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A Theory of Aesthetic Diffraction
“If we split the atom cloud into two parts and recombine them after some time, a wave pattern forms” – source article
Yesterday I was looking at the sun on the water and thinking about how it is an analogy for consciousness and the brain and quantum entanglement. Each point of light reflects an image of the same sun, even though it appears disconnected and changing chaotically on the surface waves. At the same time, we can see a larger group coherence and intermediate scale, waves-of-waves coherence.
In the top image we understand that the coherence reflects a single light source onto a changing surface, in the brain we speculate on biochemical mechanisms within the surfaces which are connecting to each other. In the bottom image, we conflate the wave pattern with the surface itself, but then eliminate the surface altogether. What is being reflected or experienced is obscured altogether in the bottom up QM model.
By thinking of the sunlight as a metaphor for the mind-body problem, we can see how the explanatory gap can be closed. Using physics to look for consciousness is the same as looking at the surface of the water to look for the sun. In this case, the ‘sun’ isn’t a distant star, but the immediately present aesthetic experience of conscious.
Ready for some neologisms? Okay, this gets ugly.
A Theory of Aesthetic Diffraction
In my Multisense Realism project, I have tried to piece together some ideas about consciousness and physics. These include:
- Light as sight. Photons are reflected incidents of ‘seeing’ or some other aesthetic acquaintance on the micro-level.
- Aesthetic participation or sense as the root of consciousness, rather than an evolution of survival based intellect, information integration, or biophysics.
- Local aesthetic phenomena (sense modalities as well as sense content) are like puzzle pieces of universal Pansense or Multisense Continuum which includes physics.
- Sense as the absolute frame of reference or ‘Sole Entropy Well’.*
- Space time are the mulitplication/diffraction of sense.
- Sense is aesthetic content, like universal qualia, rather than a subject-object relation.
- Significance is the saturation of sense, and its teleological function.
To these I would now add:
The brain is a Polysynchronizing Aesthetic Diffraction Engine.
(Composed of smaller, neuronal PADEs, which are in turn composed of smaller molecular PADEs.)
If we really wanted to see if this is true, I think that there might be a way to begin to find out. A couple of clues:
On the physics side, try turning Permittivity (ε) and Permeability (μ) ‘inside out’, so that we are thinking in terms of electromagnetic effects as reflections of sensory-motive affects rather than causal “fields”. The affect is not itself a field but a spatio-temporal or quantized diffraction…a temporalized, and then spatially dislocated disentanglement from the otherwise boundaryless, absolute context of Pansense.
Looking at the etymology of permit and permeate, we can get another clue in the original sense of the Latin root mittere ‘to send, let go.’ By contrast, permeate is to ‘go through’, from the root meare ‘pass, go’. The expectation of electric and magnetic fields is that they are different ways of looking at the same thing, but the difference is hard to define other than mathematically. I think that as long as we are take the concepts of force and field literally, we will be missing a critical opportunity for understanding nature.
When we turn permittivity and permeability inside out, we go from a Western concept of isolated material objects separated by a vacuum, to an Eastern-like concept of trans-material experiences which are temporarily fragmented from the totality of experience. This fragmentation or diffraction looks like distance or scale and the disappearance of the past, when viewed through the brain.
The Western model conceives of matter as complex nested fields which permit and are permeated by radiant forces. Inverting that takes us from a world of external waves oscillating meaninglessly to a world of felt affects and semi-intentional effects. Behind electromagnetic effects observed within local body frames of reference are phenomenal experiences of ‘going’ and ‘letting go’** in relation to the eternal and trans-local.
The per-mitting of ‘electricity’ translates to the fracturing or branching (think of lightning or a spark) of chaotic motive impulses to release across external frames of reference. The per-meating of ‘magnetism’ translates to a re-cycling or reabsorbing of motive impulses into what Leibniz might have called pre-established harmonies and Sheldrake might call morphic resonance. The difference in what I’m talking about is that what is resonating is not a vacuum or an aether – not a physicalized medium, but ordinary feelings, sensations, and experiences. In this way, relativistic models can be reconciled with quantum models through aesthetic participation as the final transceiving/transducting hyposurface†. This is literally ‘emergence’…the inflection point between these two extremes:
1. The information-based electrodynamic microcosm, which is reflected back to sense as its shadow. The shadow appears to its originator as polarized in terms of automaticity vs chaos-probability. The appearance of the originator can be inferred by inverting the qualities of the shadow, so that rather than crests and troughs of determinism, we can understand ourselves as that which appreciates and creatively determines the shadow.
2. The anchoring frame-based (gravitostatic?) astrocosm derived from the constancy of light speed and gravity. This is the sense of holarchy of scale as well as a hierarchy of importance. Physics can have no preferred frame of reference, so the preferring has to come from:
3. The participation-based mesocosm. Between the two extremes of mindless subatomic computation and mindless block space-time geometry is perception itself. An angle or ray of participation, illuminating and isolating ‘attentions’ while presenting the opportunity to create ‘intentions’.
For us, the mesocosm is reflected back to itself as an elaborate organic chemical hypersurface, nested within another zoological hypersurface. I think that the appearance of neurochemistry as we encounter it objectively is only a single surface or layer of aesthetic presentation which anchors the representation of the larger history of our particular experience as it grew from the physical to the chemical, genetic, biological, zoological, and anthropological frames.
On the perception side, I think that there are clues to be found in researching cross-modal perception and what I might call trans-modal perception. Cross-modal perception is an innate sense of isomorphism across sense modalities such as visual to verbal (Kiki-Bobo effect), onomatopoeia (phonetic to verbal). Trans-modal perception is a term that I propose could be used to talk about such phenomena as sounds which can be felt tangibly (i.e. high pitch sounds are highly localized and penetrating to the ear, while low, booming sounds envelope the entire room, drawing attention to the micro-personal or the oceanic shared transpersonal respectively.)
Conditions such as tinnitis, vertigo, epileptic halos, and synesthesia also seem to promise deeper understanding of sense as they point to the possibility of sense modalities as divergent categories of pansense rather than emergent properties of the functioning of sense organs. Just as physics requires instruments to push the limits of speed and detection into super-human ranges, a true study of consciousness requires examples or methods which transcend normal ranges of human experience. Autistic and psychotic spectrum conditions are especially important as a guide for the underlying axis of human sense-making, and I suspect that they can be meaningfully defined in terms of high and low permeability/permittivity (branching out of electricalimpulses, and recycling back to magnetic ground-state).
*This could be thought of as the sole/absolute ‘surface’ of aesthetic diffraction.
**This maps back to a language theme that I come back to frequently from the PIE root words ‘wag’ and ‘wegh’, like yin and yang…a universal oscillation or tessellation between push-pull (electric or sense-mitting phase) and relax-reflect (magnetic or sense-mearing phase) qualities of experience. Magnetic effects can be thought of as in between electric flux and gravitational grounding. Gravity shows us the orientation of mass toward massive frames of reference, while magnetism shows how local disorientation of mass can be accomplished through electric fluctuation (effort or kinetic energy).
† I say hyposurface to say that sense is both the larger context which contains all levels or planes of description as well as transcendent to the idea of planes and surfaces themselves. Sense is trans-spatiotemporal. Space, time, planes, frames, etc are carved out of the totality as a diffraction rather than as an emanation from fore-fields in a vacuum.
AI is Inside Out
The subjective world is an arena of sense that is surrounded by an unseen sensor. Unlike a computer, which finds its own data stored in precise and irreducibly knowable bits, we find our own introspection to be confoundingly mysterious. Both the interior and exterior world are presented to us as a natural given to be explored, but the methods of exploration are diametrically opposite. Penetrating the psyche leads to an examination of symbols that are both intensely personal as well as anthropologically universal.
Whether we explore the objective world or the subjective world, we do so from the inside out, as visitors in a universe that matters to us whether we like it or not. To understand how machine intelligence differs from natural consciousness, it is important to see that a machine’s world is taken rather than given. The machine’s world is assembled from the bottom up, through disconnected, instrumental samplings.
It can be argued that our sense of the world is also nothing more than a collection of readings taken by our sense organs, but if that were the case, we should not experience the outside world as a complete environment, but rather as a probabilistic blur that is punctuated by islands of known data. A machine’s view of the outside world should (and would) look like this:
This showed that even when shown millions of photos, the computer couldn’t come up with a perfect Platonic form of an object. For instance, when asked to create a dumbbell, the computer depicted long, stringy arm-things stretching from the dumbbell shapes. Arms were often found in pictures of dumbbells, so the computer thought that sometimes dumbbells had arms.
Similarly, images that have been probabilistically ‘reconstructed’ from fMRI data show the same incoherence:
These are images that have been simulated from the outside in – a mosaic of meaningless elements spread out over a canvas seen by no one. These are not the kinds of visions that we have when we encounter the depths of our own psyche, which are invariably spectacular, if surreal, dreamscapes. By contrast, these early machine models of visual encoding show us a soulless sub-realism made of digital gas; a Bayesian partlessness gliding arbitrarily toward programmed compartments.
Although a machine’s introspection need not have any visual appearance at all, it makes sense that if it did, what would be seen might look something like a debugger interface, full of detailed, unambiguous data about the state of the machine.
It would be bizarre to have a layer of all-but-incomprehensible fiction in between the machine and its own functions. Even if the dashboard of such a complex machine used a lot of compression techniques, surely that compression would not be a mystery to the machine itself.
The point that I’m trying to get across here is that what we are developing in machines is actually an anti-subjectivity. Its world is fuzzy and delirious on the outside, and clearly circumscribed on the inside – exactly the reverse of our natural awareness. Machine psychology is a matter of compiling the appropriate reports and submitting them for error correction auditing, while machine perception is a tenuous process of probing and guessing in the dark. Our own inner depths seem to defy all machine expectations, containing neither useful reports on the state of our brain nor unnatural chaos. Our view of the world outside of ourselves is not one which seems to be manufactured on the fly but one which imparts a profound, pervasive sense of orientation and clarity.
Edit: 7/23/16, another example: http://www.fastcodesign.com/3062016/this-neural-network-makes-human-faces-from-scratch-and-theyre-terrifying
Edit 12/19/16, see also https://multisenserealism.com/2016/12/19/fooling-computer-image-recognition-is-easier-than-it-should-be/
Edit: 6/29/17 – https://wordpress.com/post/multisenserealism.com/5161
7/22/17 – https://blog.keras.io/the-limitations-of-deep-learning.html
“One very real risk with contemporary AI is that of misinterpreting what deep learning models do, and overestimating their abilities. A fundamental feature of the human mind is our “theory of mind”, our tendency to project intentions, beliefs and knowledge on the things around us. Drawing a smiley face on a rock suddenly makes it “happy”—in our minds. Applied to deep learning, this means that when we are able to somewhat successfully train a model to generate captions to describe pictures, for instance, we are led to believe that the model “understands” the contents of the pictures, as well as the captions it generates. We then proceed to be very surprised when any slight departure from the sort of images present in the training data causes the model to start generating completely absurd captions.”
1/6/18 – https://gizmodo.com/this-simple-sticker-can-trick-neural-networks-into-thin-1821735479/amp
5/2/2019 – heatlantic.com/science/archive/2019/05/ai-evolved-these-trippy-images-to-please-a-monkeys-neurons/588517
Thesis Rewrite Project
MSR’s Case Against Emergence
Within the MSR website, there are several entries talking about the inadequacy of the concept of emergence when applied to consciousness emerging from unconsciousness. Briefly, emergence only has any explanatory power when applied to two phenomena which have a logical similarity. We can understand that water molecules which are tightly packed would seem to us to have the emergent property of being ice, where molecules which are contacting each other but sliding around would have the emergent property of seeming to us like a liquid. What is meant when emergence is applied to consciousness however, is not like that at all. There is no arrangement of particles in a void that is isomorphic to a flavor, color, or feeling like dizziness. Emergence which cannot be anticipated by the behavior of the fundamental phenomenon is known as Strong or Brute Emergence, and under the best of circumstances can be dismissed as an argument from ignorance. In the circumstance of consciousness emerging from objects or information processes, we are smuggling in our own evidence of experience as the entire explanation of that experience. To claim emergence of consciousness is to answer the question of why molecules seem like flavors or emotions by shrugging it off as the way that molecules seem…as if seeming could exist in physics in the absence of consciousness.
Here’s a thought experiment to consider:
Let’s say that you have a two dimensional collection of six squares in a cross formation, like this:
Now we know that this could be folded into a cube, however, couldn’t we also have a program which treats the edges as if it were a cube, but use it as a graphic character in a 2d video game? In other words, can’t we show that just because the edges and corners of this figure behave in a way which is isomorphic to a 3d figure, no cube ’emerges’ necessarily? We could run this program in Flatland without folding it up as cube and all of the computational outcomes would be the same.
The emergentist position overlooks the difference between the squares and the cube, claiming the latter not to be anything additional added on top of the flat avatar. The idealist position is that there is a difference between a cube and the avatar, and that this difference is the most important and interesting thing…the whole point is that there doesn’t need to be a cube logically, but yet there is.
Intellectual fads come and go. Even long held scientific frameworks change over time to accommodate new knowledge. For centuries Ptolemaic astronomy was presumed accurate, so much so that when anomalies were found in the predictions of its deferent and epicycle model, the response was famously to ‘add epicycles’ to make finer tuned predictions rather than to suspect what Galileo and Copernicus later found. The heliocentric revolution changed our understanding of our position in the universe from one of divine center or paradise lost to a statistical fluke in a dying cosmos. For the 1200 years between 200 and 1400 AD, why did we stick to the geocentric model? Why was it more natural to think that the universe revolved around us?
Like the fish which has no name for water, or the Flatland square who has no way to conceive of flatness as a dimension which lacks volume, it was difficult for people to doubt those assumptions that they didn’t even know they were making. The Earth feels motionless – as stable and static as anything we can imagine. Who would guess that the very property of motion is a relative condition? Once we have that piece of information, we can find, as Einstein did, examples of it everywhere – on trains, when we can’t tell whether our seat is moving forward at a constant speed or whether the train out the window is moving past us and we are standing still. One favorite thought experiment of mine is to think of a universe in which only one object exists; a smooth, ideal sphere like a ping pong ball. In this universe, nothing can be seen to move. Without making ourselves an invisible voyeur who can look around into the void, there is no true sense of space or change. There is no difference between moving and standing still because there is no frame of reference from which to compare and see that a position has changed. Video games can help us conceptualize this also. The player who pilots a spaceship avatar has only the attitude of their ship to cue their sense of acceleration when traveling through empty space.
Notice how ocean waves stop moving when seen from high above.
(Sound gif, Source)
The shift that is proposed by MSR would twist our view of the universe, so that the universe itself becomes a kind of twisting or gyrating between different ways of experiencing.
Yeats, like Locke and Galileo before him, conceived of the worldly half of the universe as “Primary”, which is perfectly natural considering that when we are awake we find ourselves surrounded by a physical world which is so much larger and more durable than ourselves. MSR proposes not that we invert this relation into solipsism, where internal phenomena are primary and the external world is secondary, but to see our own subjectivity as just one tier in a continuum which is much more vast and durable than even physics. Under MSR, both the dualistic Western and non-dualistic Eastern views both exist within the total continuum of sense.
The Yeats system is multiplied so that it is realism which is emergent rather than subjectivity. The aesthetic objectives of Yeats are no longer the antithesis, but the thesis and meta-thesis.
Multisense realism = The elaboration of sense into layers and modes which objectify and subjectivity.
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.
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