Technoetic Arts - Volume 1, Issue 2, 2003

This article supports the idea that synthesis, rather than analysis, is the most powerful and promising route towards understanding the essence of brain function being understood at all. It discusses ‘understanding by doing’, outlines a methodology for the use of deep computer simulation and robotics in pursuing such a synthesis, and then briefly introduces the author’s ongoing, long-term attempt to build a neurologically plausible and hopefully at least subconscious being, whom he hopes will eventually answer to the name of Lucy.

A computer-based language system exploring hybrid invention generation has been developed by Bill Seaman working in conjunction with the programmer Gideon May.1 The project was primarily funded by Intel. This work explores 3D visualization with related generative texts and recombinant audio/music, as well as a series of textual descriptions. Computer-based environmental meaning is explored through the inter-authorship and operative experiential examination of a diverse set of media-elements and media-processes, in this case focusing on the virtual construction of hybrid inventions. Differing sets of media elements in the Hybrid Invention Generator convey their own fields of meaning through the juxtaposition of 3D models, texts and digital audio. Varying combinations of these fields of meaning are experienced through direct interaction with the system. The work explores notions surrounding machinic genetics. Nonsense relations can present seemingly off-kilter juxtapositions, providing the participant with an experience akin to surrealism. Lautréamont’s definition of surrealist beauty - ‘beautiful as the unexpected meeting, on a dissection table, of a sewing machine and an umbrella’ (Waldberg 1965) - describes an experience engendered through a unique juxtaposition of elements not unlike relations encountered within this particular techno-poetic environment. Yet the system can also be used to brainstorm actual devices, as well as their potential conceptual/functional construction.

In this paper I argue that when we try to describe the specifically self-aware part of the mind, as opposed to the host of unconscious psychic activities, we face a potentially fatal difficulty - one I have termed ‘the inconceivability problem’. Because of the entanglement of the subject and the object in observations of subjectivity, and certain conceptual circularities, it seems we might never be able to represent the self-conscious mind with anything other than itself. This could leave consciousness studies in a very awkward position. In an attempt to address this I propose that the concept of infinite regression, which is normally associated with the ‘homuncular fallacy’, be reinterpreted productively, in a way that puts self-reference at the heart of our conception of phenomenal experience. Looking at several examples of self-referential systems and theories of mind, including Zen, it seems one system in particular - video feedback - offers a rich source of analogies that might help us to visualize, if not explain, the operation of ‘world-embedded’ self-consciousness. I explain that this inquiry is an attempt to build a theoretical foundation for the construction of a ‘conscious art’, by which I mean a type of art that is, to some extent, aware of itself and its surroundings.

The ancient concept of the magnetic and electric properties of the human body dates back thousands of years. Recorded accounts of biomagnetism, bioelectricity and magnetic therapy show an often-controversial history. Contemporary understanding of biomagnetism, based on the interaction of living organism with electromagnetic fields led to the new discipline of bioelectromagnetism: the study of electromagnetic phenomena within and between biological systems. Due to recent, groundbreaking research new paradigms are emerging linked to consciousness-related phenomena. While bioscientific interest in magnetism is concerned directly with the anatomy and functions of the human body, related art projects tend focus on the invisible energies surrounding and impacting human life.

In this paper I suggest how we might conceptualize some kind of artificial consciousness as an ultimate development of Artificial Life. This entity will be embodied in some sort of constructed (biological or non-biological) body. The contention is that consciousness within self-organized entities is not only possible but inevitable. The basic sensory and interactive processes by which an organism operates within an environment are such as to be the basic processes that are necessary for consciousness. I then look at likely criteria for consciousness, and point to an architecture of the cognitive which maps onto the physiological layer, the brain. While evolutionary algorithms and neural nets will be at the heart of the production of artificial intelligences there is a particular architectural organization that may be necessary in the production of conscious artefacts. This involves the operations of multiple layers of feedback loops in the anatomy of the brain, in the social construction of the contents of consciousness and in particular in the self-regulation necessary for the continued operation of metabolically organized systems. Finally I make some comments on the ethics of such a procedure.