I have posted recently on drawing, particularly on drawing as a form of thinking (here, here and here). I have now just read Patricia Cain’s superb new book on this topic, Drawing: The Enactive Evolution of the Practitioner. The author is an artist, and the book is based on her PhD thesis. She set out to understand the thinking processes used by two drawing artists, by copying their drawings. The result is a fascinating and deeply intelligent reflection on the nature of the cognitive processes (aka thinking) that take place when drawing. By copying the drawings of others, and particularly by copying their precise methods and movements, Dr Cain re-enacted their thinking. It is not for nothing that drawing has long been taught by having students copy the works of their teachers and masters – or that jazz musicians transcribe others’ solos, and students of musical composition re-figure the fugues of Bach. This is also why pure mathematicians work through famous or interesting proofs for theorems they know to be true, and why trainee software engineers reproduce the working code of others: re-enactment by the copier results in replication of the thinking of the original enactor.
In a previous post I remarked that a drawing of a tree is certainly not itself a tree, and not even a direct, two-dimensional representation of a tree, but a two-dimensional hand-processed manifestation of a visually-processed mental manifestation of a tree. Indeed, perhaps not even always this: A drawing of a tree is in fact a two-dimensional representation of the process of manifesting through hand-drawing a mental representation of a tree.
After reading Cain’s book, I realize that one could represent the process of representational drawing as a sequence of transformations, from real object, through to output image (“the drawing”), as follows (click on the image to enlarge it):
It is important to realize that the entities represented by the six boxes here are of different types. Entity #1 is some object or scene in the real physical world, and entity #6 is a drawing in the real physical world. Entities #2 and #3 are mental representations (or models) of things in the real physical world, internal to the mind of the artist. Both these are abstractions; for example, the visual model of the artist of the object may emphasize some aspects and not others, and the intended drawing may do the same. The artist may see the colours of the object, but draw only in black and white, for instance.
Entity #4 is a program, a collection of representations of atomic hand movements, which movements undertaken correctly and in the intended order, are expected to yield entity #6, the resulting drawing. Entity #4 is called a plan in Artificial Intelligence, a major part of which is concerned with the automated generation and execution of such programs. Entity #5 is a label given to the process of actually executing the plan of #4, in other words, doing the drawing.
Of course, this model is itself a simplified idealization of the transformations involved. Drawing is almost never a linear process, and the partially-realized drawings in #6 serve as continuing feedback to the artist to modify each of the other components, from #2 onwards.
References:
Patricia Cain [2010]: Drawing: The Enactive Evolution of the Practitioner. Bristol, UK: Intellect.
Author Archive for peter
Page 48 of 83
A salute to Charles Hamblin
This short biography of Australian philosopher and computer scientist Charles L. Hamblin was initially commissioned by the Australian Computer Museum Society.
Charles Leonard Hamblin (1922-1985) was an Australian philosopher and one of Australia’s first computer scientists. His main early contributions to computing, which date from the mid 1950s, were the development and application of reverse polish notation and the zero-address store. He was also the developer of one of the first computer languages, GEORGE. Since his death, his ideas have become influential in the design of computer interaction protocols, and are expected to shape the next generation of e-commerce and machine-communication systems.
Continue reading ‘A salute to Charles Hamblin’
Poem: This World
Today’s poem is by Emily Dickinson (1830-1886), New England transcendentalist, and written about 1862.
This World is not Conclusion.
A Species stands beyond –
Invisible, as Music –
But positive, as Sound –
It beckons, and it baffles –
Philosophy – don’t know –
And through a Riddle, at the last –
Sagacity, must go –
To guess it, puzzles scholars –
To gain it, Men have borne
Contempt of Generations
And Crucifixion, shown –
Faith slips – and laughs, and rallies –
Blushes, if any see –
Plucks at a twig of Evidence –
And asks a Vane, the way –
Much Gesture, from the Pulpit –
Strong Hallelujahs roll –
Narcotics cannot still the Tooth
That nibbles at the soul –
Reference:
Brenda Hillman (Editor) [1995]: Emily Dickinson: Poems. Boston, MA, USA: Shambhala.
ABS Cadets 1979
Australian Bureau of Statistics graduate cadets, 1979:
- Phil Aungles
- Gail Bansemer
- Penny Barlow
- Warren Bird
- Wendy Darr
- Ken Henry
- Karen Hyams
- Debra Keillor
- Peter McBurney
- Vivienne Palmer
- Prue Phillips
- Suzanne Sheridan
- Steven Skates
- John Stroud.
John Bennett RIP
John Bennett AO (1921-2010), first professor of computing in Australia and founder of Sydney University’s Basser Department of Computer Science, died last month. The SMH obit, from which the lines below are taken, is here.
Emeritus Professor John Bennett AO was an internationally recognised Australian computing pioneer. Known variously as ”the Prof”, ”JMB” or ”Rusty”, he was a man with a voracious appetite for ideas, renowned for his eclectic interests, intellectual generosity, cosmopolitan hospitality and prodigious general knowledge.
As Australia’s first professor of computer science and foundation president of the Australian Computer Society, Bennett was an innovator, educator and mentor but at the end of his life he wished most to be remembered for his contribution to the construction of one of the world’s first computers, the Electronic Delay Storage Automatic Calculator (EDSAC). In 1947 at Cambridge University, as Maurice Wilkes’s first research student, he was responsible for the design, construction and testing of the main control unit and bootstrap facility for EDSAC and carried out the first structural engineering calculations on a computer as part of his PhD. Bennett’s work was critical to the success of EDSAC and was achieved with soldering irons and war-surplus valves in the old Cambridge anatomy dissecting rooms, still reeking of formalin.
. . .
The importance of his work on EDSAC was recognised by many who followed. In Cambridge he also pioneered the use of digital computers for X-ray crystallography in collaboration with John Kendrew (later a Nobel Prize winner), one of many productive collaborations.
He was recruited from Cambridge by Ferranti Manchester in 1950 to work on the Mark 1*. Colleague G. E. ”Tommy” Thomas recalls that when Ferranti’s promise to provide a computer for the 1951 Festival of Britain could not be fulfilled, ”John suggested … a machine to play the game of Nim against all comers … [It] was a great success. The machine was named Nimrod and is the precursor of the vast electronic games industry we know today.”
In 1952, Bennett married Mary Elkington, a London School of Economics and Political Science graduate in economics, who was working in another section at Ferranti. Moving to Ferranti’s London Computer Laboratory in 1953, Bennett worked in a team led by Bill Elliott, alongside Charles Owen, whose plug-in components enabled design of complete computers by non-engineers. Owen went on to design the IBM 360/30. Bennett remembered of the time, ”Whatever we touched was new; it gives you a great lift. We weren’t fully aware of what we were pioneering. We knew we had the best way but we weren’t doing it to convert people – we were doing it because it was a new tool which should get used. We knew we were ploughing new ground.”
Bennett was proud of being Australian and strongly felt the debt he owed for his education. When Harry Messel’s School of Physics group asked him in 1956 to head operations on SILLIAC (the Sydney version of ILLIAC, the University of Illinois Automatic Computer – faster than any machine then commercially available), he declined a more lucrative offer he had accepted from IBM and moved his family to Sydney.
The University of Sydney acknowledged computer science as a discipline by creating a chair for Bennett, the professor of physics (electronic computing) in 1961. Later the title became professor of computer science and head of the Basser department of computer science. Fostering industry relationships and ensuring a flow of graduates was a cornerstone of his tenure.
Bennett was determined that Australia should be part of the world computing scene and devoted much time and effort to international professional organisations. This was sometimes a trial for his staff. Arthur Sale recalls, ”I quickly learnt that John going away was the precursor to him returning with a big new idea. After a period when we could catch up with our individual work, John would tell us about the new thing that we just had to work on. Once it was the ARPAnet [Advanced Research Projects Agency Network] and nothing would suffice until we started to try to communicate with the Aloha satellite over Hawaii that had run out of gas to establish a link to Los Angeles and ARPAnet and lo and behold, the internet had come to Australia in the 1970s.”
In 1983, Bennett was appointed as an officer of the Order of Australia. After his retirement in 1986, he remained active, attending PhD seminars and lectures to ”stay up to date and offer a little advice” while continuing to earn recognition for his contributions to computer science for more than half a century.
Poem: Orchids
Shi Tao (c. 1642-1707) was an artist, poet and scholar born into a high aristocratic family during the last days of the Ming Dynasty. After the overthrow of the Ming in 1644 and the establishment of the Manchu Qing Dynasty, Shi Tao was raised and lived initially as a Buddhist monk. This poem is #4 from an illustrated album of 12 poems and paintings, 6 landscapes and 6 flowers, called Returning Home, published in 1695. The brush styles of the calligraphy and the paintings match the mood of the respective poems in a superb fusion of text, image and idea. Orchids are associated with “virtuous gentlemen” in Chinese literature, and with the friendship between them. The last lines of the poem allude to the difficult political times in which the poem was written. Clicking on the image will reveal the brambles Shi Tao has placed amidst the orchids.
Orchids
Words from a sympathetic heart
Are as fragrant as orchids;
Like orchids in feeling,
They are agreeable and always joyous;
You should wear these orchids
To protect yourself from the spring chill;
When the spring winds are cold,
Who can say you are safe?
Reference:
Wen Fong [1976]: Returning Home. Tao-Chi’s Album of Landscapes and Flowers. New York, NY, USA: George Braziller. The translation is due to Wen Fong.
Santayana on Stickney
George Santayana was friends with Joe Trumbull Stickney. In 1952, five decades after Stickney died from a brain tumour, Santayana wrote a letter about their friendship to William Kirkwood. The letter is reproduced in facsimile in M. Kirkwood’s life of Santayana (1961, pp. 234-235).
Via di Santo Stefano Rotundo, 6
Rome, May 27, 1952
To Professor Wm. A. Kirkwood, Ph. D.
Trinity College, Toronto
Dear Sir,
It was a happy impulse that prompted you to think that the books you speak of and their annotations, and especially the lines in praise of Homer written by my friend Stickney would interest me. They have called up vividly in my mind the quality of his mind, although the verses represent a much earlier feeling for the classics, and a more conventional mood than he had in the years when we had our frequent moral fencing bouts; for there was a contrary drift in our views in spite of great sympathy in our tastes and pursuits. These verses are signed Sept. 15/ 90. Now Stickney graduated at Harvard in 1895, so that five years earlier he must have been about 17 years old. This explains to me the tone of the verses and also the fact that they advance line by line, seldom or never running over and breaking the next line at the cesura or before it, as he would surely have done in his maturity, when he doted on the dramatic interruptions of Shakespeare’s lines in Antony and Cleopatra in particular, and in all the later plays in general. [page break]
I see clearly the greater mastery and strength of impassioned drama, if impassioned drama is what you are in sympathy with; but I like to warn dogmatic critics of what a more naive art achieves in its impartial and peaceful labour and the risk that overcharged movement or surpluses [?] runs of drowning in its deathbed [?] waters. Every form of art has its charm and is appropriate in its place; but it is moral cramp to admit only one form of art to be legitimate or important. The reminder of this old debate that I had with Stickney who enlightened me more (precisely about the abuse of rhetoric) than I ever could enlighten him about the relativity of everything has been a pleasant reminder of younger days: although I am not sure that much progress towards reason and justice has been made since by critical opinion.
With best thanks and regards
Yours sincerely
G. Santayana
Reference:
M. M. Kirkwood [1961]: Santayana: Saint of the Imagination. Toronto, Canada: University of Toronto Press.
Previous posts on George Santayana here, and Joe Stickney here.
Documenta IX
The first documenta I attended was documenta IX, in 1992. Only two artworks there moved me: a minimalist piece by Jean-Pierre Bertrand, and a work of conceptual tropicalia by Cildo Meireles.
Jean-Pierre Bertrand (1937-2016, France) presented a wide rectangle hung on the wall, divided into 10 narrow vertical panels. Each panel was filled with organic materials mixed together and cooked (honey, fruit juice, cooking-salt solution) to make a smooth paste, which he then glazed. The panels were of two different colours: reading from the left, panels 1 and 9 were red, the others off-white. They shone quietly on the wall, their simplicity and timeless calm an antidote to the breathless featurism of the rest of documenta, a thousand artworks each shouting “Me! Me! Look at Me!”.
A later work by Bertrand, Bright yellow green no. 1, was acquired by the Art Gallery of NSW, described here. As with many post-war artists and composers, his art is profoundly concerned with the materiality of the medium he uses, the actual and specific physical attributes of the oils and paints, and the ways in which these attributes influence the visual image they are part of. This concern by visual artists goes back at least to Turner.
Cildo Meireles (1948-, Brazil) fitted a square room with 2000 loudly ticking clocks on the walls, all set to different times, and hung 7600 yellow folding tape measures from the ceiling. To walk through the room, one had to push through the tapes, unable to see more than a step or two in front at any time. Nothing so evoked a tropical jungle as this installation: unable to see much, having to push vines out of the way, and assaulted by an insect cacophony.
documenta 13 will be held in 2012, details here.
Dialogs over actions
In the post below, I mentioned the challenge for knowledge engineers of representing know-how, a task which may require explicit representation of actions, and sometimes also of utterances over actions. The know-how involved in steering a large sailing ship with its diverse crew surely includes the knowledge of who to ask (or to command) to do what, when, and how to respond when these requests (or commands) are ignored, or fail to be executed successfully or timeously.
One might imagine epistemology – the philosophy of knowledge – would be of help here. Philosophers, however, have been seduced since Aristotle with propositions (factual statements about the world having truth values), largely ignoring actions, and their representation. Philosophers of language have also mostly focused on speech acts – utterances which act to change the world – rather than on utterances about actions themselves. Even among speech act theorists the obsession with propositions is strong, with attempts to analyze utterances which are demonstrably not propositions (eg, commands) by means of implicit assertive statements – propositions asserting something about the world, where “the world” is extended to include internal mental states and intangible social relations between people – which these utterances allegedly imply. With only a few exceptions (Thomas Reid 1788, Adolf Reinach 1913, Juergen Habermas 1981, Charles Hamblin 1987), philosophers of language have mostly ignored utterances about actions.
Consider the following two statements:
I promise you to wash the car.
I command you to wash the car.
The two statements have almost identical English syntax. Yet their meanings, and the intentions of their speakers, are very distinct. For a start, the action of washing the car would be done by different people – the speaker and the hearer, respectively (assuming for the moment that the command is validly issued, and accepted). Similarly, the power to retract or revoke the action of washing the car rests with different people – with the hearer (as the recipient of the promise) and the speaker (as the commander), respectively.
Linguists generally use “semantics” to refer to the real-world referants of syntactically-correct expressions, while “pragmatics” refers to other aspects of the meaning and use of an expression not related to their relationship (or not) to things in the world, such as the speaker’s intentions. For neither of these two expressions does it make sense to speak of their truth value: a promise may be questioned as to its sincerity, or its feasibility, or its appropriateness, etc, but not its truth or falsity; likewise, a command may be questioned as to its legal validity, or its feasibility, or its morality, etc, but also not its truth or falsity.
For utterances about actions, such as promises, requests, entreaties and commands, truth-value semantics makes no sense. Instead, we generally need to consider two pragmatic aspects. The first is uptake, the acceptance of the utterance by the hearer (an aspect first identified by Reid and by Reinach), an acceptance which generally creates a social commitment to execute the action described in the utterance by one or other party to the conversation (speaker or hearer). Once uptaken, a second pragmatic aspect comes into play: the power to revoke or retract the social commitment to execute the action. This revocation power does not necessarily lie with the original speaker; only the recipient of a promise may cancel it, for example, and not the original promiser. The revocation power also does not necessarily lie with the uptaker, as commands readily indicate.
Why would a computer scientist be interested in such humanistic arcana? The more tasks we delegate to intelligent machines, the more they need to co-ordinate actions with others of like kind. Such co-ordination requires conversations comprising utterances over actions, and, for success, these require agreed syntax, semantics and pragmatics. To give just one example: the use of intelligent devices by soldiers have made the modern battlefield a place of overwhelming information collection, analysis and communication. Lots of this communication can be done by intelligent software agents, which is why the US military, inter alia, sponsors research applying the philosophy of language and the philosophy of argumentation to machine communications.
Meanwhile, the philistine British Government intends to cease funding tertiary education in the arts and the humanities. Even utilitarians should object to this.
References:
Juergen Habermas [1984/1981]: The Theory of Communicative Action: Volume 1: Reason and the Rationalization of Society. London, UK: Heinemann. (Translation by T. McCarthy of: Theorie des Kommunikativen Handelns, Band I, Handlungsrationalitat und gesellschaftliche Rationalisierung. Suhrkamp, Frankfurt, Germany, 1981.)
Charles L. Hamblin [1987]: Imperatives. Oxford, UK: Basil Blackwell.
P. McBurney and S. Parsons [2007]: Retraction and revocation in agent deliberation dialogs. Argumentation, 21 (3): 269-289.
Adolph Reinach [1913]: Die apriorischen Grundlagen des bürgerlichen Rechtes. Jahrbuch für Philosophie und phänomenologische Forschung, 1: 685-847.
On meaning
Over at Normblog, Norm returns to his argument against religion as a human activity that ultimately implies beliefs in the form of propositions. I have written against this view before – here, and here, and here. In his latest post, I think Norm makes two errors of reasoning common to western philosophy these last three centuries or so – that of conflating knowledge in general with a specific form of knowledge, namely know-what (knowledge of facts about the world), and that of conflating know-what with a particular representation of it in the form of propositions (statements about the world with truth values).
We can know how to tie our own shoe-laces, for example, and, as knowledge engineers in computer science have learnt these last 50 years, such know-how is not the same as know-what, and is also often very difficult to represent as propositions about the world. Without explicit representation of the actions, one is forced to associate each action with the propositions that are true before its execution, and those true afterwards, ie, two states, or collections of propositions. But doing so does not enable us to distinguish different actions having the same pre- and post-states, for example, two different procedures for tying the same shoelace knot. One is therefore soon forced to explicitly represent actions. But what exactly are these things, these representations of actions? They are not statements with truth values; indeed, they are not even statements. And this is just for plain old actions, not even utterances about actions, such as promises and requests and commands, all of which may comprise part of a system of know-how (eg, knowledge of how to steer a crewed sailing ship, or knowledge of the process of launching an ICBM).
Even know-what may not be readily amenable to propositional representation, or at least not to propositions understandable by the human subject having the knowledge: any propositional representation of the knowledge of the hundreds or thousands of scents distinguishable by an expert perfumier, for instance, would likely have to involve descriptions of chemical molecules in a style and formal language way beyond the knowledge or thinking or scent-memory of the perfumier. The same conclusion is true with even greater force for the knowledge of non-human beings, such as the keen olfactory sense of most dogs or the navigational abilities of homing pigeons; I’ve yet to meet a dog that understood a proposition, but dogs retain an ability to recall and distinguish scents despite this inability at propositional representation. I have written before on different forms of knowledge here. And if you think all knowledge of geography has to be represented as maps, you should see Rory Stewart’s example recounted here.
Norm ends with:
At bottom, the whole intellectual project founders, in my view, on this logical conundrum: if you really do evacuate religion of all its substantive beliefs, it will be left as meaningful as scraping a stick along a wall, or balancing a marble on your head, or pronouncing a slow ‘drooom’ into a mauve cup; and if religion has more significant meaning than that for its adherents, meaning which really matters to them, this must be because of things religion says about the condition of the universe and their place within it.”
Norm’s understanding of “meaning” seems only to be know-what; a wider view of meaning throws that final “must” into serious question. The meaning of scraping a stick along a wall may be the pleasant sound this action leads to, or the pleasure is gives your hand as the stick undulates with the surface of the wall, or the pleasure it gives you to have a hand able hold a stick, or the presence of friends and family doing the same action with you, or that doing this enables you to recall past times, when you were younger perhaps, when you enjoyed doing the same thing, or that your ancestors likely did the same as long there have been walls and you wish to honor them by repeating the action, or the sense of bliss or ecstasy or contentedness or calm that scraping sticks along walls may induce in you. The meaning of a stick against a wall for you may even be its complete lack of any ostensible meaning, its complete and utter time-wasting lack of utility, especially for us western moderns in a culture obsessed with achievement, success, progress, time, self-improvement, and bildung.
All of the meanings I’ve listed here apply equally well to religious activities and other rituals, both social and personal, such as prayer and meditation and attending church services. And I find it hard to believe that someone who follows sport with enthusiasm should appear to insist that all human activities should have meanings to their adherents that entail propositions testable by external observers, as if all our actions were subject to some community test of significance of meaning. Does the thought that cricket really matters to me necessarily occur because of things cricket says about the condition of the universe and my place within it? This I doubt. If it’s not true for cricket, why should it be true for religion? If Norm wants to insist on religion satisfying such a test, then this constraint says more about his paucity of understanding of religious practices and ideas than anything it might say about religion itself.