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.

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

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.

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)