Frequency modulation
Tremolo Amplitude modulation
I think that this a clue that timbre can be used meaningfully as a jumping off point for understanding subjectivity and consciousness. If we think of the red signal envelope as a cross section of a 3D prismatic glacier behind it, the axis of that figurative third dimension would be where private significance (aesthetic quality) intersects public spacetime.
I’m not saying that qualia can literally be reduced to a kind of perpendicular meta-spacetime, but that it can be figuratively thought to cast a shadow which is measurable in those terms. The public universe is flat in comparison to the private universe, even though any particular private experience of eternity is of course orders of magnitude narrower than the totality of all experience. The full extent of our own lives and the lives of others is hidden by the constraint of our insensitivity. Our attention is directed to public facing events, to places and times outside of our private here and now.
Timbre at least recognizes the dipole of subjective and objective dimensions of phenomena and the sensible link between them. Our Western approach of psychoacoustics still reduces the subjective psycho- qualities to a mechanical model which is presumed to be driven by the acoustics only, but what I suggest is that acoustic mechanics are themselves micro-aesthetic experiences which are shared on all phenomenal levels (sub-personal, personal, and super-personal).
Timbre is a word which has been called “the psychoacoustician’s multidimensional waste-basket category for everything that cannot be labeled pitch or loudness”. The difference between a recording of a flute and a recording of a guitar playing the same song could be described in terms of timbre. Each instrument has its own idiosyncratic mixture of tonal and extra-tonal noise-like qualities. When we talk about playing a song on the piano, we are treating the melody as the object. What is being played is an abstract concept of sequenced notes, but what is bringing that abstraction into a concretely realized experience is the acoustic and artistic qualities of the instrument and the performance.
A font or typeface can be seen in a similar way. The invention of customizable fonts was one of the favorite features of early word processors. Instead of being locked into a particular typewriters look, the consumer could now make their printed output look more like published text. Font designers had to painstakingly build the look of each letter in the character set (since a computer would not be much good at guessing what a Helvetica style might be). Soon the entire typographic palette of styles and sizes were available, bringing into sharp distinction the difference between the alphanumeric data (ASCII text), and the font (character set). We can understand, that just as the melody of a song sounds different when it is played on a flute than when it is blasting out of a distorted electric guitar, a phrase written in Times New Roman carries a different meaning when it is written in Comic Sans. The computer, however, does not have any need to differentiate. It doesn’t care what font you write a program in, just as sheet music doesn’t carry instructions for a flute to sound like a flute.
If we use timbre and typeface as metaphors for qualia, we can see how it describes a difference in kind from the skeletal underpinnings of quanta. It’s true that we can use quantitative mechanisms to communicate qualia, but only if the receiver has the right kind of sensory range to match the sender’s intent. The mechanism has no way to appreciate the aesthetic content though, as all such qualities, whether they are fonts, timbre, image, or meaning, are reduced to the same binary digits. Compare this with what we hear, for example, when dragging a stick along the ground. There is the sound of the foot of the stick scraping the ground itself, and then there is the amplified, woody resonance which describes the length, mass, and density of the stick. Both can be felt as well as heard. The effect overall is a unified gestalt. Unlike a computation in which data must be explicitly separated and handled differently (some bits belong to the font, some to the text), natural sound is a feeling for our body and a knowing for our mind that is bound together metaphorically.
There is no mechanical process through which feelings and thoughts are bound. Instead, they are divided, like the spectrum of visible light is divided from white light, from the common sense of all experience. There is no way to simulate that coherence mechanically, but given enough artificial cues, our naturally poetic psyche will confabulate animation into it. We look at the words typed in a romantic script font and get a sense of a voice which might make the words seem pretentious or anachronistic. We hear the distorted guitar strings and feel that the song has become massively and explosively energetic. The ‘information’ which describes the underlying structure of the music or the typeface is non-poetic. It is only pixels and mathematical relations which relate to themselves and to mathematics in general, not to the experience of being alive. For being alive and aware, we need extra-mathematical qualities – the same qualities from which math itself emerges.
Metaphysical vs Metaphenomenal
One of the most contentious areas in philosophy revolves around what I consider to be a misconception about the relation between the physical and phenomenal. In particular, the term ‘metaphysical’ forces supernatural connotations onto what would otherwise be non-ordinary but natural experiences and states of mind. I think that the problem is in failing to recognize the physical and phenomenal as each having their own ranges which both overlap and oppose each other. What I mean is, synchronicity and precognition are not metaphysical, they are metaphenomenal. The surprising part is that this means that the ordering of events in which we participate is actually a subjective experience nested within many other subjective and perhaps trans-subjective subjective experiences on different scales. Einstein talked about the relativity of simultaneity, and the metaphenomenal (aka collective unconscious) works in a similar way.
When we make time physical without acknowledging the role that phenomenology has in producing both the form and content of “time”, we introduce a false universal voyeur which effectively flattens all aesthetic qualities and participation into a one dimensional vector in one direction. By taking the term metaphysical, we unintentionally validate this flattened view of the universe in which physics is nature, and phenomenology, particularly deep or non-ordinary phenomenology, can only be non- or meta- physical and therefore supernatural, aka superstitious, aka illusory. If we look at how physics treats its own non-ordinary phenomena, such as quantum entanglement, quasars, and dark energy, we do not see the term ‘illusion’ or ‘folk astronomy’ being thrown around. Their strangeness is acknowledged in a way which invites curiosity rather than fear. The mystery is safely projected into the impersonal realm of physics and the super-impersonal realm of theoretical physics. By contrast, the metaphenomenal range is super-personal or transpersonal, containing experiences which challenge our conventional expectations about the realism of physical bodies, locality, and time.
It is not incorrect to say that for these reasons the metaphenomenal can be considered metaphysical, however I think that is where we are placing the emphasis on the wrong set of properties. Instead of using experiences such as intuition, synchronicity, and even divination as scientific clues to a super-personal range of awareness, we are distracted by the apparent contradiction to physics (as if ordinary awareness did not contradict physics already). To rehabilitate our perspective, I suggest considering the relation between the different ranges of physical (ontic) and phenomenal (telic) phenomena in this way:
The term ‘paranormal’ is, like supernatural and metaphysical, the same kind of misnomer. If we see physics as a product of more primitive phenomenal sense, then it is consciousness itself which is doing the normalizing, so that it cannot be considered ‘normal’ itself. In another sense, since it is our consciousness which is defining normalcy, it does indeed identify its own regularity and meta-regularities and challenges those definitions as well. The metaphenomenal serves not only as an extension of the personal psyche into the collective unconscious, but also as a line in the sand beyond which sanity is not guaranteed.
Microphysical and Microphenomenal
The same thing occurs in another way, in an opposite way, on the bottom end of my chart. The sub-personal roots of microphenomenology and the sub-impersonal seeds of microphysics are the bottom up layers of causality and are more directly related than the top layers. The sub-personal (sub-conscious, id) urges and the microphysical (binary, semaphore-digital) are low level signs which are used to literally motivate and control. It is a common language of pushing things around.
To be able to exercise control it is necessary first to be able to see that which is to be controlled as separate in some sense from that which controls. There must be a way to sense them as ‘things’ or as a kind of inertial field which resists your intentions to cause a sensible effect. This experience of ‘things outside the self’ is the beginning of motivation, desire, intelligence, etc. In this way, motive and mechanism are born. The teeth in your mouth and the teeth of a gear exploit the same mechanical power to physically endure and prevail.
In the schema I propose, the fabric of the universe is tessellated or braided into these levels of nested counterpoint. The higher level objectifies the lower level into things because the higher level enjoys a more complete, but distanced panoramic view. The predator’s perspective engulfs the prey’s perspective. Biological organisms also objectify other living things and their own living body as higher than non-living things. Organisms with nervous systems take it one step beyond, seeing their own lives as a kind of meta-thing to direct as separate from the body. The human brain corresponds to a further, and perhaps ultimate mutation on the theme of self-reflection. There are physical implications for all of this but they have to do with time more than materials and structure. The expansion of time gives us more raw experiential material, more moments and more awareness of past and future within each moment. Technology and leisure make a virtuous cycle, bringing innovations which give us more things to do with our minds and bodies, and with the world.
Robert Anton Wilson wrote about the Jumping Jesus phenomenon – that it took X number of years for the first person to be born who had the impact of a Jesus or a Buddha, and how we now have several of them living at any particular moment. Buckminster Fuller and Terrence McKenna are among those who had this hyper-enthusiasm for the future which underlies today’s Singularity ethos. The ever ‘tightening gyre’, the transcendental object at the end of history, etc. It would seem, however, that at the same time, this enthusiasm is somehow perpetually deluded, and forever producing time wasting, leisure robbing coercions as well. As the acceleration increases, so does the mass, and a kind of stalemate plus or minus is maintained.
Conclusion
By shifting from the ad hoc, monolithic model of phenomenology as a kind of malfunctioning folk physics, or as physics belonging to an illusion that must be overcome spiritually, I propose a sense-based, multivalent view in which the metaphenomenal is understood to be both less than and more than physically real with high orthogonality, and the microphysical is understood to be less than and more than cosmologically meaningful with high isomrophism. The (one) mistake that David Chalmers made, in my opinion, is in accidentally introducing the idea of a zombie rather than a doll to the discussion of AI. Similar to error of the terms metaphysical and supernatural, the zombie specifies an expectation of personal level consciousness which is absent, rather than sub-personal level consciousness which is present on the microphysical levels. We can understand more clearly that a doll is not conscious on a personal level, no matter how many things it can say, or how many ways its limbs can be articulated. On the micro-physical level however, the material which makes up the doll expresses some sensory experience. It can be melted or frozen, broken or burned, etc. The material knows how to react to its environment sensibly and appropriately, and this is how material is in fact defined – by its sensible relations to material conditions. Just as we can assemble a 3D image on a 2D screen out of dumb pixels, so too can be automate a 5D human impostor on a 4D behavior stream of a doll.
By properly locating the micro-level physics beneath the personal-level phenomenology, we can see that beneath the micro-level physics there can be an even more primitive micro-phenomenology. On the top end as well, beyond the ontological truths of mathematics and logic, there are teleological apprehensions of aesthetics and meaning – without necessarily invoking a God personality (although that can work too, I just don’t see it as making as much sense as transpersonal Absolute).
*the super-impersonal is similar to the metaphenomenal in that it is difficult and esoteric, but opposite in that it is extrinsic rather than intrinsic. Where the metaphenomenal uses symbols as archetypes, loaded with metaphor and occult mystery, the superimpersonal (which would be more correct to call metaphysical) uses arcane mathematical and logical expressions. These are a kind of anti-metaphor as they relate to precisely defined, universally understood public information. The whole point is to expose the theory and completely, so that anyone is welcome to try to learn how to understand and use them, without any initiation rituals or strange pictures.
Seeing Visibility
Given that light has many strange properties, both on our natural scale as rays and on the elementary scale as photons, there is every reason to doubt that light qualifies as something which is unambiguously physical. On the other hand, since we cannot imagine a completely new color wheel, it would seem to say that the experience of seeing light is “real”, and not, a label for certain kinds of information that is fabricated in the brain. People who become blind at an early age, for example, experience stimulation to their visual cortex as tactile stimulation rather than seeing lights or spots.The condition of blindsight shows that parts of our brain can receive optical information without our having experienced that information personally as visual sensation.
In a way, white light can be considered to be what it looks like when transparency is concentrated. White light is when the quality of visibility is so saturated that it exceeds the range of discernment . A bright light illuminates a room not with whiteness but with clarity. To shed light on something is to flood the visual field with an immediacy of aesthetic acquaintance that suggests veridical qualities of the environment being illuminated. This is why we have metaphors such as ‘seeing the light’. Because it is about being connected with the presence of what is true and sensible, rather than being passively bombarded with particles. It can be said that our experience of seeing is not a direct detection of what is true, since there are so many ways to reveal optical illusion.
By calling it an illusion, we are framing the phenomena in a way as to implicate human fallibility rather than physics. Somehow we are wrong about what our eyes report, yet it is not clear that our assumption about what our eyes are reporting is scientifically valid. In fact, if it were not for these optical illusions, science would have very little to go on in determining the nature of vision as separate from physical truth, so it is actually the gaps between our expectations and the truth which reveal more truth, both about the nature of visual awareness, optics, electromagnetism, and quantum mechanics. Optical illusions are an encyclopedia of the nature of perceptual illusion, physical reality, and the relation between the two.
The folk science explanation for light perception generally begins with the idea that we can see light hitting our retina. That may be true, but not scientifically. The part that light plays in our visual system ends with the isomerization of rhodopsin in the retina. If what we see as “light” is in the visual cortex, then obviously what the visual cortex receives is not photons from the outside world, and it is not a direct analog that shows up as a small screen of images in an MRI. To even guess at some of the content of our visual field requires a blind statistical reconstruction. There is no plain-text transmission of images in our brain to simply hack into and view.
The effect that light has on the retina is merely to trigger the geometric extension of Vitamin A molecules and stop the flow of glutamate to the bipolar cells. That is well behind the first ganglion that would lead to the optic nerve and visual cortex. I propose instead that photons are not entities that are independent of their transmitters and receivers, and that light is therefore not physical but rather inter-physical, aka, phenomenal, aka sensory. Photons are measures of the sensitivity of our mode of detection. It is neither ray, beam, particle, or wave, but rather a rhythmic phenomenalization of matter – a feeling that matter has about what is going on around it. By making inferences beyond our sensible grasp, I think that Quantum Theory has given noun and verb-like properties to what are ultimately adjectives. Bosons and fermions may not be like that at all, but rather they are opportunities for matter to re-acquaint itself. The elementary measurable features of the cosmos may not be particles or strings, but qualities which characterize the capacity of matter to measure and interact with itself. Physics is a mirror. For every action and equal and opposite reaction, because equal and opposite reaction is a perfect reflection of our mode of scientific inquiry. We are investing our coins of empiricism in nature, extracting the empirical value, and recording the profit in our scientific ledger, like good, serious 18th century gentlemen.
It seems to me that only a medium which is intrinsically filled with the sense of color, form, and intensity across the many physical scales could reliably and veridically bridge the gap between public material realism private experience.The notion of a seeing light as a Rube Goldberg patchwork of conveyance into separate effects on every level*, all transported through a one dimensional collision detection schema is not consistent with reality. There are too many examples of people who have seen things in dreams and visions, too many qualities of visual experience which cannot be decomposed sensibly to pixels or lines for the photon explanation to be satisfactory. The qualia of color alone, whose idiopathic shifts and wheel-like symmetry have no place in the smooth continuum of the electromagnetic spectrum.
I suggest that light is only one specific form of a more universal medium, and that this medium is already known to us informally by the word ‘sense’. Sense as in sensation, sensitivity, sensor, but also as in making sense, sixth sense, and ‘in the sense of’. The unity of all sense can be more precisely expressed as ‘primordial identity pansensitivity’, ‘nested sensory-motive participation’, or even something like ‘self-tesselating aesthetic re-aquaintence’, depending on how technical and pretentious we want to get. From this Absolute firmament, and I think only from this firmament, can we get the full range of private experience, public physics, symbolic information, and the capacity to compare and contrast them. Only when physics is seen as identical with sense can physics be completed.
On the elementary level, with a nested sense primitive, we get relativistic locality (so eigenmetrics rather than eigenstates). Sense is modulating its own self-transparency and reflectivity to generate eigenmetric milieus – levels of scale that foster certain kinds of aesthetic themes and activities. The micro-world with its mathematical-molecular-insectoid clarity is different from the soft, lush features of zoological-arboreal-botanical existence. On some level perhaps, sense is nearly undiluted, and so the entire history of the cosmos is as a single now – a white whole singularity in which the now cannot even be completed and the here cannot hold even the hint of a ‘there’. On that level, there is non-locality.
*optical, molecular, cellular, ocular, neurological, psychological, sociological, zoological..
Computation as Shadow of Consciousness
I’m borrowing a (fantastic) image from
Incredible Shadow Art Created From Junk by Tim Noble & Sue Webster.
to make a point about the Map-Territory distinction and how it pertains to simulated intelligence.
Although a computer simulation produces an output over time, that does not mean that it is four dimensional (Time can be an additional dimension on any number of dimensions – a cartoon can be 2D but still last fifteen minutes.) By using the terms N and N-1 dimensional, I’m trying to make the point that no matter how extensive the measurements we make and how compelling their coherence seems to be, it can still be one dimension flatter than the original without our knowing it.
In the case of consciousness, I would say that it absolutely cannot be defined or described quantitatively, so that it truly is N dimensional, or trans-dimensional. Whatever number of dimensions we want to ascribe to some aspect of consciousness, that description will always be n-1 to the real thing. That is, in my understanding, the nature of representation – a destructive reduction of a presentation through a lower level (n-1 or n-x) medium which can be reconstructed by at the higher level if, and only if, there is a higher level interpreter.
Some might object to the metaphor on the grounds that computation is not like a shadow, since changing a computation has predictable effects, while changing a shadow’s appearance does not effect the object. That’s true, but again, in this case, I am using N dimensional phenomena, so that interactiveness is part of the conservation of the temporal, before and after/cause and effect axis. In such a scenario, the flatland effect itself is modified somewhat and there are more dimensions shared. More shared dimensions = more conservation of sensory-motive agreement, however, there is also more that is not shared (feeling, sensations, colors, understanding, for example).
Some who are more familiar with the spectacular capabilities of cutting edge computation might object to the over-simplification, and say that I am criticizing an older generation of approaches to machine learning. There is some truth to that, but in the rarefied air of higher math, we get into what I call the super-impersonal level of intelligence. By comparison, the super-personal level of awareness could be described as mythic or poetic. Synchronicity can be concentrated through divination techniques like Ouija boards and Tarot cards. The Platonic ‘realm’ accessed through ultra-sophisticated computation are, in my view, a dual of that kind of divination, except rooted in the generic and repeatable rather than the instantaneous and volitional. The computer is an oracle to impersonal truths about truth itself, and can build locally applicable strategies from there, however, it cannot factor in any kind of personal feeling or intention.
The computational oracle is much more seductive than divination, since it does not leave the interpretation up to the audience. The computational oracle’s output is to be interpreted as objective fact…which is tremendously useful of course, when we are talking about objects. The danger is when we start believing what it has to say about subejcts. As correct as the computer is about objective truth, it is equally incorrect about people. In the same/opposite way, the Ouija board is neither correct nor incorrect, but offers possibilities that tantalize the imagination.
Multisense Realism 
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