I Am a Strange Loop

team as the desert challenge was drawing perilously near and they realized something was still very much lacking. It casually stated, “They needed the algorithmic equivalent of self-awareness”, and it then proceeded to say that soon they had indeed achieved this goal (it took them all of three months of work!). Once again, when all due hat- tips have been made toward the team’s great achievement, one still has to realize that there is nothing going on inside Stanley that merits being labeled by the highly loaded, highly anthropomorphic term “self-awareness”.

The feedback loop inside Stanley’s computational machinery is good enough to guide it down a long dusty road punctuated by potholes and lined with scraggly saguaros and tumbleweed plants. I salute it! But if one has set one’s sights not just on driving but on thinking and consciousness, then Stanley’s feedback loop is not strange enough — not anywhere close. Humanity still has a long ways to go before it will collectively have wrought an artificial “I”.

CHAPTER 14

Strangeness in the “I” of the Beholder

The Inert Sponges inside our Heads

WHY, you might be wondering, do I call the lifelong loop of a human being’s self- representation, as described in the preceding chapter, a strange loop? You make decisions, take actions, affect the world, receive feedback, incorporate it into your self, then the updated “you” makes more decisions, and so forth, round and round. It’s a loop, no doubt — but where’s the paradoxical quality that I’ve been saying is a sine qua non for strange loopiness? Why is this not just an ordinary feedback loop? What does such a loop have in common with the quintessential strange loop that Kurt Godel discovered unexpectedly lurking inside Principia Mathematica?

For starters, a brain would seem, a priori, just about as unlikely a substrate for self-reference and its rich and counterintuitive consequences as was the extremely austere treatise Principia Mathematica, from which self-reference had been strictly banished. A human brain is just a big spongy bulb of inanimate molecules tightly wedged inside a rock-hard cranium, and there it simply sits, as inert as a lump on a log. Why should self-reference and a self be lurking in such a peculiar medium any more than they lurk in a lump of granite? Where’s the “I”-ness in a brain?

Just as something very strange had to be happening inside the stony fortress of Principia Mathematica to allow the outlawed “I” of Godelian sentences like “I am not provable” to creep in, something very strange must also take place inside a bony cranium stuffed with inanimate molecules if it is to bring about a soul, a “light on”, a unique human identity, an “I”. And keep in mind that an “I” does not magically pop up in all brains inside all crania, courtesy of “the right stuff” (that is, certain “special” kinds of molecules); it happens only if the proper patterns come to be in that medium. Without such patterns, the system is just as it superficially appears to be: a mere lump of spongy matter, soulless, “I”-less, devoid of any inner light.

Squirting Chemicals

When the first brains came into existence, they were trivial feedback devices, less sophisticated than a toilet’s float-ball mechanism or the thermostat on your wall, and like those devices, they selectively made primitive organisms move towards certain things (food) and away from others (dangers). Evolutionary pressures, however, gradually made brains’ triage of their environments grow more complex and multi-layered, and eventually (here we’re talking millions or billions of years), the repertoire of categories that were being responded to grew so rich that the system, like a TV camera on a sufficiently long leash, was capable of “pointing back”, to some extent, at itself. That first tiny glimmer of self was the germ of consciousness and “I”-ness, but there is still a great mystery.

No matter how complicated and sophisticated brains became, they always remained, at bottom, nothing but a set of cells that “squirted chemicals” back and forth among each other (to borrow a phrase from the pioneering roboticist and provocative writer Hans Moravec), a bit like a huge oil refinery in which liquids are endlessly pumped around from one tank to another. How could a system of pumping liquids ever house a locus of upside-down causality, where meanings seem to matter infinitely more than physical objects and their motions? How could joy, sadness, a love for impressionist painting, and an impish sense of humor inhabit such a cold, inanimate system? One might as well look for an “I” inside a stone fortress, a toilet’s tank, a roll of toilet paper, a television, a thermostat, a heat-seeking missile, a heap of beer cans, or an oil refinery.

Some philosophers see our inner lights, our “I” ’s, our humanity, our souls, as emanating from the nature of the substrate itself — that is, from the organic chemistry of carbon. I find that a most peculiar tree on which to hang the bauble of consciousness. Basically, this is a mystical refrain that explains nothing. Why should the chemistry of carbon have some magical property entirely unlike than that of any other substance? And what is that magical property? And how does it make us into conscious beings? Why is it that only brains are conscious, and not kneecaps or kidneys, if all it takes is organic chemistry? Why aren’t our carbon-based cousins the mosquitoes just as conscious as we are? Why aren’t cows just as conscious as we are? Doesn’t organization or pattern play any role here? Surely it does. And if it does, why couldn’t it play the whole role?

By focusing on the medium rather than the message, the pottery rather than the pattern, the typeface rather than the tale, philosophers who claim that something ineffable about carbon’s chemistry is indispensable for consciousness miss the boat. As Daniel Dennett once wittily remarked in a rejoinder to John Searle’s tiresome “right-stuff” refrain, “It ain’t the meat, it’s the motion.” (This was a somewhat subtle hat-tip to the title of a somewhat unsubtle, clearly erotic song written in 1951 by Lois Mann and Henry Glover, made famous many years later by singer Maria Muldaur.) And for my money, the magic that happens in the meat of brains makes sense only if you know how to look at the motions that inhabit them.

The Stately Dance of the Symbols

Brains take on a radically different cast if, instead of focusing on their squirting chemicals, you make a level- shift upwards, leaving that low level far behind. To allow us to speak easily of such upward jumps was the reason I dreamt up the allegory of the careenium, and so let me once again remind you of its key imagery. By zooming out from the level of crazily careening simms and by looking instead at the system on a speeded-up time scale whereby the simms’ locally chaotic churning becomes merely a foggy blur, one starts to see other entities coming into focus, entities that formerly were utterly invisible. And at that level, mirabile dictu, meaning emerges.

Simmballs filled with meaning are now seen to be doing a stately dance in a blurry soup that they don’t suspect for a split second consists of small interacting magnetic marbles called “simms”. And the reason I say the simmballs are “filled with meaning” is not, of course, that they are oozing some mystical kind of sticky semantic juice called “meaning” (even though certain meat-infatuated philosophers might go for that idea), but because their stately dance is deeply in synch with events in the world around them.

Simmballs are in synch with the outer world in the same way as in La Femme du boulanger, the straying cat Pomponnette’s return was in synch with the return of the straying wife Aurelie: there was a many-faceted alignment of Situation “P” with Situation “A”. However, this alignment of situations at the film’s climax was just a joke concocted by the screenwriter; no viewer of La Femme