Showing posts with label mind. Show all posts
Showing posts with label mind. Show all posts

3 May 2023

Artificial Intelligence Doesn't Get Goosebumps

Illustration: Victor de Schwanberg 
Science Photo Library / Getty Images
 
 
Just about everyone - from Elon Musk and Geoffrey Hinton to Tim Pendry [1] - is warning these days about the coming AI revolution. 
 
And whilst I certainly don't wish to underestimate the dangers presented by artificial intelligence, I continue to be encouraged by the fact that because machines cannot feel, they cannot really think; that mind is ultimately a product of suffering.
 
Or, as Byung-Chul Han puts it: "The negativity of pain is constitutive of thought. Pain is what distinguishes thinking from calculating, from artificial intelligence." [2]
 
Generative AI may be capable of independent learning and producing the most astonishing results. But it will never give birth to thoughts in the manner that a mother gives birth to a child, invested with "blood, heart, fire, pleasure, passion, agony, conscience, fate, and catastrophe" [3].  
 
 
Notes
 
[1] Whilst I take seriously what these three wise men have to say about technology and the future of humanity, I certainly don't wish to hear from King Charles III on the subject: see the post written on 7 September 2018, when he was still the Prince of Wales: I said it then and I'll say it again now: better artificial intelligence than royal stupidity.      
 
[2] Byung-Chul Han, The Palliative Society, trans. Daniel Steuer, (Polity Press, 2021), p. 39. 
      See also Han's Non-things: Upheaval in the Lifeworld, trans. Daniel Steuer, (Polity Press, 2022), in which he argues: "Artificial intelligence is incapable of thinking, for the very reason that it cannot get goosebumps." Readers who are interested may click here for my post on this book. And this short piece by Mariella Moon on robots designed to sweat and get goosebumps, might also amuse.    

[3] Nietzsche, The Gay Science, trans. Walter Kaufmann, (Vintage Books, 1974), Preface for the Second Edition, §3, p. 36. 


24 Aug 2021

All Change: Notes on Chapter 5 of Metamorphoses by Emanuele Coccia

 
Throughout this post, and at this very moment, 
I am thinking in you ...
 
 
I. 
 
Although Emanuele Coccia thinks every living being is already biodiverse, he favours extending this inner diversity outwards and amplifying the metamorphic force that animates us. He also supports creating spaces of metamorphic conspiracy, so that forms can combine and become-other, etc. 
 
And I'm with him in this, although I'd sooner slit my wrists than speak of imparting "a more intense and richer life" [a] to Gaia. The more animals and plants there are, the better as far as I'm concerned.

In fact, I wouldn't even object to large predators prowling the streets and gobbling up a few fat children; for what is this ultimately but an exchange of solar energy; "every act of feeding is nothing other than a secret and invisible exchange of extra-terrestrial light" [149].
 
Tyger tyger, burning bright / In the cities of the night ... [b]
 
 
II.
 
Coccia's argument in this fifth and final chapter is, simply, we need one another. That is to say, all beings - be they plant, animal, or human - fundamentally rely on (and live off the lives of) other beings in an interspecies community. Interdependence is the name of the game and this interdependence is, for Coccia, primarily "of a cognitive and speculative order" [157]
 
Intellect - or mind - is not a property of the individual; it's a relation between species. Thus, the intelligence of the wolf, for example, has developed due to (and within) the relationship large predators have with those animals they prey upon. And in some cases, the intellect of one species is actually embodied in another:
 
"With the flower, the plant [...] entrusts another species belonging to another kingdom with the task of making a decision on the genetic and biological destiny of its own species. It entrusts them with the task of directing the metamorphosis of its species. In a certain sense, the flower transfers the plant's species-mind into the body of the bee." [158]
 
Coccia continues: 
 
"It is not simply a collaboration, it is the constitution of a cognitive and speculative interspecific organ. This means not only that all evolutionary development is co-evolution [...] but also that [...] co-evolution is what we normally call agriculture or husbandry. Each species decides, in its own way, the evolutionary fate of others. What we call evolution is nothing more than a kind of generalized interspecies agriculture, a cosmic crossbreeding - which is not necessarily designed for the benefit of one or the other. The world as a whole thus becomes a kind of purely relational reality [...]" [158]         
 
As a reader of Lawrence, one would be tempted to call this a democracy of touch ... [c]
 
 
III.

For Coccia, the form taken by each species is neither a destiny nor something that has necessarily arisen through chance or the mechanism of natural selection obliging them to adapt to their environment. 
 
For Coccia, there is a will of some kind at work:
 
"The shapes of living bodies - their colours, decorative patterns, etc. - are not only expressions of the individual's adaptation to the world around them. They are also and above all the expression of a taste, of a sort of artistic will that drives the individual of a species to prefer one form over the other." [162]
 
Darwin described this in terms of sexual selection, but I suspect Coccia has also been influenced in his thinking here by Nietzsche, who wrote of art as an organic function of the the will to power and as the "great means of making life possible, the great seduction to life, the greatest stimulant of life" [d]
 
And this is true in both man and animal, between whom there is no cardinal distinction
 
Indeed, art, says Nietzsche, is ultimately a form of animal vigour; "an excess and overflow of blooming physicality into the world of images and desires" [e]. We see this for ourselves each spring, when animals produce "new weapons, pigments, colours, and forms; above all, new movements, new rhythms, new love calls and seductions" [f]
 
Ultimately, for Coccia, species are "nothing more than expressions of  a 'biotic art', a sort of aesthetic performance conducted on an anatomical level" [163], and ecology should reinvent itself in terms of art rather than good housekeeping, accepting that nothing is natural and there are no areas of wilderness to conserve; that all is cultivated and artificial. 
 
Anthropologists and ethnologists long ago stopped talking about primitive peoples and noble savages. Now, ecologists and environmentalists should stop pretending there are primitive species and savage beasts, who are somehow more authentic - more natural - than us. As Coccia writes: 
 
"Everything that constitutes us derives from the non-human and has the same nature, but the reverse is also true: everything that defines humanity, beginning with error, art, artifice, and moral arbitration, also defines the totality of living species." [167]    
 
 
IV.
 
In the final section of Chapter 5, Coccia continues to make some striking claims, including for example, that evolution should be considered as "the production of [...] contemporary nature" [168]. Fortunately, he explains what he means by this:
 
"From the beginning of the twentieth century, when art established itself as avant-garde, it ceased to fulfil an aesthetic function. It freed itself from the task of producing beauty, or decorating what already exists and bringing it into harmony. In claiming to be contemporary [...] art became a collective practice of the divination of the future [...] an attempt [by society] to reproduce itself differently from what it is [...] Art embodies a society's desire for and project of metamorphosis." [168-69]     
 
Thus evolution - as Coccia understands it - is the mode of life "that corresponds to what contemporary art is for culture" [169]. He continues:

"Nature is not only the immemorial prehistory of culture, but its unrealized future; its surrealistic anticipation. Contemporary nature is the scene where life enters into the avant-garde of its future. It is life as natural avant-garde. It is the surrealistic reproduction of forms of life." [169]

Thus, cities shouldn't just become eco-friendly and sustainable, but contemporary nature galleries in which the future is reimagined and engineered: 
 
"Bringing together artists, scientists, designers, architects, and farmers, it will be a matter of building multispecies associations somewhere between city, garden, plantation, and stable, where each living being produces works for others and for themselves." [170] [g]
 
To be honest, I don't know how seriously to take this virtuous exercise of the imagination - or whether I find it appealing or appalling. 
 
It's certainly a more sophisticated proposal than my suggestion made earlier to simply release the wolves, but it's also - like all utopian fantasies of the ideal society - inherently fascistic. It's as if Coccia wishes to build a multispecies labour camp overseen by (presumably human) artists and scientists who will, as it were, attempt to take control of evolution. 
 
It seems an odd note on which to finish - one that essentially defeats the whole point and purpose (and central argument) of the book: that metamorphosis is the essential, unstoppable, and inhuman law of life; one that is unfolding all of the time and everwhere, including in our cities, without any need for human direction (as if it were even possible for man to stand outside, as it were, and control events).
 
I know that Coccia knows this: knows that the future cannot be determined, because it's "the pure force of metamorphosis" [180]; knows that life is not something that belongs to any of us, "either as individuals, as a nation, or as a species" [180] - so I don't know quite why he ends his work where and how he does. 
 
Maybe he's been hanging around with artists for too long ...   
 
 
Notes
 
[a] Emanuele Coccia, Metamorphoses, trans. Robin MacKay, (Polity Press, 2021), p. 147. Future page references to this book will be given directly in the main text. 
 
[b] This is not quite Coccia's hope for cities of the future; for his far-grander and more utopian vision see pp. 169-70 of Metamorphoses (which I discuss in section IV of this post).
 
[c] I very much regret the fact that Coccia chooses to conclude his work on interspecies relationship in terms of a cosmic mind produced by "an infinite series of arbitrary and rational encounters and decisions taken by different species at different times, according to the strangest of intentions" [161]. 
      For me, what's crucial about this relationship is that the encounters are libidinal rather than rational, involving a politics of desire: "The touch of the feet on the earth, the touch of the fingers on a tree, on a creature, the touch of hands and breasts, the touch of the whole body to body, and the interpenetration of passionate love: it is life itself, and in the touch, we are all alive."
      See D. H. Lawrence, The First and Second Lady Chatterley Novels, ed. Dieter Mehl and Christa Jansohn, (Cambridge University Press, 1999), p. 323. This line is from the second version of the novel.
      I have written several posts on Lawrence's notion of a democracy of touch here on Torpedo the Ark and readers who are interested can go to labels and click on the term. 
 
[d] Nietzsche, The Will to Power, ed. Walter Kaufmann, trans. Walter Kaufmann and R. J. Hollingdale, (Vintage Books, 1968), note 853 (II), p. 452. 
      I would encourage readers to familiarise themselves with all of Nietzsche's notes on the will to power as art; see Book III, Part IV, notes 794-853, pp. 419-453. And for a fascinating philosophical discussion of Nietzsche's thinking on animality, art, and will to power (in relation to Darwin), see Keith Ansell-Pearson's essay, 'Nietzsche contra Darwin', in Viroid Life, (Routledge 1997), pp. 85-122.      

[e] Nietzsche, The Will to Power, note 802, p. 422. 

[f] Ibid., note 808, p. 426. 

[g] Apparently, this vision of a museum for contemporary nature is inspired by Stefano Boeri's Vertical Forest project (2007-14), in Milan. Visit Boeri's website for more information on this and on his latest work involving trees: click here
 
 
To read my notes on the Introduction and first chapter of Emanuele Coccia's Metamorphoses, click here
 
To read notes on chapter two ... click here
 
To read notes on chapter three ... click here
 
To read notes on chapter four ... click here.


4 Dec 2015

D. H. Lawrence's Philosophy of Mind

The Thinker - Rodin Stylized Pop Art Poster 
By Kim Wang


On Human Destiny is an interesting short piece written by D. H. Lawrence in which he addresses the question of mind. Lawrence argues that whilst most people don't have original thoughts, we all of us nevertheless have minds that are constantly active, even in sleep, grinding ideas over and over until they turn to dust. 

Whatever else he may be, man is first and foremost a thinking animal and even though we moderns like to assert our spontaneity of feeling and action, our very spontaneity is just another idea, born in the mind having been "gestated in self-consciousness".

Rather surprisingly, Lawrence also claims that this has always been the case: that man has never been a wild, instinctive creature; "even the most prognathous cave-man was an ideal beast ... no more like the wild deer or jaguar among the mountains, than we are". No matter how wild or primitive a man may appear to be, "you may be sure he is grinding upon his own fixed, peculiar ideas, and he's no more spontaneous than a London bus-conductor: probably not as much". 

Thus, it's unfair to claim, as some critics do, that Lawrence subscribes to the Romantic fantasy of a noble savage, beautiful and innocent in his mindlessness and free animality. And it's therefore also mistaken to suggest that Lawrence simply advocates some kind of return to Nature. He knows our becoming-animal is a question of culture and futurity, not regression, and that it certainly doesn't involve the surrendering of human intelligence: "You may, like Yeats, admire the simpleton, and call him God's Fool. But for me the village idiot is outside the pale."

Essentially, then, for Lawrence, mind is what characterizes man as a species and determines human destiny and it's "just puerile to sigh for innocence and naive spontaneity". But, the mind can become a sterile thing without some form of emotional inspiration. That's the key: our adventure further and further into consciousness mustn't become a journey into pure abstraction; we have to think, but we also need to feel and ensure our ideas remain fresh with creative vitality, not fixed and fatal and turned into dogma.

As Lawrence puts it in a poem: "Thought is the welling up of unknown life into consciousness ... a man in his wholeness wholly attending" and not the "jiggling and twisting of already existent ideas".


Notes:

D. H. Lawrence, 'On Human Destiny', Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988), pp. 203-04. 

D. H. Lawrence, 'Thought', The Poems, Volume 1, ed. Christopher Pollnitz, (Cambridge University Press, 2013), pp. 580-81.