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Sentience is Physical, Part 2

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Having recently moved to downtown Portland within spitting distance of Powell’s Books, I had to wander through the bookstore despite my preference for digital books these days. Digital books are easily transported, can be instantly purchased, and can be effortlessly carried in bulk. More, apps like Kindle Reader synchronize across platforms allowing me to read wherever and whenever I want without interruption. But is there a discovery feature to the shopping experience that is missing in the digital universe? I had to find out and hit the poetry and Western Philosophy sections at Powell’s as an experiment. And I did end up with new discoveries that I took home in physical form (I see it as rude to shop brick-and-mortar and then order via Amazon/Kindle), including a Borges poetry compilation and an unexpected little volume, The Body in the Mind, from 1987 by the then-head of University of Oregon’s philosophy department, Mark Johnson.

A physical book seemed apropos of the topic of the second book that focuses on the role of our physical bodies and experiences as central to the construction of meaning. Did our physical evolution and the associated requirements for survival also translate into a shaping of how our minds work? Psychologists and biologists would be surprised that there is any puzzlement over this likelihood, but Johnson is working against the backdrop of analytical philosophy that puts propositional structure as the backbone of linguistic productions and the reasoning that drives them. Mind is disconnected from body in this tradition, and subjects like metaphors are often considered “noncognitive,” which is the negation of something like “reasoned through propositional logic.”

But how do we convert these varied metaphorical concepts derived from physicality into something structured that we can reason about using effective procedures?… Read the rest

Making Everything Awesome Again

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Yeah, everything is boring. Streaming video, books, art—everything. It is the opposite of “everything is awesome” and, once again, it came about as a result of the internet attention economy. Or at least that is what Michelle Goldberg of the New York Times tells us, rounding up some thoughts from a literary critic as a first step and then jumping into some new social criticism that suggests the internet has ruined snobbery.

I was thinking back to the 1990s after I read the piece. I was a working computational linguist who dabbled in simulated evolution and spent time at Santa Fe Institute studying dreamy artificial life concepts. In my downtime I was in an experimental performance art group that detonated televisions and projected their explosions on dozens of televisions in a theater. I did algorithmic music composition using edge-of-chaos self-assembling systems. I read transgressive fiction and Behavioral and Brain Sciences for pleasure. I listened to Brian Eno and Jane Sibbery and Hole while reading Mondo 2000. My girlfriend and I danced until our necks ached at industrial/pop-crossover clubs and house parties. An early “tech nomad” visited us at one of our desert parties. Both in my Peace Corps service in Fiji and then traveling in Europe and Japan, I was without a cell phone, tablet, and only occasionally was able to touch email when at academic conferences where the hosts had kindly considered our unique culture. There was little on the internet—just a few pre-memes struggling for viability on USENET.

Everything was awesome.

But there was always a lingering doubt about the other cultural worlds that we were missing, from the rise of grunge to its plateau into industrial, and of the cultural behemoth cities on the coasts.… Read the rest

The Retiring Mind, Part VII: Sustainability

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“How efficient can I get?” is a question I often ask myself. For almost a decade now my family has been working towards greater energy, water, and waste efficiency with a goal towards something like sustainability. It began with electric and hybrid cars and then, by 2013, we remodeled a house following a green sustainable model. All of the existing cabinetry, surfaces (as best could be done), and fixtures were non-destructively excised and passed to Habitat for Humanity. Nearly 10kW of photovoltaics were fixed to several roof surfaces. The only limitation was the HOA and CC&Rs of our California community that mandated a fairly uniform lawn requirement, thus limiting water conservation options. We could have battled for it, but the housing development itself spent north of $200K per year on gardening services, so it seemed an uphill fight to deviate from their idealized and fairly lush landscape plans.

So when remodeling our 1930s-era house in New Mexico, we went even further. In addition to 8kW of photovoltaics that push us easily into electricity producer over the course of a year, we added rainwater capture and reuse for watering a largely xeric collection of decorative landscaping plants plus some small food garden plots. The water system is not nearly as reliable as the PV systems, though even those have had some issues. I’ll get to pros and cons as I build out the basic designs further along. But I can certainly say that on balance the effort has been a net positive.

So, first, some design details.

Let’s start with the solar system. The 8kW of PVs are in two sections. 5kW is on a south facing roofline of our casita/office. We call it Chateau Derrière and it attaches to the previously unattached garage that dates to the 1930s and is comprised of stacked rock and a stick roof.… Read the rest

The Retiring Mind, Part V: Listening and Ground Truth

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Human hearing is limited in the range of frequencies that we can discern. Generally, at the high end, that limit is around 20kHz, which is a very high pitch indeed. But, as we age, our high frequency perception reduces as well, until we may very well have difficulty hearing 8kHz or understanding human utterances in old age. You can test your own approximate limits with a simple YouTube video that raises pitches quickly up through the spectrum. I’m capping out at just north of 13.5kHz using a cheap speaker attached to my monitor, and with normal but quiet ambient background noise.

The original design of the Compact Disc by Phillips and Sony used the 20kHz limit as guidance for the encoding of the digital information on the disks. Specifically, the input analog waveform was sampled at a resolution of 16 bits 44.1kHz, which gives a maximum volume range of 2^16 (96dB) and supports the Nyquist sampling theorem that requires double the maximum frequency of the input stream in order to reconstruct that stream.

And CDs were very good, exceeding the capabilities of vinyl or cassettes, and approaching the best magnetic tape capabilities of the time. They also had some interesting side-effects in terms of mastering by freeing bass frequencies that had to be shifted towards the central channel on vinyl in order to avoid shortening recordings unduly because of the larger groove sizes needed to render low frequencies.

But now, with streaming, we can increase our resolution still further. Qobuz and Tidal offer Hi-Res audio formats that can range up to 24 bit resolution at 192kHz sample rates. Tidal also promotes MQA (Master Quality Authenticated) format that may use lossy compression but preserves aspects of the original master recording.… Read the rest

The Inevitability of Cultural Appropriation

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Picasso in Native HeaddressI’m on a TGV from Paris to Monaco. The sun was out this morning and the Jardin de Tuileries was filled with homages in tulips to various still lifes at the Louvre. Two days ago, at the Musée de quai Branly—Jacques Chirac, I saw the Picasso Primitif exposition that showcased the influence of indigenous arts on Picasso’s work through the years, often by presenting statues from Africa or Papua New Guinea side-by-side with examples of Picasso’s efforts through the years. If you never made the connection between his cubism and the statuary of Chad (like me), it is eye opening. He wasn’t particularly culturally sensitive—like everyone else until at least the 1960s—because the fascinating people and their cultural works were largely aesthetic objects to him. If he was aware of the significance of particular pieces (and he might have been), it was something he rarely acknowledged or discussed. The photos that tie Picasso to the African statues are the primary thread of the exhibition, with each one, taken at his California atelier or in Paris or whatnot, inscribed by the curators with a dainty red circle or oval to highlight a grainy African statue lurking in the background. Sometimes they provide a blow-up in case you can’t quite make it out. It is only with a full Native American headdress given to Picasso by the actor Gary Cooper that we see him actively mugging for a camera and providing weight to the show’s theme. Then, next, Brigitte Bardot is leaning over him at the California studio and her cleavage renders the distant red oval uninteresting.

I am writing daily about things I don’t fully understand but try to imbue with a sense of character, of interest, and even of humor.… Read the rest

Boredom and Being a Decider

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tds_decider2_v6Seth Lloyd and I have rarely converged (read: absolutely never) on a realization, but his remarkable 2013 paper on free will and halting problems does, in fact, converge on a paper I wrote around 1986 for an undergraduate Philosophy of Language course. I was, at the time, very taken by Gödel, Escher, Bach: An Eternal Golden Braid, Douglas Hofstadter’s poetic excursion around the topic of recursion, vertical structure in ricercars, and various other topics that stormed about in his book. For me, when combined with other musings on halting problems, it led to a conclusion that the halting problem could be probabilistically solved by an observer who decides when the recursion is too repetitive or too deep. Thus, it prescribes an overlay algorithm that guesses about the odds of another algorithm when subjected to a time or resource constraint. Thus we have a boredom algorithm.

I thought this was rather brilliant at the time and I ended up having a one-on-one with my prof who scoffed at GEB as a “serious” philosophical work. I had thought it was all psychedelically transcendent and had no deep understanding of more serious philosophical work beyond the papers by Kripke, Quine, and Davidson that we had been tasked to read. So I plead undergraduateness. Nevertheless, he had invited me to a one-on-one and we clashed over the concept of teleology and directedness in evolutionary theory. How we got to that from the original decision trees of halting or non-halting algorithms I don’t recall.

But now we have an argument that essentially recapitulates that original form, though with the help of the Hartmanis-Stearns theorem to support it. Whatever the algorithm that runs in our heads, it needs to simulate possible outcomes and try to determine what the best course of action might be (or the worst course, or just some preference).… Read the rest

Evolving Visions of Chaotic Futures

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FlutterbysMost artificial intelligence researchers think unlikely the notion that a robot apocalypse or some kind of technological singularity is coming anytime soon. I’ve said as much, too. Guessing about the likelihood of distant futures is fraught with uncertainty; current trends are almost impossible to extrapolate.

But if we must, what are the best ways for guessing about the future? In the late 1950s the Delphi method was developed. Get a group of experts on a given topic and have them answer questions anonymously. Then iteratively publish back the group results and ask for feedback and revisions. Similar methods have been developed for face-to-face group decision making, like Kevin O’Connor’s approach to generating ideas in The Map of Innovation: generate ideas and give participants votes equaling a third of the number of unique ideas. Keep iterating until there is a consensus. More broadly, such methods are called “nominal group techniques.”

Most recently, the notion of prediction markets has been applied to internal and external decision making. In prediction markets,  a similar voting strategy is used but based on either fake or real money, forcing participants towards a risk-averse allocation of assets.

Interestingly, we know that optimal inference based on past experience can be codified using algorithmic information theory, but the fundamental problem with any kind of probabilistic argument is that much change that we observe in society is non-linear with respect to its underlying drivers and that the signals needed are imperfect. As the mildly misanthropic Nassim Taleb pointed out in The Black Swan, the only place where prediction takes on smooth statistical regularity is in Las Vegas, which is why one shouldn’t bother to gamble.… Read the rest

Purple Flowers

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Pacific GroveI’ve got Ligeti’s Lontano running—vast sheaves of tones, building and yielding like the striated dark bands in the edge sands of a beach—while the sun sets through clouds and fern pines. The shadows on the windows are swarming minnows rising and falling before the dense mass of new rain like a Great Wall to the west.

I just returned from an overnighter to Monterey, running out from Cannery Row along the complex purple-flowered walls of Pacific Grove, yelping harbor seals cooking along the rocks and thin spits of sand, their voices mixing with the endless baby wails of seabirds as evening set in.

And Prince is dead. I seem to be commemorating dead people these days. I thought he was an interesting oddity in the earliest years of MTV with his soul moves, but didn’t really find a degree of respect for his talents until I was in the Peace Corps and on leave to the capital city of Fiji, Suva, over summer break (December-ish, 1990). I had nothing better to do than to wander the streets, meet-up and drink with whoever was available, and go to the air-conditioned movie theater whenever I could afford it. I saw Graffiti Bridge probably four times and, by the second showing, had revised my opinion of Prince to that of a great innovator. The music was both like and unlike anything I had heard, rippling with tempo changes and rapid polyrhythms, sharp synchronization and dense harmonies. The movie was, however, terrible.

Like Bowie’s Quicksand and Velvet Underground’s Candy Says, I memorialize Cream and Kiss, and, perhaps the most impressive, Sinead O’Connor’s rendition of Nothing Compares 2 U. It still brings tears.… Read the rest