Online research in philosophy

Human consciousness usually displays a striking unity. When one experiences a noise and, say, a pain, one is not conscious of the noise and then, separately, of the pain. One is conscious of the noise and pain together, as aspects of a single conscious experience. Since at least the time of Immanuel Kant (1781/7), this phenomenon has been called the unity of consciousness . More generally, it is consciousness not of A and, separately, of B and, separately, of C, but of A-and-B- and-C together, as the contents of a single conscious state.

Extraordinary claims require extraordinary evidence. But on uninteresting topics, surprising claims usually are surprising evidence; we rarely make claims without suffi- cient evidence. On interesting topics, however, we can have interests in exaggerating or downplaying our evidence, and our actions often deviate from our interests. In a simple model of noisy humans reporting on extraordinary evidence, we find that extraordinary claims from low noise people are extraordinary evidence, but such claims from high noise people are not; their claims are more likely unusual noise than unusual truth. When people are organized into a reporting chain, noise levels grow exponentially with chain length; long chains seem incapable of communicating extraordinary evidence.

We analyzed the variability of response in records obtained from MT (V5) of awake, behaving monkeys and kindly provided to us by Newsome and Bair (see Newsome et al 1990 for Methods). Some sets of random dot kinematograms had been generated with a constant randomization seed (novar stimuli), while others had been generated with varying randomization seeds (var stimuli). The neural responses to novar stimuli exhibited a remarkable degree of consistent temporal modulation, while the responses to var stimuli were homogeneous over the presentation time. We suspected that correspondence noise might be a major source of variability and to test this we compared the variability of response to novar and var stimuli, making the assumption that the variability observed in responses to novar stimuli reflected the internal noise only, whereas variability in the case of var stimuli reflected internal noise and external noise. From this assumption, we could estimate the relative importance of external noise and internal noise in this system. The main conclusions are:- (1) Efficiency values (up to about 35%) calculated from neural responses in MT are of the same order as those of human observers, (Barlow and Tripathy 1997) (2) External correspondence noise is a significant factor in limiting the detectability of coherent motion in these random dot stimuli.

Perception represents colors inexactly. This inexactness results from phenomenally manifest noise, and results in apparent violations of the transitivity of perceptual indiscriminability. Whether these violations are genuine depends on what is meant by 'transitivity of perceptual indiscriminability'.

The importance of applying game theory to the evolution of information in the presence of noise has recently become widely recognized. This Special Issue addresses the theme of spontaneously emergent order in both classical and quantum systems subject to external noise, and includes papers directly related to game theory or the development of supporting techniques. In the following editorial overview we examine the broader context of the subject, including the tension between the destructive and creative aspects of noise, and foreshadow the significance of some of the subsequent papers in the volume.

Futurism is famous for promoting “the art of noise” in its manifestos, serate (theatrical evenings), poetry, music, and visual art. Noise appears in Futurism as an avatar of the machine age, as a means of assaulting the senses of complacent audiences, and as a sign of the conflict inherent in matter. Beginning with the “Founding and Manifesto of Futurism” of 1909, where the noises of the street galvanize Marinetti and his friends to break out of a prison-like domestic space, to early paintings representing the vibrations of music/noise by Balla, Severini, Carr , and Russolo, to Russolo's 1913 manifesto “The Art of Noises” and his invention of a series of “noise tuners,” discordant sound played a vital role in Futurist art and politics. Often it was associated with moments of rebirth or awakening to new forms of consciousness, as in Russolo's noise score “Awakening of the City,” but it could also signify the destruction of life, as in Marinetti's Zang Tumb Tuuum . It served both to shatter older forms of perception based on notions of order and harmony, and to instantiate the violence the Futurists believed was inherent in matter as well as in social life. It allowed repressed energies to be released, but also sought to re-channel these energies towards the integration of man and machine, flesh and metal, war and the universe of matter.

The importance of applying game theory to the evolution of information in the presence of noise has recently become widely recognized. This Special Issue addresses the theme of spontaneously emergent order in both classical and quantum systems subject to external noise, and includes papers directly related to game theory or the development of supporting techniques. In the following editorial overview we examine the broader context of the subject, including the tension between the destructive and creative aspects of noise, and foreshadow the significance of some of the subsequent papers in the volume.

People made forecasts from graphically presented time series. Series were sinusoids overlaid by a zero or positive linear trend and a zero, low, moderate, or high level of noise. Forecasting performance was affected by both these variables. However, it did not correlate with ability to identify the trend and correlated significantly with ability to detect the sinusoidal pattern only when series were noise-free. A second experiment showed that the effect of data noise was not influenced by the number of forecasts that people made from a series. These findings are consistent with the view that data noise does not affect the way that forecasts are made but that it impairs them for two reasons. First, it renders the anchor-and-adjust heuristics underlying them less effective. Second, it causes people to add more noise to their judgements in their attempts to make them representative of the data.

I begin with a personal confession. Philosophical discussions of existence have always bored me. When they occur, my eyes glaze over and my attention falters. Basically ontological questions often seem best decided by banging on the table--rocks exist, fairies do not. Argument can appear long-winded and miss the point. Sometimes a quick distinction resolves any apparent difficulty. Does a falling tree in an earless forest make noise, ie does the noise exist? Well, if noise means that an ear must be there to hear it, then the answer to the question is evidently "no." But if noise means that, if there were (counterfactually) someone there, then he would hear it, then just as obviously, the answer becomes "yes.".

I argue that Japanese noise could only become meaningful and articulate at a time when thought and language have become somehow inarticulate. I very briefly recount T.W. Adorno's controversial claims that we live in a wholly abstract and instrumental world, where each object we encounter holds meaning only as 1) a representative of the class to which it belongs and 2) a tool for our use. As is now the convention in Adorno scholarship and cultural studies generally, I name ordering principles of such life identity thinking and the object of its inarticulacy the non-identical. Rather than devoting this paper to debating the veracity of these principles, once I unpack modern art's predicament within the confines of identity thinking I make a case for the utter sensibility of the prima facie senselessness of Japanese noise. But this ultimate sensibility of Japanese noise, I argue, exemplifies the crisis of all modern art: despite its efforts to frustrate sense and stall the prevailing cultural logic, it becomes sensible as a commodified cultural product. Japanese noise therefore provides a case study of the process by which a critique of a consumer culture becomes a commercial product of that culture, thereby neutralizing the critical power of the work. Within such structures the critical capacity of art in general is under threat.