All of tingram's Comments + Replies

tingram80

A cucumber is bitter--throw it away. There are briars in the path--turn aside from them. This is enough. Do not add, "And why were such things put into the world?"

--Marcus Aurelius, Meditations, 8.50

4DanielLC
Why not? It can be useful to know whether they were placed there by a benevolent god or a blind idiot god.
ema130

If you get one bitter cucumber, asking for its cause may be a waste of time. But if you get a lot of bitter cucumbers, spending some time on changing that might give net positive utility.

tingram20

I suggest you read the opening chapter of Consciousness Explained. Someone's posted it online here.

1ChristianKl
Dennett seems to quote no actual scientific paper in the paragraph or otherwise really know what the brain does. You don't need to provide detailed feedback to the brain, Dennett should be well aware that humans have a blind spot in their eyes and the brain makes up information to fill the blind spot. It's the same with suggesting a brain in the vat that it's acting in the real world. The brain makes up the information that's missing to provide for an experience of being in the real world. To produce a strong hallucination (as I understand Dennett he means equates strong hallucination with complex hallucination) you might need to have a channel through with you can insert information into the brain but you don't need to provide every detail. Missing details get made up by the brain.
tingram30

I think that often "logically possible" means "possible if you don't think too hard about it". Which is exactly Dennett's point in context: the idea that you are a brain in a vat is only conceivable if you don't think about the computing power that would be necessary for a convincing simulation.

0Juno_Watt
Agreed
8ChristianKl
Dreams can be quite convincing simulations that don't need that much computing power. The worlds that people who do astral traveling perceive can be quite complex. Complex enough to convince people who engage in that practice that they really are on an astral plane. Does that mean that the people are really on an astral plane and aren't just imagining it?
tingram20

Obviously the fact that it's translated complicates things, and I don't know anything about Danish. But I think the first sentence is meant to be a piece of folk wisdom akin to "Better to remain silent and be thought a fool, than to open your mouth and remove all doubt." That is, he's not really concerned with the relative proportions of regret, but with the idea that it's better (safer, shrewder) to keep your counsel than to stake out a position that might be contradicted. In light of the rest of the text, this is the reading of the line that ma... (read more)

1Richard_Kennaway
Reminds me of standards processes and project proposals that produce ever more elaborate specifications that no-one gets round to implementing.
tingram250

It is said, for example, that a man ten times regrets having spoken, for the once he regrets his silence. And why? Because the fact of having spoken is an external fact, which may involve one in annoyances, since it is an actuality. But the fact of having kept silent! Yet this is the most dangerous thing of all. For by keeping silent one is relegated solely to oneself, no actuality comes to a man's aid by punishing him, by bringing down upon him the consequences of his speech. No, in this respect, to be silent is the easy way. But he who knows what the dr

... (read more)
2tgb
That's an interesting opening comment on regretting choosing to speak more than choosing not to speak. In particular, it brings to mind studies of the elderly's regrets in life and how most of those are not-having-done's versus having-done's. These two aren't incompatible: if we remain silent 20 times for every time we speak, then we still regret remaining silent more than we regret speaking even if we regret each having-spoken 10 times as much as a not-having-spoken. Still, though, there seems to be some disagreement.
tingram30

I think it does. It really is a virtuoso work of philosophy, and Dennett helpfully front-loaded it by putting his most astonishing argument in the first chapter. Anecdotally, I was always suspicious of arguments against qualia until I read what Dennett had to say on the subject. He brings in plenty of examples from philosophy, from psychological and scientific experiments, and even from literature to make things nice and concrete, and he really seems to understand the exact ways in which his position is counter-intuitive and makes sure to address the average person's intuitive objections in a fair and understanding way.

tingram120

He [the Inner Game player] reasons that since by definition the commonplace is what is experienced most often, the talent to be able to appreciate it is extremely valuable.

--W. Timothy Gallwey, Inner Tennis: Playing the Game

tingram180

From the remarkable opening chapter of Consciousness Explained:

One should be leery of these possibilities in principle. It is also possible in principle to build a stainless-steel ladder to the moon, and to write out, in alphabetical order, all intelligible English conversations consisting of less than a thousand words. But neither of these are remotely possible in fact and sometimes an impossibility in fact is theoretically more interesting than a possibility in principle, as we shall see.

--Daniel Dennett

8Vaniver
While I agree with the general point that it's important to consider impossibilities in fact, I'm not quite sure I agree where he's drawing the line between fact and principle. Does the compressive strength of stainless steel, and the implied limit on the height of a ladder constructed of it, not count as a restriction in principle?
3B_For_Bandana
I'm someone who still finds subjective experience mysterious, and I'd like to fix that. Does that book provide a good, gut-level, question-dissolving explanation?
tingram00

Out of curiosity, would you happen to know which book this is from?

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tingram40

To recognize that some of the things our culture believes are not true imposes on us the duty of finding out which are true and which are not.

--Allan Bloom, Giants and Dwarfs, "Western Civ"

8AlanCrowe
That clashes in an interesting way with the recent post on Privileging the Question. Let us draw up our own, independent list of things that matter. There will be some, high up our list, about which our culture has no particular belief. Our self imposed duty is to find out whether they are true or not, leaving less important, culturally prominent beliefs alone. Culture changes and many prominent beliefs of our culture will fade away, truth unchecked, before we are through with more urgent matters.
tingram00

Is there a thread somewhere where I can gauge interest in a meetup in my area? I'm from Winnipeg, a medium-sized city in Canada, and I would be interested in starting a meetup group, but I honestly don't know if there's anyone in the city who reads LW other than me (we're not even on this list, for example). I think this is probably a concern for everyone outside major metropolitan areas--we don't want to put the effort in until we're at least sure that like-minded people actually exist in our vicinity.

Is there anyone who's had success with meetups in areas of similar size who would be willing to offer advice?

1Qiaochu_Yuan
I think people have occasionally started Discussion threads of the form "post your general location, respond to comments indicating you are also in that general location." Seems like you could do that again (with a positive externality: other people can also gauge meetup interest in their areas).
tingram160

The roulette table pays nobody except him that keeps it. Nevertheless a passion for gaming is common, though a passion for keeping roulette tables is unknown.

--George Bernard Shaw, Maxims for Revolutionists

2Qiaochu_Yuan
I think people would keep roulette tables more, so to speak, in the US if gambling weren't so heavily regulated here.
tingram160

To learn which questions are unanswerable, and not to answer them: this skill is most needful in times of stress and darkness.

--Ursula K. Le Guin {Lord Estraven}, The Left Hand of Darkness

tingram10

Surely a man who possesses even a little erectioris ingenii [of the higher way of thinking] has not become entirely a cold and clammy mollusk, and when he approaches what is great it can never escape his mind that from the creation of the world it has been customary for the result to come last, and that, if one would truly learn anything from great actions, one must pay attention precisely to the beginning. In case he who should act were to judge himself according to the result, he would never get to the point of beginning. Even though the result may give ... (read more)

tingram90

They often do [scramble the reels] at art houses, and it would seem that the more sophisticated the audience, the less likely that the error will be discovered.

--Pauline Kael, Zeitgeist and Poltergeist; or, Are Movies Going to Pieces?

Related

tingram220

Use only that which works, and take it from any place you can find it.

--Bruce Lee

8MixedNuts
That seems rather applause-lighty. The reversal is abnormal; who would say "Use some things that don't work"? Maybe in some traditionalist cultures "Resist the appeal of using things that work but come from unworthy places" would sound wise, but on LessWrong it would likely get stares.
tingram550

Everyday words are inherently imprecise. They work well enough in everyday life that you don't notice. Words seem to work, just as Newtonian physics seems to. But you can always make them break if you push them far enough.

--Paul Graham, How to Do Philosophy

[surprisingly not a duplicate]

tingram00

It is a neat trick, and not something that happens often, but I would guess that's because it's not useful as anything other than a neat trick. I'm not seeing the eternal golden braid in it, is all.

Actually, if Bach had kept the pattern intact without "crossing the enharmonic seam" it wouldn't be much of a loop at all; the piece would end up in B# minor after six repetitions.

(edit: sp.)

0grouchymusicologist
Yeah, I'm in agreement with you and others that it isn't the most compelling example he could have chosen. As to the enharmonic seam thing, that is indeed the point: you either have to cross the enharmonic seam by spelling two identical-sounding intervals differently (in this case, one of the major seconds has to be spelled as a diminished third) or else you have to deny the seeming aural fact of octave equivalence by spelling the return of C as B-sharp. Since composers are extremely reluctant to do the latter, they have no choice but to do the former -- a commonplace in the nineteenth century, a bit of a special trick in the mid-eighteenth.
tingram80

Forgive my ignorance, not having read GEB, but I can't help being underwhelmed by the Bach example. This Youtube video plays the Bach canon in question. The canon begins in C minor and modulates up in whole tones until it arrives at C minor again an octave higher (the Youtube recording returns to the same octave, but it does so using trickery--notice that in Bb minor, the sixth time through, it ends on a D notated a ninth above the next C but sounding only a step above it).

Unless I'm missing something, this is rather like saying that if you walk for ten hundred-metre lengths, you'll end up a kilometre from where you started. Yes, you will, but so what?

4Luke_A_Somers
I believe this is one of the weakest possible examples from the book... though it may be one of the few that can actually be extracted from context without requiring dragging in a great deal more. I would have gone with one of the Escher examples, as it's quicker to grok than Gödel, and the Bach examples are, well, a bit of a stretch.
3grouchymusicologist
Complete traversals of a set of whole-tone-related keys are incredibly rare in music this early; I don't know of another example and would not be that surprised if one doesn't exist. You're right that such a piece seems easy in principle, but that's from a current viewpoint. So I think that Hofstadter may in part be implicitly relying on some knowledge of the early-eighteenth-century context when he stresses how unusual the piece is. (There is actually also a technical reason why this loop is so strange -- it has to do with what music theorists call "crossing the enharmonic seam" -- but Hofstadter doesn't appear to be referring to that.)
0Nymogenous
If I recall correctly, he focuses on the fact that the piece may be played in a cyclical fashion, allowing an infinite loop of sorts.