Noam Chomsky Explains Where Artificial Intelligence Went Wrong

While pop­u­lar­ly known for his pierc­ing and relent­less cri­tiques of U.S. for­eign pol­i­cy and eco­nom­ic neolib­er­al­ism, Noam Chom­sky made his career as a researcher and pro­fes­sor of lin­guis­tics and cog­ni­tive sci­ence. In his 50 years at MIT he earned the appel­la­tion “the father of mod­ern lin­guis­tics” and—after over­turn­ing B.F. Skinner’s behav­ior­ist paradigm—founder of the “cog­ni­tive rev­o­lu­tion.” But these are labels the self-effac­ing Chom­sky rejects, in his char­ac­ter­is­ti­cal­ly under­stat­ed way, as he rejects all tri­umphal­ist nar­ra­tives that seem to promise more than they deliv­er.

Such is the case with Arti­fi­cial Intel­li­gence. The term, coined in 1956 by com­put­er sci­en­tist John McCarthy, once described the opti­mism with which the sci­en­tif­ic com­mu­ni­ty pur­sued the secrets of human cog­ni­tion in order to map those fea­tures onto machines. Opti­mism has turned to puz­zle­ment, ambiva­lence, or in Chomsky’s case out­right skep­ti­cism about the mod­els and method­olo­gies embraced by the field of AI.

Nev­er par­tic­u­lar­ly san­guine about the prospects of unlock­ing the “black box” of human cog­ni­tion through so-called “asso­ci­a­tion­ist” the­o­ries, Chom­sky has recent­ly become even more crit­i­cal of the sta­tis­ti­cal mod­els that have come to dom­i­nate so many of the sci­ences, though he is not with­out his crit­ics. At an MIT sym­po­sium in May of last year, Chom­sky expressed his doubts of a method­ol­o­gy Nobel-win­ning biol­o­gist Syd­ney Bren­ner has called “low input, high through­put, no out­put sci­ence.”

Recent­ly Yarden Katz, an MIT grad­u­ate stu­dent in Cog­ni­tive Sci­ences, sat down with Chom­sky to dis­cuss the prob­lems with AI as Chom­sky sees them. Katz’s com­plete inter­view appeared this month in The Atlantic. He also video­taped the inter­view and post­ed clips to his Youtube chan­nel. In the clip above, Katz asks Chom­sky about “for­got­ten method­olo­gies in arti­fi­cial intel­li­gence.” Chom­sky dis­cuss­es the shift toward prac­ti­cal appli­ca­tion in engi­neer­ing and com­put­ing tech­nol­o­gy, which “direct­ed peo­ple away from the orig­i­nal ques­tions.” He also express­es the opin­ion that the orig­i­nal work was “way too opti­mistic” and assumed too much from the lit­tle data avail­able, and he describes how “throw­ing a sophis­ti­cat­ed machine” at the prob­lem leads to a “self-rein­forc­ing” def­i­n­i­tion of suc­cess that is at odds with sci­en­tif­ic dis­cov­ery.

In the clip below, Chom­sky dis­cuss­es a new field in sys­tems biol­o­gy called “Con­nec­tomics,” an attempt to map the wiring of all the neu­rons in the brain—an endeav­or prick­ly biol­o­gist Syd­ney Bren­ner calls “a form of insan­i­ty.” Katz asks if the “wiring dia­gram” of the brain would pro­vide “the right lev­el of abstrac­tion” for under­stand­ing its work­ings.

The inter­view is worth read­ing, or watch­ing, in full, espe­cial­ly for stu­dents of neu­ro­science or psy­chol­o­gy. Chom­sky dis­cuss­es the work of his one­time col­league David Marr, whose posthu­mous­ly pub­lished book Vision has had an enor­mous influ­ence on the field of cog­ni­tive sci­ence. Chom­sky also prais­es the work of Randy Gal­lis­tel, who argues that devel­op­ments in cog­ni­tive and infor­ma­tion sci­ence will trans­form the field of neu­ro­science and over­turn the par­a­digms embraced by ear­ly researchers in AI. While this is an excit­ing time to be a cog­ni­tive sci­en­tist, it seems, per­haps, a dif­fi­cult time to be a pro­po­nent of Arti­fi­cial Intel­li­gence, giv­en the com­plex­i­ties and chal­lenges the field has yet to meet suc­cess­ful­ly.

Relat­ed Con­tent:

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er (1971)

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

How to Operate Your Brain: A User Manual by Timothy Leary (1993)

Speak­ing at the Human Be-In in Jan­u­ary 1967, Tim­o­thy Leary uttered the famous phrase bor­rowed from Mar­shall McLuhan, “Turn on, tune in, drop out.” It was short­hand for say­ing exper­i­ment with psy­che­delics and achieve new lev­els of con­scious­ness.

Almost 30 years lat­er, Leary had­n’t lost his mis­sion­ary zeal. In 1993 (and only a few years before his death), the for­mer Har­vard psy­chol­o­gy pro­fes­sor record­ed “a pub­lic ser­vice video” called How to Oper­ate Your Brain. Here, Leary nar­rates an almost epilep­tic seizure-induc­ing video, pro­vid­ing what some con­sid­er “a guid­ed med­i­ta­tion” of sorts. I’d pre­fer to call it an unortho­dox â€śuser man­u­al” that tries to impart Leary’s unique sense of enlight­en­ment:

The aim of human life is to know thy­self. Think for your­self. Ques­tion author­i­ty. Think with your friends. Cre­ate, cre­ate new real­i­ties. Phi­los­o­phy is a team sport. Phi­los­o­phy is the ulti­mate, the ulti­mate aphro­disi­ac plea­sure. Learn­ing how to oper­ate your brain, learn­ing how to oper­ate your mind, learn­ing how to redesign chaos.

As you get deep­er into the med­i­ta­tion, you’ll real­ize one thing. Three decades may have passed since Leary pop­u­lar­ized the catch­phrase of the coun­ter­cul­ture. But he’s still get­ting his ideas from McLuhan. If you fol­low the video (or tran­script) to the end, you’ll dis­cov­er that ones and zeros have basi­cal­ly tak­en the place of LSD. Leary says:

Now we have dig­i­tal com­mu­ni­ca­tion. We can cre­ate our fan­tasies. We can cre­ate our rhythms, design on screen.… Any­one in any cul­ture watch­ing this screen will get the gen­er­al pic­ture. It’s one glob­al vil­lage. It’s one glob­al human spir­it, one glob­al human race. As we link up through screens, linked by elec­trons and pho­tons, we will cre­ate for the first time a glob­al human­i­ty, not sep­a­rat­ed by words or minds or nation­al­i­ties or reli­gious bias­es.

You can find McLuhan med­i­tat­ing on the con­cept of an Elec­tron­ic Glob­al Vil­lage in anoth­er vin­tage clip.

Relat­ed Con­tent:

Beyond Tim­o­thy Leary: 2002 Film Revis­its His­to­ry of LSD

This is What Oliv­er Sacks Learned on LSD and Amphet­a­mines

Aldous Huxley’s LSD Death Trip

McLuhan Said “The Medi­um Is The Mes­sage”; Two Pieces Of Media Decode the Famous Phrase

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Dan Ariely Presents “A Beginner’s Guide to Irrational Behavior” in Upcoming MOOC

Here’s one thing you can look for­ward to ear­ly next year. Dan Ariely, a well-known pro­fes­sor of psy­chol­o­gy and behav­ioral eco­nom­ics at Duke Uni­ver­si­ty, will present A Begin­ner’s Guide to Irra­tional Behav­ior as a Mas­sive Open Online Course (MOOC). If you’ve been with us for a while, you’re already famil­iar with Ariely’s work. You’ve seen his videos explain­ing why well-inten­tioned peo­ple lie, or why CEOs repeat­ed­ly get out­sized bonus­es that defy log­ic. And you know that eco­nom­ics, when looked at close­ly, is a much messier affair than many ratio­nal choice the­o­rists might care to admit.

Now is your chance to delve into Ariely’s research and dis­cov­er pre­cise­ly how emo­tion shapes eco­nom­ic deci­sions in finan­cial and labor mar­kets, and in our every­day lives. The six-week course (described in more detail here) does­n’t begin until March 25th, but you can reserve your seat today. It’s all free. And keep in mind that stu­dents who mas­ter the mate­ri­als cov­ered in the class will receive a cer­tifi­cate at the end of the course.

Oth­er poten­tial­ly inter­est­ing MOOCs com­ing ear­ly next year include:

Our list of 175 Mas­sive Open Online Cours­es has now been updat­ed to include all cours­es start­ing in Jan­u­ary, Feb­ru­ary and March of next year.

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Aldous Huxley’s Most Beautiful, LSD-Assisted Death: A Letter from His Widow

Just over a year ago, we fea­tured a clip of an inter­view with Lau­ra Archera Hux­ley, wid­ow of British dystopi­an nov­el­ist and not­ed psy­che­del­ic drug enthu­si­ast Aldous Hux­ley. When he approached death’s door in 1963, he asked her to give him a dose of “LSD, 100 µg, intra­mus­cu­lar.” If you’ve got to check out, this sounds, by Lau­ra’s descrip­tion, like one of the prefer­able ways to do it, or at least a way that aligned close­ly with Hux­ley’s con­vic­tions. “There was absolute­ly no jolt, no agi­ta­tion,” she recalled on cam­era. “Noth­ing except this very qui­et â€” like a music that becomes less and less audi­ble. Like fad­ing away. [ … ] There was a beau­ti­ful expres­sion in the face. It was a very beau­ti­ful expres­sion in the face.” Let­ters of Note added much detail onto this spare account by post­ing a let­ter sent from Lau­ra to Hux­ley’s broth­er Julian not long after the writer’s death from laryn­geal can­cer. One page appears above, and at Let­ters of Note you can find scans of all of them plus a com­plete tran­script.

“I had the feel­ing actu­al­ly that the last hour of breath­ing was only the con­di­tioned reflex of the body that had been used to doing this for 69 years, mil­lions and mil­lions of times,” wrote Lau­ra. “There was not the feel­ing that with the last breath, the spir­it left. It had just been gen­tly leav­ing for the last four hours. [ … ] [Every­one attend­ing Hux­ley] said that this was the most serene, the most beau­ti­ful death. Both doc­tors and nurse said they had nev­er seen a per­son in sim­i­lar phys­i­cal con­di­tion going off so com­plete­ly with­out pain and with­out strug­gle. [ … ] We will nev­er know if all this is only our wish­ful think­ing, or if it is real, but cer­tain­ly all out­ward signs and the inner feel­ing gave indi­ca­tion that it was beau­ti­ful and peace­ful and easy.” Just above, you’ll find the video we pre­vi­ous­ly post­ed of Lau­ra’s briefer descrip­tion of the same events.

Relat­ed Con­tent:

Aldous Hux­ley Warns Against Dic­ta­tor­ship in Amer­i­ca

Ken Kesey’s First LSD Trip Ani­mat­ed

Aldous Hux­ley Reads Dra­ma­tized Ver­sion of Brave New World

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Miranda July Teaches You How to Avoid Procrastination

I’ve always thought of writer, actor and film­mak­er Miran­da July as some­one who cre­ates her own oppor­tu­ni­ties. Long before her sto­ries in The New York­er, and before Me and You and Every­one We Know, the award-win­ning first fea­ture that cement­ed her indie dar­ling sta­tus, she was cir­cu­lat­ing video chain let­ters fea­tur­ing her own work and that of oth­er young, female film­mak­ers. She record­ed LPs and toured orig­i­nal per­for­mance art pieces.

What a relief to find out she’s a pro­cras­ti­na­tor, too.

July insists that her chat­ter­ing mon­key mind near­ly deprived her of the con­cen­tra­tion nec­es­sary to fin­ish writ­ing The Future, her sec­ond full-length film. One of its most com­pelling parts actu­al­ly wound up on the cut­ting room floor. In it (above), we see Sophie, the under-employed would-be dancer played by July, com­ing to grips with her own self-sab­o­tag­ing ten­den­cy toward pro­cras­ti­na­tion.

Of course, the rea­son we’re able to see it at all is that July, whose indus­tri­ous­ness sure­ly has earned her the right to spend a decade or so doing noth­ing but watch­ing YouTube and Googling her own name, repur­posed it as a short, instruc­tion­al film (A Handy Tip for the Eas­i­ly Dis­tract­ed), which offers an anti­dote for those of us who share her afflic­tion.

(Admit it. You’re pro­cras­ti­nat­ing now, aren’t you?)

In addi­tion to the sound­ness of her advice, her method­ol­o­gy is endear­ing­ly low-tech. As one who’s been known to attribute a lack of cre­ative out­put to a less than ide­al work­space, I found the clut­tered, shab­by apart­ment set both famil­iar and gal­va­niz­ing. If we’re going to make excus­es, we may as well own them. July takes yet anoth­er step by har­ness­ing them and forc­ing them to work for her.

Relat­ed Con­tent:

Life-Affirm­ing Talks by Cul­tur­al Mav­er­icks (Includ­ing Miran­da July) Pre­sent­ed at The School of Life

Ayun Hal­l­i­day is the author of any num­ber of books includ­ing The Zinester’s Guide to NYC and No Touch Mon­key! And Oth­er Trav­el Lessons Learned Too Late.

How to Make Better Decisions, a Thought-Provoking Documentary by the BBC

“In this pro­gram,” says nar­ra­tor Peter Capal­di at the out­set, “we’re going to show you how to be more ratio­nal, and deal with some of life’s biggest deci­sions.” It’s a pret­ty big claim, and you may doubt that it’s true (espe­cial­ly dur­ing the sil­ly open­ing scene involv­ing a group of nerds try­ing to score a date) but give this 2008 BBC Hori­zon pro­gram a lit­tle time and you might come away with a few things to think about. How to Make Bet­ter Deci­sions takes us inside cog­ni­tive sci­ence lab­o­ra­to­ries and out on the streets to demon­strate how the emo­tion­al part of our brain gets the bet­ter of the ratio­nal part. The film intro­duces a num­ber of intrigu­ing con­cepts, includ­ing Prospect The­o­ry“the fram­ing effect,” and “prim­ing.” More con­tro­ver­sial­ly, it high­lights some research that sug­gests the pos­si­bil­i­ty that our intu­ition may have some­thing to do with an abil­i­ty to sense future events. How to Make Bet­ter Deci­sions is 49 min­utes long, and we’ve decid­ed to add it to our grow­ing col­lec­tion of Free Movies Online.

Relat­ed con­tent:

Neu­ro­science and Free Will

Dan Ariely’s Ani­mat­ed Talk on How and Why We’re Dis­hon­est

Dan Ariely’s Animated Talk Reveals How and Why We’re All Dishonest

If it is the bulk of the world’s cheat­ing, steal­ing, and decep­tion you seek, says Duke pro­fes­sor of psy­chol­o­gy and behav­ioral eco­nom­ics Dan Ariely, look not to the heinous acts of indi­vid­ual vil­lains; look to the count­less dis­hon­est acts com­mit­ted dai­ly by the rest of human­i­ty. “The mag­ni­tude of dis­hon­esty we see in soci­ety is by good peo­ple who think they’re being good but are in fact cheat­ing just a lit­tle bit,” so we learn in the lec­ture above (find the com­plete lec­ture here). Ariely speaks these words, but they also appear writ­ten onscreen by a pen-wield­ing hand that rapid­ly sum­ma­rizes and (lit­er­al­ly) illus­trates Ariely’s points as he makes them. This unusu­al style of ani­ma­tion appears in a whole series of videos from the Roy­al Soci­ety for the Encour­age­ment of Arts, Man­u­fac­tures and Com­merce called RSA Ani­mate. These have, the RSA claims, “rev­o­lu­tionised the field of knowl­edge visu­al­i­sa­tion whilst spread­ing the most impor­tant ideas of our time.” Rev­o­lu­tion­ary or not, The Truth About Dis­hon­esty makes, in under twelve min­utes, the kind of obser­va­tions that let you see real­i­ty just a lit­tle more clear­ly.

“Human beings basi­cal­ly try to do two things at the same time,” Ariely says and the hand writes. “On one hand, we want to be able to look in the mir­ror and feel good about our­selves. On the oth­er hand, we want to ben­e­fit from dis­hon­esty.” This dilem­ma would seem to allow no com­pro­mise — you’re either hon­est or you’re dis­hon­est, right? — but Ariely finds that most of us instinc­tive­ly strive for the gray area between: “Thanks to our flex­i­ble cog­ni­tive psy­chol­o­gy and our abil­i­ty to ratio­nal­ize our actions, we could do both.” We then hear and see how, if the prop­er ratio­nal­iza­tion hap­pens and the instances of cheat­ing remain minor and dis­tanced from their effects, every­body acts with a mix­ture of hon­esty and dis­hon­esty. (But some­times the “what the hell effect” — the lec­ture’s finest coinage — kicks in, where peo­ple tem­porar­i­ly stop con­sid­er­ing them­selves good and pro­ceed to act freely.) Ariely brings up the exam­ple, ripped from the head­lines, of bankers and hedge fund man­agers who, dis­tanced by vast cor­po­rate struc­tures and elab­o­rate math­e­mat­ics from those whom their actions con­cret­ly affect. The hand draws a car­i­ca­ture of Oscar Wilde, then writes the most appro­pri­ate quote beside it: “Moral­i­ty, like art, means draw­ing a line some­place.”

via Brain Pick­ings

More RSA Talks:

Rena­ta Sale­cl: The Para­dox of Choice

Sir Ken Robin­son: A Cre­ative Edu­ca­tion

Good Cap­i­tal­ist Kar­ma: Zizek Ani­mat­ed

Smile or Die: The Per­ils of Pos­i­tive Psy­chol­o­gy

Steven Pinker: How Innu­en­do Makes Things Work

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Steven Pinker Presents His Big Gallery of Cape Cod Photography

Har­vard pro­fes­sor of psy­chol­o­gy Steven Pinker gar­nered a sig­nif­i­cant amount of atten­tion in the past year for his mas­sive, 800-page book Bet­ter Angels of Our Nature, which argues the con­tro­ver­sial the­sis that, despite the atroc­i­ties of the 20th and 21st cen­turies, vio­lence has declined world­wide and we live in the most peace­ful era in human his­to­ry. (A much short­er ver­sion of his the­sis is an essay enti­tled A His­to­ry of Vio­lence). You might expect some­one steeped in research on bru­tal inhu­man­i­ty and war to be a lit­tle on edge, but Pinker has a side­line as a pho­tog­ra­ph­er of the tran­quil and serene.

His most recent series of pic­tures builds on a fif­teen-year his­to­ry of pho­tograph­ing scenes of Cape Cod. In a tweet announc­ing the most recent col­lec­tion, Pinker claims his inspi­ra­tion for this series is the pho­tog­ra­ph­er Joel Meyerowitz, whose book Cape Light ren­ders the Mass­a­chu­setts Cape in the soft sub­tle tones of Renoir’s land­scapes. Pinker’s lens takes in a deep­er, rich­er light, and col­or pops from his images in unex­pect­ed ways—more Manet than Mon­et. His pho­tog­ra­phy, I would imag­ine, pro­vides a much-need­ed diver­sion from the heady inten­si­ty of his aca­d­e­m­ic work, and the images are strik­ing and beau­ti­ful. Look through Pinker’s lat­est Cape Cod series here.

For more of Pinker’s pho­tog­ra­phy see the full archive at his web­site.

And vis­it this link for an exten­sive archive of video and audio inter­views and talks from Pinker.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

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