Computation as Anti-Holos

Here is a technical sketch of how all of nature could arise from a foundation which is ‘aesthetic’ rather than physical or informational. I conceive of the key difference between the aesthetic and the physical or informational (both anesthetic) is that an aesthetic phenomenon is intrinsically and irreducibly experiential. This is a semi-neologistic use of the term aesthetic, used only to designate the presence of phenomena which is not only detected but is identical to detection. A dream is uncontroversially aesthetic in this sense, however, because our waking experience is also predicated entirely upon sensory, perceptual, and cognitive conditioning, we can never personally encounter any phenomenon which is not aesthetic. Aesthetics here is being used in a universal way and should not be conflated with the common usage of the term in philosophy or art, since that usage is specific to human psychology and relates primarily to beauty. There is a connection between the special case of human aesthetic sense and the general sense of aesthetic used here, but that’s a topic for another time. For now, back to the notion of the ground of being as a universal phenomenon which is aesthetic rather than anesthetic-mechanical (physics or computation).
I have described this aesthetic foundation with various names including Primordial Identity Pansensitivity or Pansense. Some conceive of something like it called Nondual Fundamental Awareness. For this post I’ll call it Holos: The absolute totality of all sensation, perception, awareness, and consciousness in which even distinctions such as object and subject are transcended.
I propose that our universe is a product of a method by which Holos (which is sense beneath the emergent dichotomy of sensor-sensed) is perpetually modulating its own sensitivity into novel and contrasting aspects. In this way Holos can be understood as a universal spectrum of perceivability which nests or masks itself into sub-spectra, such as visibility, audibility, tangibility, emotion, cogitation, etc, as well into quantifiable metrics of magnitude.
The masking effect of sense modulation is, in this hypothesis the underlying phenomenon which has been measured as entropy. Thermodynamic entropy and information entropy alike are not possible without a sensory capacity for discernment between qualities of order/certainty/completeness (reflecting holos/wholeness) and the absence of those qualities (reflecting the masking of holos). Entropy can be understood as the masking of perceptual completeness within any given instance of perception (including measurement perceptions). Because entropy is the masking of the completeness of holos, it is a division which masks division. Think of how the borders of our visual field present an evanescent, invisible or contrast-less boundary to visibility of visual boundaries and contrasts. Because holos unites sense, entropy divides sense, including the sense of division, resulting in the stereotypical features of entropy – equilibrium or near equilibrium of insignificant fluctuations, uncertainty, morphological decay to generic forms and recursive functions, etc. Entropy can be understood as the universal sense of insensitivity. The idea of nothingness refers to an impossible state of permanent unperceivability, however just as absolute darkness is not the same as invisibility, even descriptors of perceptual absence such stillness, silence, vacuum are contingent upon a comparison with their opposites. Nothingness is still a concept within consciousness rather than a thing which can actually exist on its own.
Taking this idea further, it is proposed that the division of sense via entropy-insensitivity has a kind of dual effect. Where holos is suppressed, a black-hole like event-horizon of hyper-perceivability is also present. There is a conservation principle by which entropic masking must also residuate a hypertrophied entity-hood of sense experience: A sign, or semaphore, aka unit of information/negentropy.
In dialectic terms, Holos/sense is the universal, absolute thesis of unity, which contains its own antithesis of entropy-negentropy. The absolute essence of the negentropy-entropy dialectic would be expressed in aesthetic duals such as particle-void, foreground-background, signal-noise. The aesthetic-anesthetic dual amplifies the object-like qualities of the foregrounded sensation such that it is supersaturated with temporary super-completeness, making it a potential ‘signal’ or ‘sign’…a surface of condensed-but-collapsed semantics or ‘phoria’ into ‘semaphoria’, aka, syntactic elements. I call the progressive formalizing of unified holos toward graphic units ‘diffractivity’. The result of diffractivity is that the holos implements a graphic-morphic appearance protocol within itself, which we call space-time, and which is used to anchor and guide the interaction of the entropic, exterior of experience. The interior of complex experiences are guided by the opposite, transformal sense of hierarchy-by-significance’. Significance is another common term which I am partially hijacking for use in a more specific way as the saturation of aesthetic qualities, and the persistence of any given experience within a multitude of other experiences.
To recap, the conjecture is that all of nature arises by, through, for, and within an aesthetic foundation named ‘holos’. Through a redistribution of its own sensitivity, holos masks its unity property into self-masking/unmasking ‘units’ which we call ‘experiences’ or ‘events’. The ability recall multiple experiences and to imagine new experiences, and to understand the relation between them is what we call ‘time’.
Within more complex experiences, the entropic property which divides experience into temporal sections can reunite with other, parallel complex experiences in a ‘back to back’ topology. In this mode of tactile disconnection, the potential for re-connection of the disconnected ends of experiences is re-presented what we call ‘objects in space’ or ‘distance between points’, aka geometry. By marrying the graphed, geometric formality of entropy with the algebraic, re-collecting formality of sequence, we arrive at algorithm or computation. Computation is not a ‘real phenomenon’ but a projection of the sense of quantity (an aesthetic sense just like any other) onto a distanced ‘object’ of perception.
Physics in this view is understood to be the inverted reflection and echo of experience which has been ‘spaced and timed’. Computation is the inversion of physics – the anesthetic void as addressable container of anesthetic function-objects. Physics makes holos into a hologram, and computation inverts the natural relation into an artificial, ‘information theoretic’, hypergraphic anti-holos. In the anti-holos perspective, nature is uprooted and decomposed into dustless digital dust. Direct experience is seen as ‘simulation’ or ‘emergent’, non-essential properties which only ‘seem to exist’, while the invisible, intangible world of quantum-theoretical mechanisms and energy rich vacuums are elevated to the status of noumena.
Computationalists Repent! The apocalypse is nigh! 🙂
AI is Still Inside Out

Turn your doodles into madness.
I think this is a good example of how AI is ‘inside out’. It does not produce top-down perception and sensations in its own frame of awareness, but rather it is a blind seeking of our top-down perception from a completely alien, unconscious perspective.
The result is not like an infant’s consciousness learning about the world from the inside out and becoming more intelligent, rather it is the opposite. The product is artificial noise woven together from the outside by brute force computation until we can almost mistake its chaotic, mindless, emotionless products for our own reflected awareness.
This particular program appears designed to make patterns that look like monsters to us, but that isn’t why I’m saying its an example of AI being inside out. The point is that this program exposes image processing as a blind process of arithmetic simulation rather than any kind of seeing. The result is a graphic simulacra…a copy with no original which, if we’re not careful, can eventually tease us into accepting it as a genuine artifact of machine experience.
See also: https://multisenserealism.com/2015/11/18/ai-is-inside-out/
Time for an update (6/29/22) to further demonstrate the point:
Added 5/3/2023:
Stochastic filtering is not how sense actually works, but it can seem like how sense works if you’re using stochastic filtering to model sense.

How Not To Destroy the World With AI – Stuart Russell
Fooling Computer Image Recognition is Easier Than it Should Be
This 2016 study, Universal Adversarial Perturbations, demonstrates how the introduction of specially designed low level noise into image data makes state of the art neural networks misclassify natural images with high probability. Because the noise is almost imperceptible to the human eye, I think it should be a clue that image processing technology is not ‘seeing’ images.

It is not only the fact that it is possible to throw off the technology so easily that is significant, but that the kinds of miscalculations that are made are so broad and unnatural. Had the program had any real sense of an image, adding some digital grit to a picture of a coffee pot or plant should not cause a ‘macaw’ hit, but rather some other visually similar object or plant.
While many will choose to see this paper as a suggestion for a need to improve recognition methods, I see it as supporting a shift away from outside-in, bottom-up models of perception altogether. As I have suggested in other posts, all of out current AI models are inside out.
3/16/17 – see also http://www.popsci.com/byzantine-science-deceiving-artificial-intelligence




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