Purpose – The purpose of this paper is to ask whether a first-order-cybernetics concept, Shannon’s Information Theory, actually allows a far-reaching mathematics of perception allegedly derived from it, Norwich et al.’s “Entropy Theory of Perception”. Design/methodology/approach – All of The Entropy Theory, 35 years of publications, was scrutinized for its characterization of what underlies Shannon Information Theory: Shannon’s “general communication system”. There, “events” are passed by a “source” to a “transmitter”, thence through a “noisy channel” to a “receiver”, that (...) passes “outcomes” (received events) to a “destination”. Findings – In the entropy theory, “events” were sometimes interactions with the stimulus, but could be microscopic stimulus conditions. “Outcomes” often went unnamed; sometimes, the stimulus, or the interaction with it, or the resulting sensation, were “outcomes”. A “source” was often implied to be a “transmitter”, which frequently was a primary afferent neuron; elsewhere, the stimulus was the “transmitter” and perhaps also the “source”. “Channel” was rarely named; once, it was the whole eye; once, the incident photons; elsewhere, the primary or secondary afferent. “Receiver” was usually the sensory receptor, but could be an afferent. “Destination” went unmentioned. In sum, the entropy theory’s idea of Shannon’s “general communication system” was entirely ambiguous. Research limitations/implications – The ambiguities indicate that, contrary to claim, the entropy theory cannot be an “information theoretical description of the process of perception”. Originality/value – Scrutiny of the entropy theory’s use of information theory was overdue and reveals incompatibilities that force a reconsideration of information theory’s possible role in perception models. A second-order-cybernetics approach is suggested. (shrink)

What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.

Introduction & Objectives: Norwich’s Entropy Theory of Perception (1975 [1] -present) stands alone. It explains many firing-rate behaviors and psychophysical laws from bare theory. To do so, it demands a unique sort of interaction between receptor and brain, one that Norwich never substantiated. Can it now be confirmed, given the accumulation of empirical sensory neuroscience? Background: Norwich conjoined sensation and a mathematical model of communication, Shannon’s Information Theory, as follows: “In the entropic view of sensation, magnitude of (...) sensation is regarded as a measure of the entropy or uncertainty of the stimulus signal” [2]. “To be uncertain about the outcome of an event, one must first be aware of a set of alternative outcomes” [3]. “The entropy-establishing process begins with the generation of a [internal] sensory signal by the stimulus generator. This is followed by receipt of the [external] stimulus by the sensory receptor, transmission of action potentials by the sensory neurons, and finally recapture of the [response to the internal] signal by the generator” [4]. The latter “recapture” differentiates external from internal stimuli. The hypothetical “stimulus generators” are internal emitters, that generate photons in vision, audible sounds in audition (to Norwich, the spontaneous otoacoustic emissions [SOAEs]), “temperatures in excess of local skin temperature” in skin temperature sensation [4], etc. Method (1): Several decades of empirical sensory physiology literature was scrutinized for internal “stimulus generators”. Results (1): Spontaneous photopigment isomerization (“dark light”) does not involve visible light. SOAEs are electromechanical basilar-membrane artefacts that rarely produce audible tones. The skin’s temperature sensors do not raise skin temperature, etc. Method (2): The putative action of the brain-and-sensory-receptor loop was carefully reexamined. Results (2): The sensory receptor allegedly “perceives”, experiences “awareness”, possesses “memory”, and has a “mind”. But those traits describe the whole human. The receptor, thus anthropomorphized, must therefore contain its own perceptual loop, containing a receptor, containing a perceptual loop, etc. Summary & Conclusions: The Entropy Theory demands sensory awareness of alternatives, through an imagined brain-and-sensory-receptor loop containing internal “stimulus generators”. But (1) no internal “stimulus generators” seem to exist and (2) the loop would be the outermost of an infinite nesting of identical loops. (shrink)

This paper reveals errors within Norwich et al.’s Entropy Theory of Perception, errors that have broad implications for our understanding of perception. What Norwich and coauthors dubbed their “informational theory of neural coding” is based on cybernetics, that is, control and communication in man and machine. The Entropy Theory uses information theory to interpret human performance in absolute judgments. There, the continuum of the intensity of a sensory stimulus is cut into categories and the subject is shown exemplar (...) stimuli of each category. The subject must then identify individual exemplars by category. The identifications are recorded in the Garner-Hake version of the Shannon “confusion matrix”. The matrix yields “H”, the entropy (degree of uncertainty) about what stimulus was presented. Hypothetically, uncertainty drops as a stimulus lengthens, i.e. a plot of H vs. stimulus duration should fall monotonically. Such “adaptation” is known for both sensation and firing rate. Hence, because “the physiological adaptation curve has the same general shape as the psychophysical adaptation curve”, Norwich et al. assumed that both have the same time course; sensation and firing rate were thus both declared proportional to H. However, a closer look reveals insurmountable contradictions. First, the peripheral neuron hypothetically cannot fire in response to a stimulus of a given intensity until after somehow computing H from its responses to stimuli of various intensities. Thus no sensation occurs until firing rate adapts, i.e. attains its spontaneous rate. But hypothetically, once adaptation is complete, certainty is reached and perception ends. Altogether, then, perception cannot occur until perception is over. Secondly, sensations, firing rates, and H’s are empirically not synchronous, contrary to assumption. In sum, the core concept of the cybernetics-based Entropy Theory of Perception, that is, that uncertainty reduction is the basis for perception, is irrational. (shrink)

Pothi, a popular Punjabi word, means a book. Among the Sikhs, however, pothi signifies a sacred book, especially one containing Gurbani or scriptural text. Although the word is used even for the Aad Granth in the index of the original recession prepared by Guru Arjan. He probably alluding to the Aad Granth pronounces pothi to be "the abode of God" for it contains "complete knowledge of God" (AGGS, p1226). However, in Aad Guru Granth Sahib (AGGS) [8, 17], the word ‘pothi’ (...) has been used to depict a prayer book, a sacred book, holy scripture and the Hindu scriptures. In this article, the historico-critical analysis of the words pothi, parmesar and thaan is done. In addition to the interpretation of the verse 'Pothi Parmesar Ka Thaan', the role and importance of pothis (Holy Scriptures) for spiritual enlightenment is described. It is pointed out that AGGS advises us to avoid the ritualism of pothi recital. Rather it exhorts us to understand the real meaning of what is written in the Holy Scriptures (pothis). Also, it urges us to become a God-conscious being [11] (Brahm Giani) - a person who always delights in doing well to others. From here onward pothi will not be depicted in italics. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

Aestheticians in the tradition of Critical Theory have claimed that the or a purpose of musical interpretation is somehow to save or salvage or rescue ("retten") the musical work. What sense, if any, can be made of this claim? The notion of salvage or rescue presupposes the concept of danger. Threats to works of art emerge from two sources: from outside and from inside. Whilst the former problem is only touched upon, the latter is discussed in some detail, using the (...) example of Brahms' Alto Rhapsody op. 53. Kathleen Ferrier's and Clemens Krauss' interpretation of 1947 deals with rather than ignores the composer's crumbly attempt at fusing art and religion. Salvage as their attitude vis-a-vis the work is distinguished from cover-up on the one hand and exposure on the other hand. (shrink)

Reading Kripke's "Wittgenstein on Rules and Private Language", at first one can easily get confused about his claim that the problem discovered was a sort of ontological skepticism. Contrary to the opinion of a great number of contemporary philosophers who hold that rule-following brings up merely epistemological problems I will argue that the scepticism presented by Kripke really is ontological because it is concerned with the exclusion of certain facts. The first section in this paper is dedicated to a presentation (...) of Kripke's paradox with a clarification of the position of "plus/quus-talk" in the argument. Section two is engaged in one of his classical direct solutions: the dispositional theory which will serve as a preparation for the last section. Section three is concerned with Kripke's solution to the skeptical problem, ending with the question of whether he is giving a real solution. In section four, I will try to give an answer to those questions, distinguishing between two different versions of the problem given by the paradox; a wrong one and a correct one. Readers who are really fed up with the sceptical problem and its sceptical solution can skip section one, two and three, concentrating instead on my own argument for the real nature of the problem. In section five, I will pick up on some ideas from Norwich, who tries to give a "straight solution" to the paradox reanimating some weaker version of a dispositional theory of meaning. I will argue that Horwich's solution is misleading because he aims at the wrong version of the paradox. (shrink)

The interface between Roman Catholic Christianity and the Sanatana Dharma is often limited to Vedantic discourses and neglects the Shakta traditions to be found within the woof of Hinduism. And generally, this dialogue is between celibates of both religions. This blog-post after removing false notions about Tantra, goes on to show how Tantra as a lived faith is about interiority and a life of contemplation. This post also touches upon three crucial differences between Christianity and Tantra. To quote from the (...) post: "A Tantric is in so in love with her image of a Powerful and simultaneously weak Godhead that she would hardly leave the vita contemplativa. " This is the third post in this series of posts on interreligious dialogue. Contemplation or, metacognition should be the basis of religious dialogues; this posts asserts this. If God is, then why bother with exterior things? (shrink)