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Lorna Mills and Sally McKay
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Siobhan Roberts has written a very interesting article in the Globe and Mail (March 19) about two Princeton mathematicians who have proven that fundamental particles have free will. Unfortunately you need a paid subscription to read the whole article online. John Conway and Simon Kochen have addressed particle behaviour mathematically, skirting quantum mechanics, and come up with a theorem that refutes the idea of "hidden variables," a notion that "if we only knew every possible force affecting the world and all its particles, then we would be able to predict their predetermined paths." The term free will is pretty loaded. It sounds at first as if these guys are suggesting sentience at the subatomic level, which is too trippy even for me. Roberts is careful to point out, however, that this is not the case. She quotes Hans Halvorson, a Princeton philosopher:
In fact, what it seems is that [they] proved indeterminism — that the future is not fixed by the past. There are good arguments that free will and indeterminism don't have a lot to do with one another."Dr. Conway and Dr. Kochen rebut.
Kochen: There is no essential difference [between free will and determinism]. We're not talking about free will as a moral decision, about good and evil, or whether or not you should divorce your wife. If the experimenter's choice is to be called 'free will,' I don't see why one may not use 'free will' for the same property of the particle.
Conway: The world is a wonderful, willful place. Where does free will come from? Well, we're made of particles. So probably, somehow, our own free will is derived from that of the particles we're made of....
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Surprisingly, the article makes no mention of Gottfried Wilhelm Leibniz. Anyone who has read Neal Stephenson's Quicksilver trilogy will be a bit familiar with Liebniz' 17th century theory of monads. The Oxford Companion to Philosophy has a useful quote:
...it must be said that there is nothing in things except simple substances, and, in them, nothing but perception and appetite. Moreover, matter and motion are not so much substances or things as they are the phenomena of percipient beings, the reality of which is located in the harmony of each percipient with itself (with respect to different times) and with other percipients.Neal Stephenson puts words in Leibniz' mouth, and as is often the case, the fictional account is easier to grasp than the real source material. The following (long) quote is from the second book in the trilogy, The Confusion (p. 655-6), and is part of a conversation between Leibniz and a young princess.
Leibniz:...summing up, it would appear that monads perceive, think, and act. And this is where the idea comes from, that a monad is a little soul. For perception, cogitation, and action are soul-like, as opposed to billiard-ball-like, attributes. Does this mean that monads have souls in the same way that you and I do? I doubt it.
Princess: Then what sort of souls do they have, doctor?
Leibniz: Well, let us answer that by taking an inventory of what we know they do. They perceive all the other monads, then think, so that they may act. The thinking is an internal process of each monad — it is not supplied from an outside brain. So the monad must have its own brain. By this I do not mean a great spongy mass of tissue, like your highness's brain, but rather some faculty that can alter its internal state depending on the state of the rest of the universe — which the monad has somehow perceived, and stored internally.
Princess: But would not the state of the universe fill an infinite number of books!? How can each monad store so much knowledge?
Leibniz: It does because it has to. Don't think of books. Think of a mirrored ball, which holds a complete image of the universe, yet is very simple. The 'brain' of the monad, then, is a mechanism whereby some rule of action is carried out, based upon the stored state of the rest of the universe. Very crudely, you might think of it as like one of those books that gamblers are forever poring over: let us say, 'Monsieur Belfort's Infallible System for Winning at Basset.' The book, when all the verbiage is stripped away, consists essentially of a rule — a complicated one — that dictates how a player should act, given a particular arrangement of cards and wagers on the basset-table. A player who goes by such a book is not really thinking, in the higher sense; rather, she perceives the state of the game — the cards and wagers — and stores that information in her mind, and then applies Monsieur Belfort's rule to that information. The result of applying the rule is an action — the placing of a wager, say — that alters the state of the game. Meanwhile the other players around the table are doing likewise — though some may have different books and apply different rules. The game is, au fond, not really that complicated, and neither is Monsieur Belfort's Infallible System; yet when these simple rules are set to working around a basset-table, the results are vastly more complex and unpredictable than one would ever expect. From which I venture to say that monads and their internal rules need not be all that complicated in order to produce the stupendous variety, and the diverse mysteries and wonders of Creation, that we see all about us.
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Then there's Mary Midgley ...more on this topic coming soon...
Some of my animated gifs will be appearing at YEAR ZERO ONE for the next couple of months as part of their Splash Page Project. I'm very proud to have my images appear on this excellent website about digital and media arts.
Another self-promotional update: The joint catalogue for the AGYU's What it Feels Like for a Girl and Sinbad in the Rented World exhibitions is out now. I wrote an essay. Lisa Kiss did an excellent design job, and the other writing is really good. RM Vaughan is his usual insightful self, and there are two pieces of fiction, a nice bit by Dereck McCormack on sequin expert Herbert Lieberman, and a brilliant disturbing story by Sheila Heti about living in the big city.
Incidentally, the Art Gallery of York University also has a blog now. I like the idea of inviting comments and dialogue on curatorial blurbs and essays. There is an interesting 28-post open discussion from January between Philip Monk and Mike Hoolboom, with participation from Demetra Christakos and Mike Cartmell.
Many thanks to guest poster Joester! Nice job. Joester posts may continue to appear on this blog from time to time.
I just got back from San Francisco, where Joester and I actually attended the same penny arcade.
The display on the right was called "Laughing Sal." The mannikin loomed and laughed demonically for an unnervingly long time on a single coin. This place is all about value for $$. Note the demented tourist that forced her way into the shot. The execution chambers provided dang good cartharsis for a quarter, but the Opium Den might have been my favourite display. When activated, doors and curtains opened to reveal all kinds of psychedelic horrors. I also very much appreciated the opportunity to play Pole Position again! Such a sweet little old racing game...I still remember every curve and oil patch.
Okay, my guest blog stint is almost up, but I do have one more thing to say. There’s an ad here for the new Star Wars film that says “ You Cannot Control Your Destiny”. Especially, I would add, if you’re making a prequel. Anyone remember the first Star Wars? Wouldn’t you have said that one of the themes of that movie was “you don’t have to work on your uncle’s space farm your whole life”, or “You Can Control Your Destiny”? A better blogger might find a way to tie this into the politics and social fabric of the day making some keen cutting observations, but I am but a lowly guest blogger and will leave that to the professionals.
The Penny arcade in San Francisco is totally great. It might seem like a tourist trap but it isn't – or it is but in a good way. There was lots of great stuff there, but the surprise was these execution games. You pay a penny (now a quarter) and the doors slowly open to reveal a deathly tableau of either a guillotine or a gallows. After a few nervous seconds the act is committed and the door closes. It's fucking awesome. Way better than any "head shot" in Splinter Cell. It's a perfect antidote to the knee jerk reaction to the violence in video games. Shit dudes, violence is a part of our culture like it or not (and if you need it for emphasis) beatch!
I started Prereview a couple of years ago, and I’m starting to ask myself the question, “How many uninformed reviews can one man write?” Prereview had it’s internet sensation moment in the sun about a year ago but my hits are way down now. By all indication I really should put it to bed, it was clever and fun but now it’s over. Or at least that’s what I think and then I’ll see a poster for "Beauty Shop” a (spinoff of Barbershop II staring Queen Latifa), or the Longest Yard Remake staring (inexplicably) Burt Reynolds, and the site will seem relevant again. So, I’ve decided to keep going until the movies get better, which I think should be about Christmas.