You are constantly making these kinds of predictions without any sense of how your brain deals with the flood of chaging appearances: How do you know which things still exist? Which of them have actually altered their shapes? Which of them have actually moved? How do you know that you are still in the same room?
Some philosophers argue that this must be because machines are merely material things, whereas meanings exist in the world of ideas, which lie outside the realm of physical things. However, Chapter 1 suggested that we, ourselves, have constrained our machines by defining those meanings so narrowly that we fail to express their diversity.
Neverthless, many thinkers still maintain that machines can never achieve such feats as composing great theories or symphonies. Indeed, they prefer to attribute such feats to inexplicable "talents" or "gifts." However, those abilities will seem less mysterious once we see how our resourcefulness could result from having multiple Ways to Think.
Specifically, Alan Turing showed how to make a machine that can inspect a description of any other machine - and then interpret that description as rules for doing just what that other machine would do.
However, higher-level failures lead to larger-scale changes in strategies - for example, by arousing self-reflective thoughts that cause you to "brood" about what the future might hold for you or about your social relationships, as in, "I don't have enough self-discipline," or "My friends will lose their respect for me," or "I lack the aptitude to solve this kind of problem. Perhaps I should switch to a different profession." Such processes could lead to the large-scale cascades that people call "emotional."
This means that every Way to Think will need at least some ability to keep other processes from stopping it - and this could be done to some extent by controlling which Critics are active.
For example, it's easy to both walk and talk because these use such different sets of resources. However, it is much harder to both speak and write (or to listen and read) simultaneously, because both tasks will compete for the sema language resources.
However, a large-scale change could cause more disruption and result in wasted time and confusion. So as we evolved more ways to think, we also evolved machinery for more quickly returning to previous contexts.
Thus, suppose that a typical moment of commonsense thinking begins with a brief "micro-manic" phase that produces a few ideas; one could then quickly look for flaws in these, during a short-lived "micro-depressive" phase. If all this take place so quickly that your reflective systems don't notice it, then each "micro-cycle" would seem to be no more than a typical moment of everyday thinking - and the entire process of thinking might seem to go in a steady, smooth, uneventful flow.
Do we explore a huge number of combinations, or work on the finer details of fewer ones? In either case, when we incubate, we will need to switch off enough of our usual Critics to make sure that the system will not reject too many hypotheses.
For without such "mind-body" feedback loops, the "cold and neutral" mental states that William James described might not persist for long enough to grow into large-scale cascades. In othe words, your external expressions of anger may serve not only to frighten your enemies, but to also ensure that you will stay frightened for long enough to carry out some actions that might save your life.
110910＠国立劇場。
十牛図は菅野由弘への委嘱作品で今回が初演。浄土宗、真言宗、日蓮宗三派計４５人の声明。音楽と宗教、哲学が混然となっていて、今までにない体験だった。その典型がプロローグで、普通に音楽を聴いたのとは全く異なる反応が自分に現れたのには驚いた。「鎮魂と再生への祈り」と銘打っているが、そういう面は確かにあったと思う。
秋庭歌一具も国立劇場が委嘱したもので、武満徹の昭和54年の作品。この曲を聴かずして日本音楽を語るなかれとさえ思った。和楽器ならではの旋律なのに極めて現代的。緊張しっぱなしなのにどこか優しいものに触れている感じもする。ただただ聴き入った。それにしても、笙の音色の不思議さ！一つでも全く別の音空間を感じさせてくれるが、その笙の奏者が９人という贅沢。国立劇場の大空間を生かした配置ならではの音の呼応もまた面白かった。
110910＠国立劇場。
十牛図は菅野由弘への委嘱作品で今回が初演。浄土宗、真言宗、日蓮宗三派計４５人の声明。音楽と宗教、哲学が混然となっていて、今までにない体験だった。その典型がプロローグで、普通に音楽を聴いたのとは全く異なる反応が自分に現れたのには驚いた。「鎮魂と再生への祈り」と銘打っているが、そういう面は確かにあったと思う。
秋庭歌一具も国立劇場が武満徹に委嘱したもので、昭和54年の作品。この曲を聴かずして日本音楽を語るなかれとさえ思った。和楽器ならではの旋律なのに極めて現代的。緊張しっぱなしなのにどこか優しいものに触れている感じもする。ただただ聴き入った。それにしても、笙の音色の不思議さ！一つでも全く別の音空間を感じさせてくれるが、その笙の奏者が９人という贅沢。国立劇場の大空間を生かした配置ならではの音の呼応もまた面白かった。
特に印象に残ったもの。大観「朝顔」、木内克(デッサンも)、麻生三郎と熊谷守一の裸婦、やなぎみわ。
本展のmy bestはやなぎみわ「MOEHA」。
I'm inclined to turn that around to suggest that it was Elliot's new inability to make such decisions that reduced his range of emotions and feelings.
when you run into obstacles and none of your usual methods help, you may resort to mental strategies that may appear to be somewhat irrational.
