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A very serious-minded man visited his happy family after a long time away, and was shocked. He was shocked because he found it quite impossible to interact with his family. All of his normal reactions and behaviors were out of line with his family’s reactions and behaviors. Sure, the family talked and laughed, but it seemed stilted and awkward-sounding. Tense looks were received, but none acknowledged, at least when he was in the conversation. And there was that disquiet. Such palpable disquiet.

It was terrible.

So, the very serious-minded man, who loved his family very much,  decided that the next family visit would have to feel very different.

Before the next visit, the man had a good idea: he would do the things his family members normally do. He wasn’t sure why it was a good idea, but it made sense to him. His father loved to play indoor bowls. So, he joined a bowls club and played bowls every day. He observed the behavior of the other bowls players and also what they talked about. He gave particular attention to how they talked about what they talked about. And, he copied them. It was difficult at first for the serious-minded man to copy the bowls players, but the players always encouraged him with knowing looks and happy talk. And, the man copied these behaviors too. Soon, conversations were easier and fun. He became more relaxed around others at the club, and more relaxed within himself.

The once-very-serious-now-more-relaxed man felt that copying the bowls players had really made him more like them, and that the players also saw it this way and didn’t mind at all. Maybe they saw it as a kind of complement. He wasn’t sure. It just felt positive. The man was encouraged by this promising first result, and decided to do other things his family liked. His younger brother plays the piano. So, the man took piano lessons. He wasn’t very good at it, and he had a hard time making his fingers work together to create music. But, the man was pleased because he understood that his brother would appreciate the effort, and they could share this experience together.

The once-very-serious-now-empathetic man did visit his very happy family again, and was pleasantly surprised.

‘You’ve changed’, his family soon noticed.

‘I have changed’, he breathed happily. ‘I am a different person now. I am like you’.

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One day, artificial thought will be achieved.

An artificially intelligent computer will say, “that makes me happy.”

Will it feel happy? Assume it will not.

Still: it will act as if it did.  It will act like an intelligent human being. And then what?

My hunch is that adult human beings will view intelligent computers as simplified versions of  themselves (child-like). Human children will view them as peers; ‘friendships’ will form between children and intelligent computers.

Why? I am reminded of Wittgenstein’s remark: ‘The human body is the best picture of the human soul’.

Look at this video of ASIMO.

How would you interact with ASIMO? What would your reactions be?

It is also remarkable that ASIMO does not possess any physiology.

 

Apparently, human beings who wish to be only happy in life, are the same people who the next moment willingly listen to sad music and make themselves become sad. Why?

Does such a person think to himself: ‘This music is sad; I want to be sad; therefore, I listen to this music to be sad’? No, of course not. A person in this situation does not need to inform himself why he acts as he does. In addition, there is typically no such thought process preceeding a musical experience, during it, or following it. It is not characteristic of listening to or performing music to bethink to oneself such motivating factors as if the experience must be accompanied by a spoken soliloquy to make sense. Isn’t this true of routine human behaviours generally? Second, such a thought process cannot inform me in the same way as it informs you. For you, it is information. For me, a point of emphasis? Let me develop this last idea.

A human being may talk to himself inwardly while the music is on, but not to give himself information. Then, what is the meaning of this internal monologue, and how should it be described? The words used may convey the the level of interest in the music (a melody, a recurring theme, how the trombones sound, etc), and may function more like an exclamation than a descriptive statement. Certainly, one can imagine this occurring in upbeat or joyful music. In sad or melancholic music, self-talk is expressive of the sad quality perceived in the music. Again, it stresses what is noteworthy in the music. The music merits attention. It really did amaze me.

We want to be sad for a time; at least, sad for as long as the music lasts. The listener follows the sad music as he follows the sad face which changes expression. Music is like a familiar face, and we resonate with it in understanding as long as we are interested. The music plays on, the face moves predictably. On occasion, the music is too predictable. So, we stop it in mid-flight, like an uncomfortable human conversation, and move to something else. Typically, however, the sad piece of music I know completely by heart is a rewarding experience as though I listen to it for the very first time. It really is like empathy for a fellow human being, or parity in facial expressions exchanged between close friends during conversation. Now – is your closest friend entirely predictable? No. Even deep rapport between human beings harbours dark regions. I do not even wish to say that we aim in music listening to recreate sadness, happiness, or any such fleeting emotional response. What human beings do, I believe, is empathize with what is perceived in the music as expressive of our shared human interests, wants, desires, hopes, etc. We find it there in music, and return to it habitually, just as we find it in the faces of other people.

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Simon van Rysewyk

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