A young scientist and mathematician explores the mystery and complexity of human thought processes from an interdisciplinary point of view.

Can thought arise out of matter? Can self, soul, consciousness, “I” arise out of mere matter? If it cannot, then how can you or I be here? I Am a Strange Loop argues that the key to understanding selves and consciousness is the “strange loop”—a special kind of abstract feedback loop inhabiting our brains. The most central and complex symbol in your brain is the one called “I.” The “I” is the nexus in our brain, one of many symbols seeming (...) to have free will and to have gained the paradoxical ability to push particles around, rather than the reverse. How can a mysterious abstraction be real—or is our “I” merely a convenient fiction? Does an “I” exert genuine power over the particles in our brain, or is it helplessly pushed around by the laws of physics? These are the mysteries tackled in I Am a Strange Loop, Douglas Hofstadter's first book-length journey into philosophy since Gödel, Escher, Bach. Compulsively readable and endlessly thought-provoking, this is a moving and profound inquiry into the nature of mind. (shrink)

Essays from some of the 20th century's greatest thinkers explore topics as diverse as artificial intelligence, evolution, science fiction, philosophy, reductionism, and consciousness, presenting a variety of conflicting visions of the self and the soul. Illustrations.

Shows how analogy-making pervades human thought at all levels, influencing the choice of words and phrases in speech, providing guidance in unfamiliar situations, and giving rise to great acts of imagination.

Hofstadter's collection of quirky essays is unified by its primary concern: to examine the way people perceive and think.

High-level perception--”the process of making sense of complex data at an abstract, conceptual level--”is fundamental to human cognition. Through high-level perception, chaotic environmen- tal stimuli are organized into the mental representations that are used throughout cognitive pro- cessing. Much work in traditional artificial intelligence has ignored the process of high-level perception, by starting with hand-coded representations. In this paper, we argue that this dis- missal of perceptual processes leads to distorted models of human cognition. We examine some existing artificial-intelligence models--”notably (...) BACON, a model of scientific discovery, and the Structure-Mapping Engine, a model of analogical thought--”and argue that these are flawed pre- cisely because they downplay the role of high-level perception. Further, we argue that perceptu- al processes cannot be separated from other cognitive processes even in principle, and therefore that traditional artificial-intelligence models cannot be defended by supposing the existence of a --œrepresentation module--� that supplies representations ready-made. Finally, we describe a model of high-level perception and analogical thought in which perceptual processing is integrated with analogical mapping, leading to the flexible build-up of representations appropriate to a given context. (shrink)

It is the purpose of this paper to carry out a partial syntactical analysis of imperatives. Imperatives form a large body of linguistic expressions, appearing, e.g. in mathematical proofs be a continuous function!”), laws, moral injunctions, instruction, etc. For analytical purposes we distinguish between two forms of imperatives, the fiat and the directive. By a directive we mean an imperative which includes an indication of the agent who is to carry it out. For example, “Henry, don't forget to stop at (...) the grocery!” is a directive. By a fiat we mean an imperative which includes no reference to an agent who is to carry it out. For example, “Let there be light!” is a fiat. This is a distinction made in terms of meaning. If, however, proper symbolic devices were introduced for the formalization of imperatives, it could be made in a syntactical manner. Thus we could distinguish between imperatives which possess a certain operator—the directive operator formed by putting a name within square brackets—as “[Henry]!”, and imperatives which do not possess this operator, e.g. “Let it be the case that Henry does not forget to stop at the grocery!” In the following we pay attention only to fiats. This, of course, involves a great limitation of subject matter and excludes topics of great interest. (shrink)

The measure of man.--What philosophy is and does.--The vocation of consciousness.--The touch of art.--The voice of the dead wife.--The kin-consciousness of art.--The poem is not a symbol.--The poem is a symbol.--Being: the act of belonging.

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part (...) of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism. (shrink)

This paper interprets the Critique of Judgment as the culmination of Kant's contribution to our understanding of freedom--the human meaning of which is being-with-other-as-with-own. Central to that complex achievement and to the overarching role assigned by Kant to the aesthetic dimension (beauty, feeling, judgment, and art) is his revolutionary new way of seeing beauty and art as the expression of aesthetic ideas--a definition of them which carries him beyond formalism to illuminate also the modern and romantic search for freedom. This (...) move also brings Kant to the threshold of religious ethics as man's ultimate freedom, his being-with-the-infinitely-transcendent-as-with-own, is, in art and beauty, disclosed for imagination and made available for the life of feeling in this world. (shrink)