mardi 28 décembre 2021

People say, "If you don't believe in yourself, why would anyone else?" And the intention behind that is good, and it can be helpful.

But here's another angle, because why not?

That question is a kind of mind trick or crutch. It makes an excuse for believing in yourself: "Oh, I doubt myself, and maybe I really am not capable at this thing, and untalented, and will never make it, and that could be predicted from what I already know. But when no one believes in you, you're still justified in believing in yourself - because it's logic: nobody believes in you unless you believe in yourself, so believing in yourself when it seems like no one in their right mind would is a prerequisite for anyone believing in you in the first place. Therefore let's put these doubts aside and lay the foundation of any and all belief in myself."

It's kind of a subtle thing, and I don't think most people parse through the implications quite like that. But... I suspect that's a lot of what's going on in the frame of mind evoked by that rhetorical question.

Anyway, what I'm saying is: you don't actually need an excuse. Believe in yourself because you exist, and by existing, help to create the universe.

lundi 20 décembre 2021

Today I want to talk about the difference between intuition and magical thinking. They can look identical. Here's my summary: intuition is a crucial tool, but when you believe that the world operates according to that tool, that's magical thinking. Subtle but major difference!

The world unfolds via physics. Intuition is a way we cut corners that we wouldn't get around otherwise. The universe is not cutting those corners. To believe the universe cuts the corners your mind cuts is magical thinking.

Example: I have a good feeling about this new job, so I'll take it. Later, I still feel that was a great decision. That's intuition. If I say the universe was telling me that this was a great decision, and I had to listen, and this was objectively the first step on a new journey, that's magical thinking.

Think about the way themes work in literature and movies. That's magical thinking.

It's great in art. I love it. Absolutely love it. But when you start to believe that the world works the way themes work in a novel, you might be in trouble. It doesn't.
People respect decisiveness, and I tend to be indecisive - depending on my mood. If you haven't slept well, if you're anxious, if you're feeling down, these are all solid reasons you may not be at your most decisive.

You might be at your least decisive. And to some extent I think we get indecisive when we know we aren't at our best. Indecision can be seen positively as choosing when to choose, and recognizing that you are not best disposed in this moment to do so with clarity, foresight, and resolve. We don't (I hope) drive drunk, and nature has installed a similar mechanism in us for decisions in general, in regard to the status of our inner chooser and how its energy is doing, how it's vibing, if you will. Are we in a frame of mind to make a decision that we will like later? And do we even know enough, or should we gather more information?

Seeing all this is self-compassionate. Don't pummel yourself for having trouble making a decision. There's probably a great explanation for why it feels that way right now, why deciding feels troublesome.

So the trick I use is: if I recognize the decision is mine, and is required in this moment (oh, you know, because someone's staring at me waiting for an answer), I do my best to relax for a few seconds. You get it: take a long breath or two. Just because decisiveness is respected, indecisiveness not so much, and you need to be decisive right now and are feeling absolutely the opposite, doesn't mean either of the following things: 1) you can't be decisive now, 2) being decisive means making an instant decision.

You can take a few moments and think. And as long as you're not outwardly wavering and backtracking, as long as you process this decision internally and produce an answer, that's going to seem decisive. So you can take a minute. Don't worry that it makes you seem indecisive. That's the least important consideration, and it isn't even true.

samedi 11 décembre 2021

Many people make a big deal about being on the right side of things. I try to focus on making good arguments. If you make the best arguments, and you aren't just trying to promote yourself, but make the best arguments by virtue of listening to and understanding all the arguments - then you will tend to be on the right side of things.

Trying to go straight to the right side of things because you're a moral person and that's what good people do - it's putting the cart before the horse.

vendredi 10 décembre 2021

There's something amazingly beautiful about code, and I'm pretty sure that no one who hasn't written much code has any idea. It has nothing to do with typing fast, or being cool, or money, or respect, and very little to do with hacking, and not much to do with streams of bits in the matrix of reality (though now we're getting warmer).

When you stand under a tall building and look up, what do you see?

Architecture? Space? Scale? Raw materials in massive refinement?

Now imagine creating that architecture, and pressing play, and everything inside that building that's happening, which you know is happening, but can't see, now happens because you pressed play.

That's the closest description I can give, but unfortunately it still isn't very close.

dimanche 5 décembre 2021

I keep thinking this weird thought I had.

Mastering fusion power doesn't just save us from global warming. It also changes the nature of planets, stars, and our relationship to them.

Without captive fusion, we can imagine a long-haul space vessel carrying humanity from one star system to another, to begin a new existence on a new home.

With captive fusion, we can imagine the long-haul space vessel becoming the next iteration of a planet. If you have all the energy you need and you can direct yourself as needed, why be bound to planetary surfaces and stellar orbits?

samedi 4 décembre 2021

Does it occur to you that part of what your daily actions, which butterfly out, could end up determining is which star systems humanity expands to? Our entire future could certainly be determined by "this star, this little planet here" versus "this other star, this slightly bigger planet."

What you choose could swirl around and push unexpectedly what's chosen then. The breezes that they will account to chance? The breezes will have included your voice, your life - you influencing. You will have changed the breath ever so slightly.

And the universe might tip another way. Sometimes a single vote makes all the difference. Imagine consciousness exists to vote for the future. We play some chips, make some bets, follow some leads, play detective and get good at it, pursue prevention as in Minority Report, build new cities and forests around them, and stars around the leaves. Our conscious choices direct our energy and material, which can't help but scrape on the edge of this vista of a universe we're watching down from, and up from. We push the breeze.

Sometimes I think the wind in the morning is the lunchtime chatter of the tips of bird feathers as they cross other feathers, heat up: shingle-like in the sun and burning breeze. Their sounds, sights, and flutters traveled across the ocean at night, or for weeks or months or centuries, and here, now, these little buds, these tiny remaining spores of influence, tip the universe again, as do you. You're all tipping it. We tip it together.

-

(Does it occur to you that part of what your daily actions which butterfly out could end up determining is which star systems humanity expands to. The entire future could certainly be determined by "this star, this little planet here" versus "this star, this slightly bigger planet." What you choose could swirl around and push unexpectedly what's chosen then. The breezes of randomness that they will account to chance? That will have included your voice, your life, you influencing. You will have changed the breath ever so slightly. And the universe might tip another way. Sometimes a single vote makes all the difference. Imagine consciousness existed to vote for the future. We play some chips, make some bets, follow some leads, play detective and get good at it, pursue prevention as in Minority Report, build new cities and forests around them, and stars around the leaves. Our conscious choices direct our energy and material, which can't help but scrape on the edge of this vista of a universe we're watching down from, and up from. We push the breeze. Sometimes I think the wind in the morning is the lunchtime chatter of the tips of bird feathers as they cross other feathers, heat up, shingle-like in the sun and burning breeze. Their sounds, sights, and flutters traveled across the ocean at night, or for weeks or months or centuries, and here, now, these little buds, these tiny remaining spores of influence, tip the universe again, as do you. You're all tipping it. We tip it together.)

mardi 30 novembre 2021

The trouble with questions of morality and judgment is that if there is one morally best option, that takes brain power to find and verify as best. It may not be the same kind of brain power that finds and verifies a mathematical proof, or a new network protocol, or a force of nature. But it is still brain power. And not everyone will be equally adept at it, or even have the same level of biological potential for it. In other words, if there really is one right answer morally, then finding it becomes in some sense academic. It becomes a matter of getting the right answer on the test of life.

We have this simplifying ideal that everyone knows right from wrong, and some people simply choose to do wrong.

If that's your basic belief, I think you live in a fantasy world.

dimanche 28 novembre 2021

One theory of what life is is a climb to the vista of greatest potentiality. You're more alive, healthier, when you have more possible choices, when there are more paths you could take.

In a sense health is just functionality. A healthy body can do many things; a sick body can do fewer things; a dead body can't do much. The same for the mind. Health is functionality is freedom, or potential freedom. And the kind of life we know and love evolves toward freedom. We're similar to chimpanzees and bonobos but individually we have more potentials than they do currently. That's what makes us more "advanced," according to this perspective.

If you understand life this way, it ties in with entropy, and helps give a scientific basis to morality. Morality is actually about freedom. What do you do with freedom to increase it, rather than reduce it?

Sometimes we dedicate ourselves to something and block out a lot else. That's sacrificing some kinds of freedom for more of another. It's like trading currencies.

Maybe we aren't free at all. Maybe the universe is fully deterministic. But I don't believe that.

Why would I? Do you? There's nothing to gain from believing it - nor would we have the choice either way if it's true - and everything to lose from believing it if it's false. If you believe in total determinism in a deterministic universe, that's the universe dictating what you believe (and no thanks to you that you're a good mirror, in a sense). If you believe in total determinism in a partly non-deterministic universe, that's squandering your probably greatest, probably most definitive asset.

jeudi 18 novembre 2021

You need to be able to argue in favor of multiple positions, theories, hypotheses, and points of view, including the ones you believe aren't accurate. Even the ones you happen to think are dangerous—it really behooves us to understand what arguments are in favor of the danger. Someone out there is working from that blueprint, and it's safer if you understand it and can calmly enlighten anyone about the mistakes in it.*

We've got this expression, "playing devil's advocate." It's a really important skill, but sometimes I think the name is unfortunate and misleading. Putting "devil" on there puts the cart before the horse; sometimes the devil's advocate position is absolutely right, and either way, I don't think the devil has much to do with this. "Playing devil's advocate" can be compared to "the devil is in the details," and in both cases it's about the thing you overlooked turning into a problem. If you DON'T play devil's advocate, that's the devil in the details that you missed. By NOT playing devil's advocate, you invite the "devil," or in other words, unexpected dangers and difficulties.

Very often when you play devil's advocate, you'll either annoy people or get them downright suspicious of you. People who don't want to make waves or seem suspicious will avoid this out of decency, and might even end up believing that to think in such a "devilish" (troubleshooting) way is wrong and dangerous. They'll block certain lines of thought from their minds and treat any mention of these lines of thought by others with stigma.

It doesn't take a lot of imagination to see what just happened there. A misguided moral instinct ruined a group's ability to talk issues through thoroughly and accurately.

-

*(It's also safer if your copy of the blueprint is completely accurate, rather than biased by upset, your personal moral code, and judgment. Many people, people of all stripes, can spot personal propaganda and straw man arguments and when they do, it undermines you.)

mardi 16 novembre 2021

Am I saying anything surprising? When I check out at the supermarket and I'm paging around looking for ginger, I shouldn't eventually find it under "Root Ginger."

- SNIP - this is really boring I now recognize and admit, you can quit here -

No ever says that. It does make immediate sense from one direction, yet that's the wrong direction for a user interface: I have no doubt what it means on sight. But this is a list customers flip around through all day, every day, in every Safeway, with a name already in mind. They're looking for it by name, which they know, because they picked it and want to buy it. There is no other item in the list that has "ginger" in the name. There isn't even a "Gi-" entry.

Presumably this is the name in some more general purpose database, or else it's to help cashiers (who may be foreign and who didn't pick this item) to look up roots that look mysterious or similar to each other, and then go by the picture.

It's trivial to put an item in a database under multiple names. But I can see why they didn't - the entire catalogue is there to leaf through on the screen, so they only want to show each item in one alphabetic spot, to avoid scads of clutter. And if the "Root -" idea is to help cashiers, then that'll be the preferred name to display in the on-screen produce gallery anyway. Also, if customers can so easily type in the name to do a lookup, then this isn't a big hardship.

Except customers are less likely to know (or remember offhand) that there's a typed name lookup button. Cashiers will know and remember this and be speedy about it after the first day. So by extension, if a cashier doesn't recognize a root but they know roots are listed under "Root -", they'll know where to look: they use that typed name lookup button and type "root" (or the first couple letters), and voila, they didn't even have to page through the whole gallery of images.

Ultimately Safeway may have chosen to put their cashiers first and make the root situation more intuitive for ones who are struggling with language. Or perhaps anything else. So the listing is "Root Ginger" everywhere.

It's a compromise. Also, they're probably reluctant to change it now that many people are familiar with it.

It isn't a very good solution, though. Every time a customer gets ginger and checks out themselves, this will come up. Every single time, until they know it--and it'll only go away as long as they remember it.

It'll hit new customers and those returning after an absence the most. Like me. But I'm savvy about this stuff. So my impatience/frustration/annoyance is minimal compared to what it might be. (And I can analyze it this way, though it took conscious effort. Many people would assume "Root Ginger" has something to do with categories in the system, but I'm fairly sure that has little or nothing to do with it. It's for the cashiers.)

Putting cashiers first is good, but think about customers who don't speak English well, either. They know they picked something which they know is ginger; they likely checked the price, saw the label, and know what they're holding is "Ginger." They're less likely to look for "Root." Or... some would be very unlikely to do so. Others might think of that option faster than a native speaker fixated on the idea that "ginger" absolutely must be in here somewhere.

Things should be under their actual names in the photo gallery. Searching should include a larger database of alternate names. The downside there is that as you type, you might see several variations of the same thing (ginger, ginger root, root ginger) and not know whether they're the same. So adding synonyms to the database introduces a different moment of confusion elsewhere.

Good voice recognition would probably get rid of this issue. Accurate photo recognition also. (But both would need a fallback, for example the current approach.) And I think better software design would also get rid of the problem. The aforementioned little problem/downside to alternate names in the database is solvable.

What this comes down to is a compromise, a workaround that doesn't require overhauling the user interface or database.

The same problem tends to come up with orange sweet potatoes (yams - both yam and sweet potato are names confused with and applied to other species), and also turnips, which are often under "Purple Turnips" where I live and shop. None of this makes sense when you already know the name. Even if you know they're purple turnips, no supermarket around here has multiple turnip varieties. If we aren't listing the cultivar of carrots or ginger or garlic, we shouldn't be listing the cultivar of turnips as a prerequisite to checking out, paying, and going home.

It might seem like a tiny, inconsequential thing I'm talking about. And while I think the impact could be larger than we intuit, that isn't my point. There's a more general concept at work here. But I can't quite put my finger on it. Something about names and alternative names, and access through those symbols.

vendredi 29 octobre 2021

What cryptocurrency has been teaching us should have been clear already from fiat currency, but I guess it wasn't.

When you say "money is real-world game points," that seems to trivialize money by comparing it to arbitrary rewards won in play.

What if, on the other hand, the comparison actually ennobled money?

What if realizing that currency is best created according to rules open to all players - according to strict, consistent game rules, that is - could improve the way we think about, generate, deal in, disperse, award, earn, discuss, and compete over money?

What if "money is generated according to strict rules known - or knowable - to everyone" clarified and then improved the global economy?

Until very recently, money was created behind the scenes by banks deciding to write checks to give loans.

Today, you can create your own currency that is awarded according to the rules you specify.

This is different, in that fiat currency was not ur-awarded (ok I'm playing: "minted") according to clear, programmatic rules, and it was issued as debt with interest.

The new currency is like stocks, except stocks are supposed to pay dividends. Now a company can start and instead of asking for money from investors in return for stocks, can invent its own currency to disburse according to the rules it dreams up - which must be strict and visible, not arbitrary or a matter of favoritism, and in that sense fair - and then shape public behavior with this currency. Stocks are a one-time expression, in a sense: the company issues stocks (or maybe bonds), people buy them, trade them. Crypto is so similar yet so different: the stocks issued bureaucratically, financial instruments that pay dividends, morph and become cryptocurrency that does not pay dividends and that issues according to whether you're following the rules that generate that currency. Crypto shapes the activities of the people involved directly as a reward for participation. It's like the difference between eating birthday cake once a year and training your puppy to do tricks with dog treats every day. The birthday cake isn't supposed to teach you anything, just provide calories. The dog treats are exciting because treats mean calories biologically, but what's really going on is that you're training the dog.

Helium coin is the best example of this new model I've seen. Where does Helium coin come from? You earn it by running a hotspot that helps create and maintain the Helium 5G WiFi/IoT network. In a sense you work for the company from home, and they pay you in money that they just made up, according to rules that they just made up - but, critical point, rules that are visible to everyone, and apply equally to everyone.

Voila: the concept of game points has turned into actual, investable, influential, usable money, and arguably this kind of money is better than the old kind.

Do you see what I mean? "Money is game points" doesn't trivialize money. It points out the importance of rules that we all know and that apply equally to everyone. And it suggests money can be far more democratic than we imagined.

If you ask me, this cat isn't going back into that bag. Now that anyone can create a currency, the world won't ever be quite the same.

Also, someone other than me is going to realize that game studies and money policy are intimately linked, and not just by matrix-style, Cold War-style "game theory": by the principles of game design. 

jeudi 14 octobre 2021

Lucky or skillful? There isn't much luck without skill, and vice versa.

They aren't the same, just typically enmeshed. Any skill you have, you once had the capacity for it, the opportunity to develop it, and the desire to do so: three pieces of luck.

In effect, skill is just luck that happened in the past. Perhaps it included effort. But the most incompetent person could also have been making efforts.

We understand the meaning and basic principle of evolution, yet we fail to recognize how much is random.

Most of what you define as yourself is the luck of the draw.

It's a little unsettling, I know. And we need to be careful not to let this undermine our efforts. But there it is, no worse for the wear of our feelings.
Many beginning coders have the feeling there's one right or best way to compute a piece of data they need. To simplify a bit, this is not so. Style isn't all surface: the way you tend to think and approach things, the way the language works, the way you and others remember or refresh their memory. By and large, you cannot easily tell which angle of attack will be the fastest for the machine. To be blunt, most of the time you will not know; you will guess and occasionally run spot measurements like the (other?) professionals, knowing these are only limited snapshots. When you write code, as when you write math or speak, you're constantly balancing factors, not the least of which is how clear what you're writing is to you, and by extension to others.

As coders, we like parsimony, we like clarity, we like correctness, we like maintainability (meaning best practices for the future and an invitation to other coders to fix and help), we like efficiency, we like fluency (ie, of both writing and reading), and, of course, we like both reliability in general and the power of raw cycles. Most people stick with coding because they like the ever-morphing jigsaw of inventing little gizmos and sculpting and honing and combining them. Like authors, we may enjoy the ideal of "le seul mot juste" (Gustav Flaubert's name for the single best word in context, the one you love and hate searching for), but we recognize that's partly subjective, and often a word that fits well is worth as much or perhaps even more than an ideal word, once you take into account the time and energy demands.

In short, coding, like writing the languages we speak, is both sculpting and engineering; but unlike spoken language, it's pretty easy to check the logic and run some numbers for a rough comparison of efficiency and effectiveness.

To generalize very broadly, the best way to write the chunk of code you need is the way you write it so that it's up and running. After that, improve as much as you need. I've found that in coding, the idea of a first draft is even more important and powerful than in English. There's a saying to go along with that insight, but it takes quite a bit of experience to appreciate how and why it makes sense: "Premature optimization is the root of all evil," said Don Knuth. It's inefficient and even crippling to spin your wheels trying to get code working perfectly before it's working at all. Get something working first, then iterate.

This is critical because of the nature of logic in human minds. Our craniums don't really much distinguish between a) little efficiencies that come from cutting corners, sadly introducing massive logical flaws; b) little efficiencies that preserve correctness only locally, causing problems when generalized or exapted; and c) little efficiencies that are totally correct in a wider context. Computers crash; humans don't even notice a difference. Iterate. Use the power of the compiler and empirical results. It's astonishingly more than kinda useful for some people; it's a deep principle.

I'm not saying per se don't try to get it right. Spend a few minutes—maybe a few hours on a big piece—working out your strategy, if you feel from experience that will help. But sometimes you will find an enormous benefit to giving up on getting it right, especially after those few minutes, and getting started. This seems almost too obvious to say, except it's truer in this domain than in many others for the reasons I've tried to present above, though at best I've only hinted at them.

Think of evolution: if the atmosphere needed to invent you before even getting started on life, none of us would be here today. Life proceeded, and proceeds still, by little perhaps totally blind steps, followed by a filter on results. In the case of evolution, the filter is as beautiful as what's already there: the atmosphere, the biosphere. In code, your little almost blind steps will be filtered by the compiler and the other code you're interfacing with—not to mention other humans who use it all.

I'm afraid I've written something too simple to be worth recording, but I'll hedge that bet by sharing it. It will not be equally apparent to everyone at all times.

mardi 5 octobre 2021

You know, mummification seems irrational and superstitious, but from a genetic and identity standpoint, doesn't it make perfect evolutionary sense? If mummies have recoverable DNA and we reconstruct the genome, the individual (or the family, genes overlapping) made a reproductive gamble that worked. And even reconstructing their face, their gait, etc, sends a message through time about who they were, etc. Maybe we shouldn't see mummification as bizarre and desperate so much as we see it as old, cutting-edge tech that wasn't available to everyone yet.

The oddest thing is that what would long since have been dirt is the greatest treasure in the tomb by far. Life still works through it.

(This reminds me of something I learned recently from a museum curator, that treasure was once seen as a particular material, but now we understand it's particular information. A real treasure chest contains bundles I can investigate, puzzle out, absorb, preserve, refashion, resurrect in use.)

samedi 2 octobre 2021

I don't play games for the power fantasy of being able to do whatever I want, at any time, for any reason. For that level of freedom, close your eyes and use your imagination.

No game is as powerful and free as your life and your imagination. We must accept that. It isn't a flaw. It's a fact. It's the nature of the form. When you paint on a canvas, your ideas generally go inside a frame on a flat surface. You "make life" (to steal a term from the game Go) adhere to those conditions.

A game is simply another kind of canvas. The conditions are different from those of a hemp rectangle at the museum, covered in oily pigments. But the artist—and the viewer—is constrained nevertheless. That isn't a fault. It is the meaning of art that it cannot say and do everything at once.

vendredi 24 septembre 2021

Creation is about memory, concerns memory, gives and takes it. You don't have to be a memory champ; I'm not saying if it fails to last a century, it isn't art. But to create something, you have to remember you want to create it; remember what you want to create; remember what it is you've been creating and where and with which tools and pieces, long enough to actually create it, finish it, and share it. You do this because a thing made is a deeper memory, a future memory much deeper than the thing only considered. Our physical world has prints (leaves prints on surfaces) and is made of imprints, is possibly itself 1 momentous eidetic skyscraper, and what we create is our influence on traces.

mardi 21 septembre 2021

I find one of the easiest ways out of polarized thinking is not to think in terms of "both sides." To be fair, there's nothing at all wrong—whatever people tell you—with scanning a POV that you find deeply faulty as if there might be something to it. There is something to it, no matter how wrong it may be in sum. Always. (I'm fully confident I can convince you of that, but it's another story.)

"One of the easiest ways," I said. There are others. But the fastest trick I know is to recognize that there are more than two sides to every story. If you're caught in the "A versus B and who is right" trap, find the door. Turn on the light, fumble in the dark if you have to. Get your hand on the door handle and turn.

To be blunt, it ain't A versus B. Those are two angles. We've counted to two. Find a few more, and nine of ten times you'll have left a false dilemma; you'll realize with some relief (and hopefully not too much embarrassment) how trapped you were by your own POV, even if it did happen to be "more right" than "the other" (ie, whatever other POV you felt confronted by).

We learn to count to ten before responding when angry, but we should also count to ten POVs before we suspect we've found a clear view of a scenario. This of course does not apply to an emergency that relies on split-second timing. But if you've got time to talk, and next week is about as good as this week, expand, expand, expand the horizon. Often you can do much of this yourself, simply by undermining your certainties, asking questions, seeking existing expertise, etc. But there's nothing quite like other people for catching oversights.

lundi 6 septembre 2021

Decarbonization as an economic no-brainer may be good persuasion, but is that sell ultimately effective or even true? Anyone rational who can save mountains of money by polluting less—and better yet, without losing productivity or anything else—should want to sign up. But as we reflect on this, three colossal problems threaten to blow dragon breath on us - the hot kind.

First, can we claim, in all honesty, that decarbonization requires no sacrifice, additional hard work, or change in overall principles or approach?

Second, even if decarbonization usually could save money without major effort or sacrifice or change, what about when that falls through? What about when it costs more, takes more effort, requires major rethinking and retooling? Should we not, oh, I don't know, be prepared for that?

Third, and maybe most seriously, the purpose of focusing on decarbonization is helping populations prioritize a key crisis, not helping us all permanently forget that we're mired in dozens or even hundreds of ecological crises. Even if decarbonization were an economic no-brainer, where does that leave us regarding the other crises? Do we not need any plans for changes that aren't a budgetary delight?

The resistance of governments, businesses, and populations to the urgency of climate change has not, I think, stemmed from a long-term failure to recognize deep financial discounts and profits ripe for the picking. It has stemmed from the way this larger crisis reveals holes in economic—and arguably political—orthodoxy all around the world.

Listen, I'm not saying anything new. But why aren't many people saying it? Why is this still so far down the docket? It should be at or near the top. The news outlets should be helping drive constant, on-going public and legislative debate about the best options. These include, I would argue, more direct democracy, countermeasures against factions and polarization, upgraded education for all in debate skills and mental health, economic policies that focus on collaboration and legacy and beautifying the biosphere more than on toxic competitiveness, carbon and other resource taxes, efficiently measuring and raising health and quality of life across the global population, and so on.

dimanche 5 septembre 2021

Accountability is critical in human life, but too often when people call for it, they mean "I want to be allowed to be as mean as I want to this person because ABCD." Actually, accountability is simpler than "consequences." It means that whatever you do, that's what you did. Lie all you want, perhaps, but you'll never overturn the fact. No way out of it. Even if you aren't admitting something (would you admit to attending a synagogue in Nazi Germany, to a Nazi at your door? they don't deserve that particular truth), you must admit it to yourself, or you let yourself down. That's the beginning of accountability, responsibility, morality, and understanding.

Usually, in speech, when not a cover for instincts toward revenge, "accountability" calls for open admission and submission to correction. It doesn't mean agreeing to anything and everything that's asked or demanded. If you're in a cast and I step on your foot in a crowd and hurt you, perhaps you think it's more than fair to stamp on my foot in turn. Perhaps that is fair, and perhaps that is not fair. But there's an enormous difference between my admitting to myself that I stepped on your foot, and my not admitting it to myself. And there's another enormous difference between my admitting to you that I stepped on your foot, and my not admitting it to you. There's yet a third enormous difference between my accepting the task of making it up to you or at least making sure it doesn't happen again, and my not accepting that task. And there's a fourth enormous difference between following through on that task enough to repair the situation and prevent any repeat, and not following through. All of these fall under "accountability." Revenge and punishment do not necessarily.
There's a trick you will often need when writing, or communicating in almost any format. Anything could be misunderstood, or at least not understood. At what point do you let go and allow that? When do you step back and trust your audience?

Sooner or later, you may have to—almost certainly will have to—say to yourself, "If someone doesn't understand this, are they actually experienced or alert enough to understand the overall point, or the rest? I am writing for—talking to—someone with humanity's deep intelligence. That person will understand without my clarifying this detail, which would be a mistake and bog down the piece. And if the person is smart enough to criticize me harshly for the 'error' of leaving in this possibility of misinterpretation, but not aware enough to realize why, and that they too know the meaning without unnecessary clarification, then maybe that person is not in my audience."

I forget which famous writer recommended writing for intelligent but not over-discerning readers.* Write for people who will understand, and help them. Don't write for people who will understand but vindictively pinion you because they imagine you ought to have been more precise here for the sake of propriety, or their personal tastes, or so on. In short, I wouldn't worry too much about readers who'll con themselves into feeling better about themselves by caviling the moments in your work when you trust the intelligence and open-mindedness of your audience.

Ideally, everyone will understand, but you can't expect it. Let a few people misunderstand if they will insist.

*(Ah, it was Friedrich Nietzsche, as I remembered the next time I went into the Scrivener settings, where his quotation stands as an example for trying out formatting options: "Good writers have two things in common: they prefer to be understood rather than admired; and they do not write for knowing and over-acute readers.")
(By knowing and over-acute, I think he means they know what you're saying, but they want to roast you for a lacuna or solecism.)
I love dialogue and complex stories, but I've been noticing most authors make what I consider basic mistakes by trying to jam too much into dialogue. This takes two most common forms.

In one form, they're so eager to "show, don't tell" that they insert background facts into dialogue that simply wouldn't be spoken. (Or, worse, they tend in this direction enough that a reader begins to hear every spoken factoid with suspicion.) They're afraid to say anything in the narration. They want everything spoken, even if it sounds unnatural and clunky. Let the narrator tell me it's the third bomb threat this week. When two people standing next to each other for all three threats exchange "That's the third bomb threat in one week!" it almost doesn't matter anymore whether it's realistic. It already sounds like bad exposition. There's no shame in narrating the awkward corners of dialogue if they probably wouldn't be said out loud in that moment.

In the other form, writers make the same kind of mistake with dialogue tags and interstitial action. They're again too eager to "show, don't tell." The author is so afraid to directly address how a character seems to another that everyone's constantly blanching, stammering, gawking, blushing, etc. In real life, most people rarely stammer, and when they do, it might mean nothing or not at all what you would suspect. Fiction gives us this illusion that involuntary activity is obvious, stereotypical, and reliable. Often it's none of those things, though it's always interesting.

"Show, don't tell" is great advice, but it isn't a hard and fast rule like "never drive head-on into an approaching truck." These errors I mention are hardly gigantic, but they'll break the spell, and then the writer and reader have to start over and cast it again together. Fortunately, this is avoidable.

lundi 30 août 2021

Maybe if you take binary logic and melt it, you get consciousness.

Oh, you may object to "melt." What am I talking about, right?

In my learning and behavior textbook from college, there's a definition of language. One requirement is that the elements of a language have discrete meanings. That is, "I ran away" can mean many things in many situations, but it definitely does not mean "I started my egg sandwich." We can draw a clear separation. "Red" covers a range of colors, but they share a particular quality that is not "blue." We can separate the colors easily enough in practice because the words are discrete.

In class fifteen years ago, I thought of what happens when the discreteness of language breaks down. What does that look like? What would a language be without discreteness?

Here's one great example: tarot cards.

But what if you felt really daring, and wanted to go a little further? What happens, computationally, when you get a breakdown in the discreteness of binary logic? It's still computational. It's still a physical process.
I consider human experience proof this universe isn't deterministic. But I don't mean this exactly the way you suppose. I mean that I don't see the point of feeling our way through countless options to carve out one path if there were only one path to begin with. That is, what is the universe doing creating my conscious experience and yours, if not to put it to use? It seems to me that I'm conscious because I choose among alternatives that are possible, ones that change not just my course, but the universe's.

It's supposed that the presence of consciousness might (causally and deterministically) shift the informational processing of the mind without providing anything we might recognize as freedom. It could be functional without any suggestion of bifurcating a one-track universe. Yes, perhaps. But how would pure consciousness influence information processing? If we were to isolate that effect - isolate what would be lost if only consciousness were removed, leaving all the biological computing machinery operating no differently - what could comprise it? The essence of consciousness appears to be multivalence. Consciousness without choice borders on an oxymoron. Feeling informs yet does not seem to fully determine. It seems to us that the feeling is one half, and what we think, say, or do is the other. Why is it important that we actually feel? The universe is not wasteful with phenomena.

There's also the suggestion consciousness could be an inert side-effect, a little like fumes from an exhaust pipe, or hot water in the river near a nuclear plant. Maybe it has influence, but that is only incidental to what a sentient being does; consciousness could safely be removed as far as behavior is concerned. But nothing in this universe is unilateral. We continue to suppose every force has an equal and opposite force: isn't that another phrasing of the law of conservation of energy? The impressions of consciousness into this "me" object, the surprise I feel, the constant flow - it seems I consciously consider other paths because they could be taken. Not just in theory, informationally: by the universe.

It seems to me that to will is to compute, but maybe it is not to compute deterministically. There's no shame in a hypothesis, even when some studies appear to contradict it.

Certainly I could be mistaken. This - what we feel - is not an absolute proof. But maybe it's evidence all the same. It's an empirical observation shared across humanity and history.
When people think that science is inferior to the "human" realm of art, feelings, and communication, this hides an unexamined assumption that humans are superior to other creatures, including extraterrestrials.

If humans are really so much more nuanced than the natural world, then aliens have little hope of surpassing us. If, however, the natural world is just as nuanced as humans, or much more so, then we have no trouble recognizing the importance of all life on earth and beyond.
Anything bad - it has an upside that makes it more tolerable, if you can't avoid it. Even if you were to die one minute from now, there are plenty of upsides. I say this with confidence because life inevitably involves pain. Each moment of future pain you prevent is a kind of upside. And whoever you are, however kind and considerate, you will undoubtedly cause some problems for others in the future. Not causing them is a kind of upside. Put these two categories together, and we've already pointed to many upsides.

I'm not suggesting that dying is a good idea, or something not to seek with every ounce of your being to avoid. You should avoid it. But there is no bad thing without some upside, at least not in recorded human experience. Even the greatest tragedies you've ever heard have the upside that they've been communicated and at least partly understood, so now they can be a little more easily avoided. And if no one hears of a hypothetical tragedy, it's usually easy to find upsides. A tornado that kills a solitary person who is never found still carries out the energy-flow purpose of a vortex, and the person's atoms can be used by other life. Perhaps any pain that person feels in the last moments has no upside. Then again, perhaps even pain that is never remembered or communicated serves some purpose. And at least it was brief and did not cause a lasting psychological wound.

I could simply have said "Every cloud has a silver lining, and every silver lining has a cloud," but reiteration is not always powerful. When you've heard the words "Just do it" but still struggle to get into them, well it could be that they just won't help, but it could also be that today, in this moment, you need illustration. Some source of the Nile needs to bring you fresh verisimilitude, elaboration, a gentle twist of the neck. Maybe today it's art that you need. One function of art is to illustrate what we already supposedly know.

You know war is bad. Yes? Are you going to tell me Saving Private Ryan doesn't change how you feel and what you know?

vendredi 27 août 2021

When we read a story, we're acutely aware of the human realism. That is, if a person's reaction smacks of falseness, it's upsetting and we may call the whole story bad. Plot holes are next: if the stream of events sets off incohesion alarms, we might tell our friends not to bother. Scientific realism is a distant third.

What if we considered the human realism just as much a question of science, given that psychology and neuroscience are domains of study subject to the scientific method?

That is, the human and the scientific need not stand against each other in a pit. In stories, we tolerate some unrealism. When, how much, why, and in exchange for what - these are personal questions, though we overlap.

Likewise, subtle concern for scientific accuracy need not be seen as stodgy or unartistic. The natural world and its forces are just as nuanced, just as real, and just as lived as the human mind and heart.

jeudi 26 août 2021

Arguing well - by which I mean accurately - generally requires a sense of humor, or at least of play.

We believe good debate is the verbal equivalent of what a gladiator does. Gladiators are dead serious. Consequently, as would-be gladiators, we heft our swords and scan for anything that moves and carries a weapon. Seeing an enemy, we narrow our eyes and crouch, readying sword and buckler.

By debating in this style, we eventually fail to catch good arguments even when swimming in a caldera of them. To burst a metaphor (or stretch it so far it's silly): gladiators don't have time to pause and scoop up blood in their hands and taste some, let alone fake blood, let alone find a blue rose or a zipline off the ground to safety. We're aiming for the jugular, not focusing on evidence, logic, compassion, and imagination - all of which are required for good debate.

You can't prove anything without humoring fallibility: the possibility what you're saying is totally wrong. Therefore you shouldn't equate someone else making a good point (or even just trying), up-front, with your own bloody death, or that of someone you love. If you don't have the stomach to start with the notion that you may be 100% confused, don't expect to settle an issue.

Good debate, if anything, is much more like Tai Chi or Aikido. You relax. You do what Bruce Lee suggested: you "flow like water." You attune to changing arrangements quickly. You let everything happen and just barely tip the existing energies here or there as if they were your own, where needed. In a word, you play.

Maybe you look unconcerned or lazy, but no one can defeat you, because you operate according to nature's contours, rather than your valiant preconceptions of them.

You truly "win" a debate when an idea you put forward matches reality, not because you huffed and puffed and blew someone's house down.

Proof - whether scientific or social - means walking us from the beginning proposition that an idea is totally wrong - while taking fair, transparent, verifiable steps - to the proposition that it's most likely right. You squeeze out uncertainty to establish an idea. If you don't start out uncertain, there's nothing to squeeze. Without squeezing, there is no proving.

This runs counter to our received image of the self-assured contestant. But watch the best ones carefully, the ones with a long track record of right answers, practical ideas, and cogent arguments for them. You'll see they have the boldness to allow and even invite and compliment challenges. In truth, while they project or even feel confidence, the pattern isn't confidence so much as it's the necessary foundation for proving anything. Start with a blank slate. Flow like water. Let the best ideas win. Allow any idea to try. Don't reflexively stab it as if it's trying to kill you. You aren't that weak, and reality is far stronger still.

Because you are not really threatened, you can humor even the ideas that would horrify you if they happened to be true. You know discussion is not reality, but a reflection. You can observe a solar eclipse from its shadows. These are the words of a debate. These are play. The play is a critical component. Without it, you either don't look, or your eyes are damaged.

When you argue from a (perhaps fearful) position of complete certainty, not only are you too rigid, but technically, as I just suggested, you can prove nothing of what you're out to prove. Proof exhales and releases uncertainty; without initial uncertainty, proof has nothing to breathe. You can't get an A on the test without taking the test, which means showing up and allowing the possibility of getting it all wrong. And you don't deserve an A on the test if you go in with a list of all the right answers, previously verified. It's the uncertainty that makes it a valid test. This is true of all proof.

Consequently, you need to humor arguments that undermine what you're trying to prove. To try to blot them out, forbid them, or shame anyone who mentions them is simply cheating.

(You probably are not aware that you are cheating. Our culture does a poor job of making sure everyone understands these natural rules of dialectic, or good argument - which in practice must be softer than mathematical or scientific proof, not harder, to keep discussion going. You're forgiven, at least by me, for cheating without realizing it. But now you know.)

Discussing extremely serious issues while humoring ideas you disagree with generally requires a sense of humor, or at least of play - and using it.

If you can maintain this sense, and the other parties can, you can have a good discussion.

If you can't, it will threaten your relationships even to talk, which means it won't be a particularly good, open, or informative discussion, in all likeliness.

There's a basic mechanic to all this. Good debate isn't a total mystery. It works according to natural rules, much the way your car engine does. When it breaks down, there are reasons. When the car responds to the accelerator, there are reasons.

The tragedy of modern democracy is that if everyone knew this, democracy would be 10x more effective, if not 100x more effective. 

mardi 24 août 2021

People make fun of the old "elements" - earth, air, fire, water. But all they are is the use of phases - solid, gas, plasma, liquid - as symbols, metaphors. Once this metaphorical thinking was thought to work like a science. Now we know it doesn't. It's a myth. But myths can tell us about ourselves. They tap into dreams and change us. There's nothing wrong with using plasma as a metaphor for inspiration, will, action, change.

lundi 16 août 2021

We accept numbers as infinitely precise - for example, pi cannot be fully expanded in digits. Yet we balk at numbers that are infinitely wide - for example, the number of integers.

The number of integers is less than the number of complex numbers. That we can compare them this way, and discuss them this way, suggests they are numbers, even though they are not finite.

Of course, we can define numbers to be anything we want. My right pinky's nail is a number because I say so, and according to the little game of conversation we're playing, in which we get to choose the terms, that's actually true.

But I'm not saying that. I'm saying that infinity is remarkably like other math objects we call numbers.

There are groups that have been grossly and tragically mistreated - and not just temporarily, but for far too long. These include oppressed orientations, genders, religions, and "races." All need to be respected, accommodated, and helped to feel welcome in society. It isn't enough that they're still alive or grudgingly allowed to exist if they keep quiet. We need to work to welcome people who are different from us.

On the other end of this, when a group has clearly been mistreated at large, they have a lot to say that needs to be heard - yet this does not mean that everything they tend to agree with each other on is entirely true and accurate.

It's difficult to disagree with someone (let alone a group) you want to support and don't want to offend, stress out, or shut down, but it can be a useful thing to know how to do.

It isn't something you should spend all your time doing. But many people will not dare at all, or will even see daring as immoral. Alternatively, they'll get militant about promoting their diverging opinion and turn themselves into assholes for no good reason.

No one is right about what they say just because they are abused, or just because others agree, or just because it would sound bad to disagree. It doesn't work like that. Neither, of course, has anyone got it right just because they aren't in the minority here.

But if you hope to make some kind of point along these lines, in the context of what someone experiencing abuse/oppression might say that may (like any other statement from a human or a group) not be exactly accurate, representative, fair, etc, you need to start from a position of extreme compassion. If you don't, it will not go well. Even if you do, it'll probably be tough.

Still, there is a need for this in the world. Just not too much. Small, measured doses. And be kind. That goes usually, but especially here.

dimanche 15 août 2021

We can't count to i or pi any more than we can count to infinity, yet we claim the first two are numbers and the third can't possibly be.

In the function f(x) = 1/x, infinity seems to be reached at x=0. If you complain that you can't tell if it's + or - infinity there, well, could you be making an unfounded assumption that those are not the same? On the graph, they appear to be the same. If we posit that 1/x is in some sense continuous at x=0, then + and - infinity are the same number, and it is reached at x=0.

We can't count to it, but we can reach it with familiar operations.

dimanche 8 août 2021

The standard tarot deck, since at least 1490*, comprises 78 cards. These form 2 distinct groups: 56 minors ("pips" and "courts") and 22 majors ("trumps"). Among the latter group, The Fool stands out: he is given a value of 0, can be put at the beginning or end of the majors, and in the game rules is a bit of a wildcard. The bigger group, 56 minors, is itself made up of several subgroups. First, it's split into 4 suits of 14 cards each: ace, two up to ten, page, knight, queen, king. And alternatively, it's split into 40 pips (the number cards ace-10, in all four suits) and 16 courts (page, knight, queen, king, in all four suits).

78, 56, 22, 4x14, 21+1, 40, 16, 4x10, 4x4.

You may wonder where these numbers come from. I did. And I've been asked the question by several curious minds. Mainly, people want to know, "Why 78?"

In my view, the short answer is: dice. That is, not a number randomly chosen, but a pattern arising from probability theory when playing dice games.

In any casino deck, there are 52 cards, not including the 2 jokers (who arrived late on the scene historically and often fail to participate, the layabouts!). It's easy enough to link this number, 52, to the number of weeks in a year, then link the number of suits, 4, to the seasons, the number of colors, 2, to warm and cold seasons (or night and day, or male and female), and finally the ranks in each suit, 13, to the weeks in a season. Although some historians claim to debunk this as mere coincidence, we don't have a record of the pattern's genesis or the reasons behind it, nor can we ask the long-dead people who chose it over rival patterns. We can, however, posit that 52 has always been the number of weeks in a year (if weeks are 7 days, which they have been since later Roman times) and 4 always the number of seasons (if you divide the year at solstices and equinoxes). And as most card players in the last thousand years have known these facts, these could have contributed to the pattern "clicking" and feeling "somehow right." That is, the coincidence could be part of the reason the pattern survived and thrived even if the designer of the 52 card deck never saw or thought about a calendar.

One minor piece of evidence for this is that when the 48-card Portuguese deck arrived in Japan bearing its 4 suits of cups, staves, swords, and coins, each with 12 ranks, it was adopted in a slightly modified form. The Japanese players decided that they wanted to relabel the deck's structure so that it had 12 suits of 4 ranks each, the 12 suits corresponding to the 12 months of the year. There is actually quite a long history of people of different nations associating the calendar to cards, dominoes, dice, I Ching hexagrams, and so on. I haven't seen the 52-cards-to-52-weeks, 4-suits-to-4-seasons hypothesis convincingly debunked.

Either way, it turns out that for tarot cards there are especially sound reasons for the numbers 56 and 21, and, by extension, albeit to a lesser extent, to 22 and 78.

If you look back to around 1100 CE, when the first Chinese domino sets appear in the record, they have two suits of 11 ranks (give or take one). 11 is a non-random number. A suit of Chinese dominoes is marked to represent the 11 different outcomes you can get from rolling 2 ordinary (ie, cubic) dice and adding the faces: 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12. That's 11 different sums you can get. Now, in the most common Chinese domino set, the second suit is 10 dominoes. This is presumably because 10 is the number of fingers, is similar enough to 11, and when you add both, you get 21. And 21 is another special number.

Why is 21 special? Because this is the number of different outcomes you get when you roll two dice but don't add the faces, merely reporting them both, not caring about the order. This is by far the most natural way to think about a pair of dice you've just rolled. "I rolled two 6s" or "I rolled 3 and 7" the simplest way to read dice, possible even for those who don't know any arithmetic. Players had been using dice for millennia before the invention of die rolls on tiles (ie, dominoes). The numbers 11 and 21 showed up on dominoes because they were familiar to players who understood enough to strategize, and, more importantly, were familiar to the designers of the tiles.

Now, that's dominoes, but what about cards? First of all, cards derive from dominoes: the earliest cards were paper dominoes either drawn by hand or printed in woodblock presses. Consequently, the patterns of 11 and 21 in dominoes form the starting point for playing card decks. In the modern 52 card pattern, all suits have 13 ranks, not 11. Well, games evolve. The original idea of 11 was lost along the way, along with taking the cards literally as either paper dominoes or symbols of dice outcomes. You can still see the resemblance to dice in the array of, say, diamonds on the 6 of diamonds, or clover leaves in the 4 of clubs, or really the pattern on any number card. By some route or other, two Chinese domino suits eventually became four card suits. Now, similar multi-suit and different-rank-count ideas were tried with dominoes, and we can't say for sure that there weren't identical 52-domino sets first. But whatever account you believe, there was plenty of variation across the centuries in the empires that played these games. Card and domino suit patterns came and went. Some are mentioned in documents but lost, some exhibited in museums, some even still in play.

Tarot is interesting, not only because there are more tarot variants than any other category of card game, but also because the original, traditional tarot deck has 4 suits that are even bigger than in the casino deck (14 ranks, not 13 as in your favorite regular card game, nor 11 as in Chinese dominoes). And it also has this extra suit that goes up to 21. Now, contrary to popular belief, trump suits were not a new idea in 15th century Milan, when tarot was invented. But illustrated permanent trumps appear to have been. In most games, the trump suit changed on the fly; in tarot, it was always the fifth suit, the suit of 22 illustrated majors. The question is: Do we believe the 21 + 1 cards - the number of combinations a pair of dice can take on - plus The Fool for 0 - added to the deck are a coincidence?

We might believe it's a coincidence. Stranger things have happened.

Let's put that aside for a minute.

What about the 56, though? Does that mean something?

56 is to three dice as 21 is to two dice. Each different combination of 3 dice corresponds to a different, unique minor card, and all of the minor cards are given an ID this way. Just as you can pick any of the 21 majors with a roll of 2 dice, you can pick any of the tarot minors with a roll of 3 dice.

The same, again, goes for the 21 regular trumps. Each corresponds to a unique result of rolling two dice.

What about The Fool, though? Why is he there, and doesn't he break the scheme? Well, yes, sort of.

There are precedents for dominoes representing 0, not just 1-6. For example, the modern European-style set contains 28 dominoes, corresponding to all the rolls (combinations) of, well, a pair of mythical 7-sided dice with faces 0-6. There is no 7-sided die in existence, at least not in a regular shape with congruent faces. But the European dominoes pretend there is, to put 0 into the mix.

At this point, we should probably recall that 0 was not accepted as a number like all the others for quite some time. In fact, most Europeans didn't know about the number 0 before 1200 CE, about the same time we have our first clear written evidence of playing cards appearing in China. Even today, not everyone accepts that negative numbers are numbers, let alone complex numbers. We can safely assume that the average European didn't see 0 as quite the same as the other numbers for many centuries after 1200 CE. We may be justified in setting The Fool aside from the other 21 majors, even without the convenient factoid that the rules of tarot games treated him as unique, a kind of wild card.

Now, ok, let's summarize. What have we got? We have 56 majors (a familiar 52-card deck with one extra rank), all of which are IDed by the different patterns you get with 3 dice. We have 21 minors, which are IDed by the different patterns you get with 2 dice. In this sense, the 77 cards can be mapped to, or addressed by, if you will, 5 dice. And beyond all that, we have the weirdo wild man, The Fool, whose 0 means both high and low, and allows him to infiltrate any rank or suit.

Also, by the way, did you notice that 22 is 2 times 11? Another way to interpret the majors is as all 11 sums of a pair of dice, duplicated and put in a row. This is virtually identical to what ancient Chinese dominoes did with the original 11 sums, tossing in another suit of 10 new symbols to cover all 21 combinations. The 11 original sums and their symbols were then duplicated exactly to get 11 + 11 + 10 = 32 dominoes, presumably because this was a power of 2 and half of 64, the number of I Ching trigrams (as a result of the predominance of I Ching, the Chinese had a deep affinity and love for powers of 2). The point is that the 2x11 pattern existed in dominoes already, and yes, some of the dominoes or cards based on them were illustrated with scenes and ranked, much as tarot trumps would be later. There's a case to be made that when the 52-card deck became the 78-card deck, a set of Chinese dominoes or cards was reskinned and dropped in as a fancy new trump suit. This is actually the explanation I favor, though no clear historical evidence remains one way or the other.

Let's go back to the minors for a minute, remembering that we have still temporarily banished The Fool from the majors.

If you isolated the 56 minors and drew a card at random, that would be equivalent to rolling 3 dice and reading off the numbers the way anyone would around the world (ie, not caring about the order, which mathematically means you are reporting what's called the combination). Ok: not perfectly equivalent, because the probabilities of the 56 dice outcomes are not balanced. That is, snake eyes (1 and 1) is only half as likely as getting, say, 1 and 2. But if we ignore the unevenness of the probabilities, 3 dice will nevertheless map to the 56 minors, and so you can perfectly accurately see each minor card as symbolizing a unique outcome from a roll of 3 dice. (Forgive me for getting repetitive here.)

If you put the 21 majors back in the deck for a total of 77 cards, and then drew one, this would not, however, be equivalent to rolling 5 dice. It almost would, but it wouldn't. Why? Let's say you colored 2 of them blue and 3 of them green. When you roll all 5 dice, you get a pattern on the blue dice (one of the majors is thereby selected) and also a pattern on the green dice (one of the minors is thereby selected). From that roll of 5 dice, which card is chosen? The answer is: two different cards are chosen, a major and a minor. Just the die roll is not enough to say which of the two cards is the "right" one selected by rolling dice.

Still, we're getting pretty close to converting a tarot deck into the dice that gave birth to it centuries earlier.

Can we do any better? And what about The Fool? Can he come back to the tavern and join the revelry?

Let's use a trick. The Fool might like that (especially if he were teaming up with The Magician, but that's neither here nor there).

Notice that if a die roll needs to select either a major (from the 22) or a minor (from the 56), that means that you will be reading either from two dice or from three dice. So, actually, do we need all 5 dice at once? Or even all? We need either 2 dice or 3 dice, plus a method to decide whether we're going to use 2 or 3. Fortunately, if we only need 2 dice, it doesn't hurt to have rolled 3. So we can always go ahead and roll 3 dice, and read either 2 of them or all 3, depending on some other command.

Where could that command come from?

Could we, say, use dice?

Ok, that sounds believable. Now, how many majors are there? 22. How many minors? 56. What's the ratio? 22:56. Hmmmm, can't be reduced. What if we kick The Fool out of the tavern again, for a minute. 21:56. Can it be reduced? Yes!

It reduces by a common factor of 7, and you get 3:8. What does that mean? It means that when we draw a card, 3/11 of the time, we draw a major, and 8/11 of the time, we draw a minor. (That is, provided we've banned The Fool.) This is particularly handy, because, remember, 11 is one of the canonical numbers with a pair of ordinary, cubic dice. If you add the two faces, you get 11 different possible outcomes.

(If we put The Fool back and upscale the ratio for practicality, we get 21:78 or 7:26, 56:78 or 28:39, and 1:78.)

Ok. Let's try to use this trick.

We roll 3 dice, not knowing whether we will read 2 of them (and then draw a major card) or all 3 (and then draw a minor card). To answer that question, we roll another 2 dice, add the two faces, and look at the outcome. After 3 of the outcomes - say, sums of 2, 3, or 4 - we will read 2 of the other dice and draw a major. After the other 8 outcomes, we will read all 3 of the other dice and draw a minor.

As before, the probabilities are not equal. For example, an outcome of 7 is much more likely (6x more) than an outcome of 2. So in this current scheme, we will get a major card less often via the dice method than if we were simply drawing shuffled cards. However, it's still interesting to note that if we roll the dice repeatedly, we now have a method that will eventually get to every one of the cards. Except The Fool, of course, because we banished him.

It turns out that we needn't have banished him, really. When you draw from a pile of the 22 majors, 1/22 of the time, you will get The Fool. If we draw from the whole deck, it's 1/78 of the time. But we've already admitted that our probabilities are off in the dice method. So all we really need to do is attach a particular die outcome to The Fool and go on our way. Let's give The Fool 12. So, whenever the two special dice both come up as 6, that means that instead of consulting all 3 other dice, or 2 of them, we simply ignore them and choose The Fool. This does mean that The Fool is replacing one of the situations where we would have drawn a minor. But we already noticed that the minors were overrepresented in the probabilities. While there are 11 sums of two dice and 21 combinations, there are 36 permutations, and double-6 is exactly one of those permutations. This means that according to our current scheme, The Fool will be drawn 1/36 of the time, rather than 1/78, or about twice as often as he should be.

The neat thing, though, is that we now have a method for using a single roll of 5 dice to select potentially any tarot card. The probabilities are a bit off, but they could be tweaked. Interestingly, since we don't use one of the 3 initial dice about 3/11 of the time, we could perhaps ask that die to serve an extra role, and get ride of one of the 2 extra determining dice. So even though tarot corresponds closely to the probabilistic structures emanating from 2+3 dice, I think we could pull off a similar drawing-any-card-with-dice feat with only 4 dice. However, I have to think about this. I'm not sure whether that approach would preserve all 78 mapped cards.

There are other reasons 56 would have been an attractive number of minor cards, and it's possible that the alignment with 3 dice was never a factor. For example, it appears likely that two different deck types merged, and the resulting deck kept both queens and pages, rather than choosing between them, resulting in 4 court ranks rather than 3. Additionally, the woman for whom the earliest surviving deck was made, and who features in many of the card images, was the Duchess of Milan, not only an avid card player in a court of avid card players, but the daughter of the duke who had, we believe, commissioned the very first tarot prototype. Card games were played more by women than by men at the court, the Duchess was highly influential (her husband was a younger outsider, a marriage of convenience), and we have some reason to believe that equal representation in the ranks of the court cards was a key consideration. Finally, that first prototype of tarot had suits of 12 cards (1-10, queen, king) and a line of 16 trumps, 4 trumps loosely associated with each suit. So in that very court a few years earlier, and commissioned by the very same Duke, there was a deck containing 16 cards, 4 associated with each of 4 suits - exactly the eventual structure of the tarot courts. It isn't difficult to believe this had an influence by a minor transposition, merging those original trumps with the kings and queens for a new court of 16, and making room for a new line of 21 trumps, plus 0, The Fool.

But even though we can probably explain the alteration of the casino deck's 3 court ranks to the tarot deck's 4 ranks in these ways, this does not mean that probability theory and dice patterns played no role in this pattern succeeding where many other variations died out. And let's not forget: the court of Milan circa 1440 was not just a court of avid card players, but also a court of avid dice players.


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*(the Sola-Busca is the oldest complete deck that survives)

mardi 27 juillet 2021

We have a right to our opinions, but we act on what we believe; and so we have a responsibility to seek opinions that mirror reality and its potentials. That means the flip side of a right to our own opinion is a responsibility to challenge it and listen to those who would challenge it (especially constructively, but ideally anyone at all, adjusted to realistic constraints like time, energy, and mental health). I have a right to my opinion, and you have a right to tell me my opinion is bullshit. And I have a responsibility to consider that peaceably, without making you an enemy for challenging my thoughts.

dimanche 18 juillet 2021

Game development is an almost infinitely multidisciplinary pursuit. Or it can be. That's what attracts me to it.

What has no possible relevance to game development? I can't think of a single fact, idea, or feeling.

It's also a danger: the infinite regress of tangents.
Capitalism is widely seen as competitive, the competition strengthening the products. Capitalism forces you to live with other people's bad judgment. You go to a restaurant, and you're drowned in fat, sugar, salt, unnatural flavorings, etc. All the healthy snack bars disappear from stores. When hungry, I've often wanted to just go to the supermarket, get some produce, wash it, and eat it in a corner - but you're forced to pay $6 if you want a handful of washed strawberries, and in most supermarkets you don't even have a place to eat them. That's competitive and superior? That's a parade of bad judgment and lack of the obvious amenities.
There's this pervasive idea that capitalism is competitive and selects the best products, weeding out the inferior ones. I disagree. Often the superior products fail, and the ones that rip you off succeed. That isn't the rule, exactly. But just look at snack bars. Your local store selects the snack bars that are not good for you. As in restaurants, you're forced to live with other people's poor judgment. The bars that are good for you? They systematically disappear, often entirely discontinued. Why? Well, use your imagination.

jeudi 8 juillet 2021

Do you want to know when a topic has gotten unrealistically polarized? Curiously, you don't need to know the real truth to see. Ask yourself a simple question: how many obvious points are people not making, compared to how many times people make the same (often weak) points as each other? There's your answer. If a modestly intelligent person can quickly (say, in an hour) find 20 solid, obvious points that no one is making, that's probably because most everyone's blinded into a camp.

mercredi 7 juillet 2021

Why do people insist that the book is ALWAYS VASTLY SUPERIOR to the movie? Come on. Some movie renditions are good. Occasionally, they're just as good. It has also happened that the movie is better. Hasn't it? It's silly to insist on ALWAYS rules like this, trying to sound clever.

When you chant that the book is ALWAYS VASTLY SUPERIOR, you do several things on a socioaffective level that you may not be reflecting on closely. Most obviously, you're taking the opportunity to share that you have read the book. Because books still tend to carry more intellectual prestige than movies, this in itself could be simple self-aggrandizement. Still, room for sharing, of course, and what's the worst that could happen - someone thinks you're annoying, or feels down about not reading more themselves? (Real feelings! And ones I've experienced! But limited in scope.) Next, with ALWAYS you not-so-subtly claim that books are the VASTLY SUPERIOR medium. Clever you. Third, you position yourself as a connoiseur fit to judge such sweeping claims. Oh my knees tremble. Fourth, you put yourself with the "us" who say such things, so you give yourself a community. Fifth, you may be brushing aside the opinions and feelings of others about a fundamentally subjective question. Sixth, you self-assuredly show no sign of humility about the probably vast quantity of books and movie renditions out there that you have not yet encountered. Aren't you so charmingly confident.

Listen, it ends up being a very personal and even situational thing. For example, everyone thinks the Peter Jackson Lord of the Rings adaptations are about as good as anything can get. I thought... they were ok. Really not bad. Quite decent. Even good. Sometimes excellent. But they mostly did not capture how I felt about the books as a kid. That's an issue. For me. I hate the way the orcs look, for example. They look stupid and Hollywoody. The battle scenes are pretty boring and take up too much time, relatively speaking. It doesn't quite feel like a travelogue in a mysterious land full of secrets in runes. Again, for me. And so on.

You might say that's because the book is ALWAYS VASTLY SUPERIOR, and that might be an adequate explanation for you. I'm not particularly criticizing the movies, either. I do feel they're better than I have much right to expect, and I admire and wonder at the work and care that went into them, and don't begrudge them any success or praise.

Meanwhile, take an "unfilmable" book like Fear and Loathing in Las Vegas, and a film adaptation that plenty of people panned (Terry Gilliam's, so far the only one). You know what? I like the movie better than the book. On some level it's just a morally irreponsible story, but I think the visual feast and actorly fireworks are even more extraordinary than the delirious travelogue. I don't have to justify it. And I'll admit I saw the movie first, then read the book. But it could still have gone the other way: I could have thought, damn, this book is so much better. Instead, I thought it was a little flat after I'd already seen the whole idea play out multiple times. There were some extra reflections, and those were nice, but... who cares? Does introspection make the book ALWAYS VASTLY SUPERIOR? (I'm an almost unnaturally introspective person; maybe it's like pomegranates at a pomegranate orchard.) It hardly surprises me that some introspections didn't make it to the screen. The question then becomes: are these so great and worthwhile that they override my feeling that I miss the movie? To be sure, I'm not claiming the filmed version is better. I'm saying that, for an attempt to film an unfilmable book, it vastly exceeded my expectations, to the extent that I personally prefer the result, given the choice between the two. Here, the difference was not less than, but greater than usual: not just a book, but "unfilmable." This isn't supposed to happen!

Or what about an example like Jurassic Park? I saw the movie first, and given that Michael Crichton had directed films based on his stories before, and the novel was filmed, you have to suspect that he wrote the book with the silver screen somewhere in the back or front of his mind. This story's the opposite of unfilmable, then. It's a completely groundbreaking movie, climbed straight into history books and newsreels and documentaries. Everyone in my 5th grade class was stunned by it. In fact, it seemed everyone was stunned by it, period. Yet I remember my dad reading the novel maybe two years earlier, and he left it in a hotel room half-way through. He said, this author has brilliant ideas, but he doesn't quite know how to execute them. He didn't feel like finishing it. Fast-forward a few years, and I read the book myself, after seeing the movie repeatedly and loving it, thinking there was nothing else like it. Guess what? I enjoyed the book at least as much. I couldn't put it down at all. Does that make the book better? Not necessarily. I'd still say the film is the more extraordinary achievement. But, damn, that book was fun to read as well. I didn't really know what my dad had meant.

Let's try Solaris. I've seen the Tarkovsky, the Soderbergh, and the uncredited adaptation Event Horizon. I saw those three movies before I read the book. And I enjoyed all of them a lot, actually. And... drum roll. The book still blew me away. For me, the book here is king. But that doesn't diminish my appreciation especially of the Tarkovsky movie. It's just so radically unlike anything I've seen before or since. It is not at all what I'd imagine a film of Solaris to be. And it's wonderful. But, again, I enjoyed all three of those movies and want to see them all again. And I want to read the book again. Is the book better? Maybe. Here I'd say it probably is. As astonishing as Tarkovsky's Solaris is, I think a better movie could still be made, at least in theory. And I definitely enjoyed the book most.

I've been reading Dune. As a child, I saw the much-maligned Lynch version many, many times. A quarter of the way through the original, I'm really enjoying it. This is understandably one of the greatest classics of science fiction. But there are things in the movie that are wickedly well done. The book is not better in all respects. And I'm reading an audiobook. Despite all the boos from critics for the Lynch movie, this award-winning audio production very clearly takes after the movie, in terms of its sound design and some acting choices. Movie - flopped, disgraced. Audiobook - Audie award. Yet the audiobook emulates the movie without being (to my mind) nearly as good. (If I didn't read so much on long walks, I'd much prefer to read all of the story in ebook form. But I don't say that because the audiobook is always lesser than the pure text, or because this particular audiobook is poorly done. Some audiobooks add to the text in a way that I would claim is even objective - check out Joss Ackland's reading of The Screwtape Letters!) Sure, the novel contains many more little details and contexts, so far. And I appreciate all of them. But let's be blunt: quite a few of them are prosaic. At least in the first quarter of the story, which I can address, David Lynch and his team made what I would say are excellent calls about what to put in and what to leave out, given budget and time constraints, and what to embellish. Now, much as I love the (yes, definitely flawed) movie, I'm more than willing to say the novel is a greater achievement, and better (in the sense that stands the test of time), not just "better." But I must say, all the most exciting scenes, I can see and hear them in my head from the movie, and they came out really damn well. And, again, the extra details (UPDATE: this changes) are often pretty bland. Frank Herbert himself felt much more positive about the movie than the critics. He said he inevitably had some issues with it, but they'd done a great job. I'm going to be pretentious and simply side with the author, here. What he said, as I've just found out, is how I'm feeling. Doesn't that make me special and smart.

It's a personal thing, though. Wouldn't it be easy to say the book is ALWAYS VASTLY SUPERIOR and leave it at that, smugly. No, it often is - which makes sense, because when a movie is based on a book, that's usually because the book was extremely successful in its own chosen medium. Conversion to a new medium is inherently risky, and conversion to a shorter length is inherently lossy. Yet it can succeed.

lundi 21 juin 2021

Art doesn't have to be realistic. Some will expect realism and judge for lack of realism. Others will not mind. Yet others will appreciate departures from the ordinary or even the believable.

With art and morality, it's similar. Some will expect morality and judge for lack of it. Others will not mind. And others will appreciate amoral or immoral angles for a variety of reasons.

For example, it is true that the good guy does not always win. Many will allow this concession to realism to supersede simple morality. But there are other supercessions. Art can strive most to be aesthetic, emotional, moral, realistic, intellectual, novel, technical, or something else. There is no one right goal.

samedi 22 mai 2021

I'm tired of the cliche of games being all up to you. You make the rules, you make the story, you are the hero, you save the world, you, you, you, you, you, you, you, you, you. Good Lord how tiresome it can be from a certain angle.

I don't want a game where I decide everything. That's called life and art, and even then, I can't decide everything.

In a game, just as in any other art I find and appreciate, I am constrained by the choices of an artist (or several). If I weren't, I wouldn't be interested.

Gigantic worlds that take hundreds of hours to explore are not appealing to me, they are off-putting.

Maybe others are trying to replace their lives wholesale, or maybe that's a judgmental - and, besides, inaccurate - way to see it. Regardless, I don't want total freedom. When I do, I write a poem or improvise some music or go on a walk and reflect and daydream about whatever catches my fancy. Or I just dance to a tune where no one can see (or form an opinion). Games don't help free me in that way. An inordinately long game in a "real" world "up to me" is a proposition that sounds like prison, actually.

Games do offer choices, and that is interesting. But they cannot leave everything up to me, and when they claim to, they are lying, and I don't know why that lie is so appealing to so many. Ok, I do, sort of. It's just I don't look to games for that part of life. Games offer flow, they offer puzzles, they offer unsolvable paradoxes, they offer movement and delight and discovery. But a space in which everything is up to me? That's a blank page. That's silence you sing with. That isn't a game.

vendredi 30 avril 2021

If life has taught me one thing, it's this:

We live in the same reality. We might as well recognize it.

Don't let anyone tell you objectivity is egotistical or wrong or impossible. It's none of those things. Even when those things are involved, it's none of those things.

What riches are more valuable than seeing the truth?

Show me those riches and I'll show you a truth that matters more.

samedi 24 avril 2021

Most people if you talk to them are not actually dualistic. They separate the physical from the psychological, the psychological from the mental, and the mental from the spiritual. We all draw these lines differently and often use different words, and some of us dismiss certain categories entirely, yet explicitly. For example, if I say I don't believe in an eternal soul or anything like it, and I'm convinced it's "biology all the way down" and consciousness is an illusion, then I am still separating the spiritual out in order to deny it.

Psychologists differ from most of the public in their willingness to explore and question and expand on these boundaries. And I think we often put the lines in different places. For many people, "mind over matter" is sufficient detail when struggling to push through the struggle. And if that works, it's valid enough. For others, to distinguish the psychological from the mental would be bizarre and artificial. They could even cite evidence and dissect it. But overall I think psychologists have a deeper and more nuanced sense about the spectrum or spectra that live where most people see monism or dualism or simply religion.

Brain activity is physical. To say about any activity that it "physically changes your brain" is borderline meaningless. If you remember something, your brain has been permanently altered. Even if you learn it and forget it, your brain has been permanently altered. For that matter, I doubt you can experience anything at all without some permanent alterations, whether you form a memory or not. Our candles burn down. The clock ticks. All known experience is accompanied by brain activity without which it would not transpire. Your most spiritual experiences are - probably - almost certainly - also physical. If you had enough and small enough and advanced and coordinated enough nanobots swarming your system, any of your subjective experiences could be tweaked, and so could, in all likeliness, any of your decisions. It isn't unlikely that the physical process by which you make conscious, free decisions could be tapped into, and your free decisions directed externally. The irony is that if this were true, those decisions might be about as free as they were before.

Most people would regard that view as monistic: it has replaced all the mental and spiritual questions with physical ones, or, at least, it hypothesizes that in the end, the hierarchy is flat and they all amount to the same reality, which objectively exists, with physical extent.

You can believe it's "biology all the way down" and the spiritual is all ultimately part of physics and still look at life and see these: physical, psychological, mental, and spiritual. Because you might disagree with me on those, and on their boundaries, I'll tell you, for the sake of discussion, what I see this way of slicing up the pie to mean. It's maybe informal. I'm not even sure that this is how I usually divvy up. But I am confident that I think obsessively around this topic and examine it more closely than most people you will meet.

The physical would be something like a wart on your foot. It's caused by a virus, which itself barely qualifies as living (if at all) and is widely regarded as possessing no mind, consciousness, or will. If you are not conscious of the wart, it is still there. If you are conscious of the wart, it is also there. That the wart might upset you or make you laugh or change your behavior, or that your behavior might include putting on a wart removal patch or going to get it cut or frozen off, does not make the wart a psychological entity itself, or any less physical. In this aspect, the wart is largely like a rock or a distant galaxy. Even if thinking about the wart differently could get it to go away, that would be through immune system activity acting on a physically real viral infection and eradicating it. Now, I could have started with rocks, but I wanted a more illustrative example. A wart lives in living tissue and is itself alive. However, it is fully physical and not psychological in nature. Looking at the moon and wondering at its beauty does not make the moon psychological, and the same goes for the ugliness of a wart. Most medical questions are physical, unless they are about behavior, emotions, communication, etc.

The psychological level, then, you will notice, is contained in the physical, but separated from it by practice. For a parallel example, vegetation would include fruits and nuts, but when we say vegetation, we typically don't mean fruits and nuts. Similarly, perhaps nuts are themselves fruits (it depends how you define both), but when we say fruits we don't mean nuts, and when we say nuts we don't mean fruits. When we say movement, we specifically mean something a little unlike a TNT explosion. If it were a TNT explosion, we'd call it an explosion or a blast. If we say it's a movement, even though a blast really is movement, we are pretty strongly implying an action other than a blast. It's worth going into detail about levels of specificity and the exclusions we imply when we use them, and it happens that this (mostly) is how I see the four categories I've mentioned. It's worth putting in seams.

Psychological versus physical is important in practice, because what's physical generally doesn't change just by noticing it or thinking about it. They are not exactly mutually exclusive (and one, I'd personally argue, is fully contained in the other, though I'd leave a little room for surprises on that front), but they are qualitatively and practically different. For example, motivation is psychological. By one definition, without motivation, you will not do anything: if you do anything, motivation is always part of the equation, as motivation is that inner fire that nudges or persuades us to move at all. We may influence motivation different ways, but we do not ultimately control it directly, nor do we exactly bring it into being or know how it works. Motivation exists before us, before what we understand as our identities and choices. We can shape it but not stipulate it. If I am not motivated to get up and go out for tacos, then, by one definition of motivation, there is no way I will do so. Pushing or being pushed to go, to move from a state of no motivation to acting, would involve the introduction of some form of motivation. Without the motivation, no motion.

In this sense, heartbeat is physical - it happens however we think about it, though we can intervene and influence it, much as we could choose to move a rock, or knock one aside while carrying a sofa through the garage door. Heartbeat is physical, but dreams at night, shared memories, humor, jealousy, anger, pride, anxiety, care, romantic love - these are psychological. They are primarily mental phenomena that are however somewhat spontaneous and somewhat outside of direct conscious control. This is the realm of feelings, but also of much of mental illness, and an underpinning of top performance in any field.

There is also, I would argue, the mental. This is the level of engagement with thought that is at least somewhat distinguished from feelings. For example, searching for the solution to a sofa stuck in the garage door, or for a mathematical proof, is a consciously initiated process that most of us would accept operates outside the realm of feelings. It doesn't matter whether you are upset or assured - a solution will either work or not, on its own merits. This would seem to harken back to the physical, but then, let's not forget, so does the psychological - we've already claimed these are all somewhat like babushka dolls.

Finally, many of us would claim there's a spiritual level. This is the level, perhaps, of consciousness itself, or, if you believe in it, of free will, or of the eternal soul. It's what's heightened by meditation or art or an epiphany or the birth of a child or loss of an elder. It is of course related to mentation, feelings, and the atom-ridden brain tissue that may support all these other levels. It's the level of responsibility, determination, higher love, mind over matter, good and evil, compassion, and so on. These all tie into the other levels, or even derive fully from them, but they take on another significance at the spiritual level.

This isn't an original division at all. All I'm really doing is personally codifying the pieces of a popular tarot spread: body, heart, mind, soul. These of course are not original to the tarot world either. I don't know who came up with them. But I do think it's a useful way to put seams in the map.

More to the point, I believe psychology is often about, and psychologists often preoccupy themselves with, these distinctions. That is, maybe I can't fully control my motivation to get out of bed rather than hit snooze, but it can certainly be instructive to say: this is a mind problem, not so much a mechanics problem. I can get out of bed, joules-wise. I know how not to hit a button with my hand. Though my motivation has a physical basis, the issue isn't much like the sculpture outside the building that no one person is bulked enough to rip out by hand. This isn't about rudimentary skill or raw activation energy. It's psychological and therefore probably susceptible to influence by the mental and the spiritual. It's liable to change from day to day or depend on how I interpret the issue. The problem may still be incredibly difficult. It could prove more difficult to solve than many purely physical problems. But it's useful to categorize it as psychological foremost, and then dig into what details you can uncover.

I invite you to look at any problem you have, big or small - and maybe the bigger one is more fun - and examine it from each lens: physical, psychological, mental, and spiritual. I think you'll find they're all relevant, and you'll probably feel that one is the most appropriate category. But after putting it in a bin, don't forget the others. Every human problem has tendrils in each one of these regions, and we solve the tangle by investigating and experimenting.

The most difficult problems are usually - not always - best approached from multiple defensible angles, rather than going all in on one attack at a time. For example, the snooze problem might dissolve after steps taken on each of the four levels above. Or a heart problem might be neutralized with two or three dozen little health and lifestyle changes that, together, are more powerful than any single known step.