The evolution of representation in simple cognitive networks

Representations are internal models of the environment that can provide guidance to a behaving agent, even in the absence of sensory information. It is not clear how representations are developed and whether or not they are necessary or even essential for intelligent behavior. We argue here that the ability to represent relevant features of the environment is the expected consequence of an adaptive process, give a formal definition of representation based on information theory, and quantify it with a measure R. To measure how R changes over time, we evolve two types of networks---an artificial neural network and a network of hidden Markov gates---to solve a categorization task using a genetic algorithm. We find that the capacity to represent increases during evolutionary adaptation, and that agents form representations of their environment during their lifetime. This ability allows the agents to act on sensorial inputs in the context of their acquired representations and enables complex and context-dependent behavior. We examine which concepts (features of the environment) our networks are representing, how the representations are logically encoded in the networks, and how they form as an agent behaves to solve a task. We conclude that R should be able to quantify the representations within any cognitive system, and should be predictive of an agent's long-term adaptive success.Comment: 36 pages, 10 figures, one Tabl

Perceptual Pluralism

Perceptual systems respond to proximal stimuli by forming mental representations of distal stimuli. A central goal for the philosophy of perception is to characterize the representations delivered by perceptual systems. It may be that all perceptual representations are in some way proprietarily perceptual and differ from the representational format of thought (Dretske 1981; Carey 2009; Burge 2010; Block ms.). Or it may instead be that perception and cognition always trade in the same code (Prinz 2002; Pylyshyn 2003). This paper rejects both approaches in favor of perceptual pluralism, the thesis that perception delivers a multiplicity of representational formats, some proprietary and some shared with cognition. The argument for perceptual pluralism marshals a wide array of empirical evidence in favor of iconic (i.e., image-like, analog) representations in perception as well as discursive (i.e., language-like, digital) perceptual object representations

The "Artificial Mathematician" Objection: Exploring the (Im)possibility of Automating Mathematical Understanding

Reuben Hersh confided to us that, about forty years ago, the late Paul Cohen predicted to him that at some unspecified point in the future, mathematicians would be replaced by computers. Rather than focus on computers replacing mathematicians, however, our aim is to consider the (im)possibility of human mathematicians being joined by “artificial mathematicians” in the proving practice—not just as a method of inquiry but as a fellow inquirer

Heidegger’s Underdeveloped Conception of the Undistinguishedness (Indifferenz) of Everyday Human Existence

This chapter provides an interpretation of the early Heidegger’s underdeveloped conception of the undistinguishedness of everyday human existence in Being and Time. After explaining why certain translation choices of some key terms in this text are interpretively and philosophically important, I first provide a concise argument for why the social constitution interpretation of the relation between ownedness and unownedness makes better overall sense of Heidegger’s ambivalent attitude toward the social constitution of the human being than the standard existentialist interpretation of this relation. I then proceed to the heart of this chapter, which develops his inchoate conception of the undistinguishedness of everydayness by arguing that it specifies the third distinctive mode of concrete human existence in addition to ownedness and unownedness. Accordingly, I show how unownedness is actually a generic phenomenon with two distinct species, namely, undistinguishedness and disownedness, which are at once closely related to, but also differ in significant respects from, each other. Consequently, instead of taking for granted a one-dimensional and mutually exclusive opposition between ‘authenticity’ and ‘inauthenticity’, I argue that we should adopt a two-dimensional and more nuanced understanding of the relations among undistinguishedness, disownedness, and ownedness that intersects with Heidegger’s underappreciated distinction between genuineness and ungenuineness. After raising and replying to some objections to this interpretation of undistinguishedness, I conclude this chapter by briefly sketching three of its philosophical consequences and pointing out its potential as an important resource for contemporary social theories

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer

Introducing a Pictographic Language for Envisioning a Rich Variety of Enactive Systems with Different Degrees of Complexity

Notwithstanding the considerable amount of progress that has been made in recent years, the parallel fields of cognitive science and cognitive systems lack a unifying methodology for describing, understanding, simulating and implementing advanced cognitive behaviours. Growing interest in ’enactivism’ - as pioneered by the Chilean biologists Humberto Maturana and Francisco Varela - may lead to new perspectives in these areas, but a common framework for expressing many of the key concepts is still missing. This paper attempts to lay a tentative foundation in that direction by extending Maturana and Varela’s pictographic depictions of autopoietic unities to create a rich visual language for envisioning a wide range of enactive systems - natural or artificial - with different degrees of complexity. It is shown how such a diagrammatic taxonomy can help in the comprehension of important relationships between a variety of complex concepts from a pan-theoretic perspective. In conclusion, it is claimed that visual language is not only valuable for teaching and learning, but also offers important insights into the design and implementation of future advanced robotic systems

The systematicity challenge to anti-representational dynamicism

After more than twenty years of representational debate in the cognitive sciences, anti-representational dynamicism may be seen as offering a rival and radically new kind of explanation of systematicity phenomena. In this paper, I argue that, on the contrary, anti-representational dynamicism must face a version of the old systematicity challenge: either it does not explain systematicity, or else, it is just an implementation of representational theories. To show this, I present a purely behavioral and representation-free account of systematicity. I then consider a case of insect sensorimotor systematic behavior: communicating behavior in honey bees. I conclude that anti-representational dynamicism fails to capture the fundamental trait of systematic behaviors qua systematic, i.e., their involving exercises of the same behavioral capacities. I suggest, finally, a collaborative strategy in pursuit of a rich and powerful account of this central phenomenon of high cognition at all levels of explanation, including the representational level