Showing posts with label Pythagoras. Show all posts
Showing posts with label Pythagoras. Show all posts

30 Dec 2012

Pt2.Ch3.Sb2 Somers-Hall’s Hegel, Deleuze, and the Critique of Representation. ‘Bergson’s Account of Kant and Classical Logic.’ summary


by
Corry Shores
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[Note: All boldface and underlining is my own. It is intended for skimming purposes. Bracketed comments are also my own explanations or interpretations.]


 

Henry Somers-Hall

 

Hegel, Deleuze, and the Critique of Representation.

Dialectics of Negation and Difference

 

Part 2: Responses to Representation



Chapter 3: Bergsonism



Subdivision 2: Bergson’s Account of Kant and Classical Logic




Very brief summary:

Many theories of our understanding of the world regard there being an isomorphism between the structures of our world and our representations of it. Spencer thinks we evolved to see the world spatially as an adaptation to the way it really is. Kant assumed our representation of space is an a priori representation that conditions our external perceptions so that they are always spatial. Kant also saw an isomorphism between the understanding and the empirical world. Homogeneous space for Bergson is a medium by which atomic things are externally related. Under this analysis, Kant’s transcendental apperception, because it is what allows our understanding to externally relate terms of our judgments, is like homogeneous space. We can trace the concept of homogenous space to Euclid and see it persist throughout the development of physics, to mechanism and to Spencer. But as the Pythagoreans learned when discovering incommensurability, the world does not always match our representations of it. Uncovering this mismatch is a part of Bergson’s method of intuition.


Brief Summary:

To explain our knowledge of the world, many theories throughout the history of philosophy have regarded there being an isomorphism between the structures of our understanding and the world we are trying to understand. We saw this isomorphism with Kant’s transcendental idealism. Here the subject-predicate structure of synthesized concepts is isomorphic to the subject-property structure of synthesized objects of our intuition. But for Kant, our representation of space is isomorphic with the space we perceive, because our representation is a priori and conditions how we perceive objects. We can only perceive them as being external one to the other in a homogenous space. For Spencer’s evolutionary theory, we begin with these a priori structures because we evolved to accurately represent the real spatial world around us for the sake of survival. Bergson’s criticism of Spencer is that he presupposes the space that evolution is supposed to have produced. Bergson thinks that the mind and matter have progressively adapted to each other so to produce our notion of space. His criticism of Kant is that space and the understanding are identical for Kant, because the understanding provides a sort of space for atomic terms to be related externally (in subject-predicate relations). Bergson, then, erroneously thinks that Kant’s notion of space is simply homogenous. However, Bergson is right to note that that each moment of inner awareness [or judgment] is accompanied but an ‘I think’ that represents the same unified ego each time. So Kant’s transcendental ego is like the homogenous space that allows atomic things to take on external relations [especially the parts of judgments]. Russell’s set theory also has such a homogenous space-like medium that allows atomic parts (and sets considered individually) to take on external relations and be examined apart from those relations. Euclid describes a homogenous geometrical space, where the metric is the same everywhere. This homogenized space is kept throughout many of the subsequent major developments of geometry and physics, and it is reflected in philosophy as well. We can think of time as a homogenous space. With time and space both containing parts with determinate external relations, we have Laplace’s dream of determining all past and future states of the world on the basis of knowledge of everything about one moment and a great intellect to make the necessary calculations. Like Spencer, the Pythagoreans thought that our understanding corresponds with the world. In this case, because the mind understands integers and their relations, it can know the parts of the world that are expressible with number. But the discovery of incommensurability shattered that belief, because here there is something numerical that is not understandable with integers and their relations. So our minds and the world did not coincide isomorphically. Bergson’s method of intution, we will see, involves uncovering the mismatch between our representations of the world and the structure of the world.


Summary

Bergson and Deleuze tried to both come to terms with Herbert Spencer’s evolutionary thinking and also show its problems. We will also look at the relation between the structure of knowledge and the structure of the object. We saw how Kant’s system solves this with his transcendental categories. There is an isomorphism between the understanding and the object. Russell also thinks that the object and the system studying it must resemble one another. Russell has an atomistic system, so he solves Zeno’s paradox by saying time is an infinite discrete series. “The resolution of a paradox of thought therefore leads to an alteration of the conception of the object.” (70) In this chapter we will examine this isomorphism in evolutionary theory by looking at a particular concept of homogenous space.


Kant tried to explain how synthetic a priori statements were possible. He applied the subject’s categories to intuition, which conditions experience. “As the same categories play a role in both conditioning experience and conceptualizing it, their application to experience is vouchsafed.” (71) We saw previously how Deleuze wanted to break with this parallelism between empirical and transcendental. “Spencer attempts to provide a genetic interpretation of the development of our categories of thought that would allow us to see exactly why space appears to us in the particular a priori form that it has.” (71) Bergson rejects Spencer’s concept of space, but builds from this analysis. Kant proves the a priori nature of space on the basis of the subject’s ability to represent itself or to conceive the world in certain ways. Kant’s first argument is that in order for us to represent the referents of sensations as being alongside one another (being in different places), we must suppose we already have a representation of space. So we can only have empirical representations on the basis of an a priori representation of space. He second argument is that while we can think of an absence of objects in space, we cannot think of there being an absence of space in the world. This argument “follows a similar structure, placing the weight of the proof on the subject's capacity to conceive of certain relations between space and objects. In other words, what we cannot conceive of, in terms of empirical phenomena, cannot be the case. It is this reliance on the possibilities of representation that at first appears to be the target of evolutionary theory” (71). Evolutionary theory will not argue that we conceive space in accordance to how we condition empirical givenness (as being spatial). Instead, it argues that

our cognitive capacities are based on the fitness of the organism to the environment. Thus, alternative, partial conceptions of space lead to an organism that is not optimally attuned to its environment and therefore has a lower chance of survival than one with a more practical conceptual schema. As natural selection eliminates those organisms with suboptimal | representational schemata, a more optimal scheme becomes sedimented in the organism so that what is a posteriori for the species becomes a priori for the individual. (71-72)

So conceivability seems not to be the support for the argumentation, but rather conceivability becomes a function of fitness. Soon we will see that Spencer’s approach leads to a reversal of this.


What is life for Spencer?

For Spencer, life "in its simplest form is the correspondence of certain inner physico-chemical actions with certain outer physico-chemical actions" so that "each advance to a higher form of life consists in a better preservation of this primary correspondence by the establishment of other correspondences." Evolution is thus characterized by the gradual broadening of the correspondence between the world itself and the set of physico-chemical reactions that lie at the heart of our interactions with the world. (72)

As these correspondences increase, so too does the creature’s milieu. And as the milieu widens, so too does the organism’s subjective representation of the world near coextensity with the world itself. Truth, then, is the accurate correspondence of relations between subject and objects. Error is the absence of this correspondence. More correspondence means more chance to survive, and less means greater chance to die.

Thus, finally, pragmatic truth, when it is applied to a milieu that encompasses the entirety of the real, becomes objective truth. As Spencer considered the evolution of humanity to have reached this endpoint, primarily because of the successes of the scientific enterprise, for him, the validity of the a priori categories is restored, as they now once again correspond to reality (71).

So the reason we cannot imagine their being no space is because our evolution has reached such a point that we are unable to produce an erroneous view of the world’s spatial nature. Thus Spencer’s evolutionary theory also leads to the a priori nature of our representation of space and the categories, but of course for different reasons. (72-73) “The a priori nature of the categories is now grounded in a pragmatic correspondence between the organism and its environment rather than through the conditioning of the object by the subject.” (73)


Although Bergson notes how Spencer avoids the Kantian criticism, he also thinks Spencer failed to provide an adequate alternative to Kant’s theory. Spencer’s theory of evolution presupposes that we are evolving in space. So he begins by presupposes what he will conclude will be the outcome of evolution. “Spencer therefore fails to provide an adequate response to Kant, as his explanation of the genesis of space presupposes an account of a space such as that which Kant gives wherein this genesis takes place.” (73) However, Bergson builds from certain of Spencer’s metaphysical ideas. (a) We need an account of space that does not accept it as ready made. This account would retrace space’s genesis, which he thinks Kant achieves. (b) Bergson will say that Kant’s theory of space does not allow for an account of space’s nature. Bergson looks at the three possible relations between subject and world in Kant. Either [1] the mind is determined by things, [2] things are determined by the mind, or [3] there is some mysterious agreement between the mind and things. Bergson then proposes a fourth possibility: [4] “ ‘intellect and matter have progressively adapted themselves one to the other in order to attain at last a common form’ ( CE, 206).” (73) But this process of progress adaptation cannot precede space, like with Spencer. So Bergson agrees with Kant that space is an ideal feature of the world and also that we cannot use an empiricist account of our conception of space. Bergson notes that Kant does not consider the possibility of degrees of spatiality. For Kant, space is either given or not given. [In order to say that our understanding is connected to both pure space and to its degrees or indeterminate forms, Bergson will have to argue that the understanding is wider than Kant conceived it to be]. Bergson is trying to explain the genesis of space, which highlights a limitation in Kant’s account. First we examine what for Bergson is the connection between homogenous space and the understanding for Kant and Russell. (74)


For Kant, judgments are made through the relations between fully determined terms. The faculty of understanding (which is external to the terms) is what allows the terms to be thought together. So understanding is a third term underlying the unity of judgment. Bergson notes that because we here are conceiving of the elements of consciousness having the subject-predicate form (their being objectival), we are compelled to regard them as united by an artificial bond, “ ‘a formless ego, indifferent and unchangeable, on which it threads the psychic states which it has set up as separate entities’ (CE, 3).” (74) Bergson thinks that Kant’s conception of the atomistic components of judgment is reflected in his conception of the world’s elements, and so he has an atomistic conception of space. We will explore this because it leads to the two forms of multiplicity.

 

In Kant’s transcendental aesthetic, there is a difference between the object insofar as it appears to us and the space that possibilizes its appearing. So space, in Bergson’s view here, is logically prior to the objects that occupy it. Space is the medium that allows objects to relate and interact. Analogously, the ego provides the ‘space’ in which terms relate.

In the cases of both the mind and the understanding of space, therefore, we find the model of a medium through which the elements can interact. The ego enables judgment, and space, in coordination with the categories of the understanding, enables perception of the object. (74)

This spatial metaphor is also at work in Russell’s set theory, because it creates domains that relate to one another.

We saw that set theory provides a hierarchical model of relations, sets being related to others by the relative domains of objects over which they range. Cantor's | definition of the set as "a collection of definite, well discernible objects" emphasizes the use of spatial metaphors at the foundation of the discipline of classical logic, which allows the graphical representation of logical results through, for instance, Venn diagrams. (74-75)

In this set theory, we view the elements of propositions as discrete, and they function in a space that is “inert to their interactions.” This allows us to regard the relations between the members of sets as being purely external to the terms themselves. And in fact, even the relations between sets themselves is seen as external to the sets. Because the relations are external, we can encounter paradoxes of self-referentiality that result when a set has an external relation to itself that is in contradiction with its own definition. But this allows Russell to give an extensive definition of the set, because he could enumerate objects that relate to one another externally on the basis of shared properties, and it also had advantages for analysis. Because relations are external, we can put them aside and merely analyze the terms. Bergson sees something similar in Kant. For Kant, we may examine the parts synthesized into manifolds each individually. This presupposes a spatial understanding of the parts, because they are related by external relations.

Thus, the spatial model allows the method of analysis to develop, where a complex phenomenon can be broken down into its component parts in order to understand the whole through a later process of synthesis. (75)

For Bergson, every homogenous medium is a space. He sees Kant’s faculty of understanding as a homogeneous medium, thus for him, Kant’s understanding and space are identical. Somers-Hall recounts that

In chapter 1, we saw that insofar as Kant takes the empirical to have the same form as the transcendental, he is unable to take account of the generation of the empirical. This led us so see that by privileging the structure of judgment, Kant belonged to the tradition of representation. (75)

Deleuze however sees Kant’s theory of space in less simplistic terms than Bergson.

As Deleuze notes in relation to Kant's argument from incongruent counterparts (DR, 13, 26), Kant recognizes an "inner difference" within space that escapes the understanding. We can further note that spatiotemporal objects for Kant cannot be described 'atomically, ' as "all substances, in so far as they can be perceived to coexist in space, are in thoroughgoing reciprocity" (CPR, B256). [75]

Bergson’s simplification no longer allows us to make his analogy between space and the understanding. However, Bergson’s argument against the limitations of the understanding do still hold, and it will be important for Deleuze’s attack on finite representation. Recall how for Kant, the understanding produces judgments by subsuming representations under other representations. Each term is self-sufficient, so it needs something additionally to relate them, and this is the ‘I think’ whose unity provides the grounds from the representations to come together. So Bergson’s critique applies to the ‘I think’, which can be thought of as like homogeneous space that relates atomic externally related parts.

Leaving aside his argument for this point, given the apparent differences between the structure of the understanding and the structure of space, what will actually be important to Deleuze is the multiplicity that underlies this conception of space and the recognition that it is possible to draw a distinction between extensity and space. (76)


We will now try to understand the importance of space for Bergson. We must first note that we can now formulate different kinds of geometry, Euclidean and non-Euclidean ones. In this chapter we deal with Euclidean, and the next with Riemannian. All of Euclid’s theorems derive from just five axioms, and the fifth interests us here: “through a point not on a given straight line, one and only one line can be drawn that never meets that given line”. (76) [Or, ‘only one line can be drawn through a point parallel to another line.' The basic insight here is that any other line than a parallel one would eventually intersect with the first line.] On the basis of this axiom, we may arrive upon homogenous space. [So if the two lines are parallel, that means the distance we measure at one place will be the same as in any other place. So space has a homogenous metric. We can lift up those parallel lines and move them somewhere else, and still they will not meet, because the metric of space will be the same in that other place as well. The lines are determined, but they are related through a homogenous space. Now consider how Kant’s ego, is homogenous, because it is the same self for every ‘I think’. Euclidean space, as the relational medium between determinate figures, is like Kant’s ego as the homogenous relational medium between instances of inner acts with their accompanying ‘I think’.]


With the fifth axiom, which can be restated as asserting that "through a point not on a given straight line, one and only one line can be drawn that never meets that given line," we arrive at a conception of space as fundamentally homogenous. This means that a particular metric applied at one point within a Euclidean space can equally be applied at any other point. Euclidean space therefore has the fundamental property of measurability, in that we can compare the objects within it by their superposition upon one another. A consequence of this is that an object within a Euclidean space is invariant to transformation by displacement, or in other words, that the space of Euclidean geometry functions as a homogenous medium where position does not affect the constitution of objects within it. Euclidean geometry therefore provides the ideal model of how we are to understand something like the ego as that which allows the relation of already determined concepts. (76)


Descartes invents the algebraic representation of geometry. This, along with his notion of inert matter, further allows for “the conception of physics as the interaction of quantitatively characterized matter within the field of homogenous space defined by this geometry.” (76) “By moving to a purely quantitative definition of matter, Descartes allowed for the application of mathematical concepts to the world, which in tum was to open up the possibility of the mechanics of Newton.” (77) Spencer’s evolution is the closer approximation to this structure of the world.

The final stage of Spencer's phylogenie account is the mirroring of an internal world grounded on the invisible thread of consciousness and the external world grounded in the understanding's relations to the homogenous field of space. For Spencer, Newtonian physics therefore represents the final milieu of the development of the organism, one that allows the complete representation of the world to the organism. (77)


This view of a quantifiable metric space of externally related parts helped form Russell’s discrete view of time, and it would help fulfill Laplace’s dream of an unlimited intelligence and knowledge of the state of everything in the universe at one moment being able to determine all past and future moments. “The mathematico-analytic approach therefore allows the analysis of any closed system in a similar fashion, that is, the quantitative”. (77)


This approach creates difficulties for the Pythagoreans, who believe that all knowable things have number. But with the discovery of incommensurable numbers, it was seen that there are numbers which cannot be reduced to integers and their relations. Our understanding of number then did not match the world we are trying to understand.

When Pythagoras' theorem is applied to the square, we find that the length of the diagonal of the square is √ 2 times the length of the side. As the square root of 2 is irrational, the ratio of the length of the side to the diagonal is irresolvable into an integral ratio. The Greek concept of number, built on the idea of the integral numerical progression, was unable to incorporate the idea of a number which could not be reduced to integers or their relations. With the discovery of incommensurable numbers, Pythagoreanism collapsed, the man who disclosed the difficulty being said to have died in a shipwreck as a result. What therefore defeated the Pythagorean model was the discovery of a mismatch between the world and the subject's ability to conceptualize the world. (78)

Just like the Pythagoreans, “Spencer's model of the gradual adequation of the mind to the world produced the corollary that the structure of the mind was isomorphic with the structure of the world.” (78) Bergson’s method of intuition is “a method of recognition of the mismatch between our representation of the world and the structure of the world itself.” (78) We explore this method of intuition in the next section.


 

Somers-Hall, Henry (2012) Hegel, Deleuze, and the Critique of Representation. Dialectics of Negation and Difference. Albany: SUNY.

17 Apr 2009

Nietzsche's Eternal Computer in Will to Power §1066



[We build from previous entries (hyperlinked throughout) in order to conclude that Nietzsche's eternal recurrence is a computational engine. The text is reproduced at the end.]


Friedrich Nietzsche

The Will to Power

§ 1066
(March-June 1888)



The world exists.
It does not become.
Nor does it pass away.
Or rather: it becomes, it passes away, but it has never begun to become and never ceased from passing away it maintains itself in both. It lives on itself: its excrements are its food. (548b)
It would make no sense to say that the world was created. Some provide a logical account for how the world was created from nothing. But they usually have theological motives. (548bc)

Eugene Dühring, for example, argues that even if time is infinite, it must have a beginning. The only way we can clearly conceive of infinity is if we imagine a continuous process of adding additional numerical units to a series. But this process had to begin before we could start the adding process. So even if the past stretches infinitely to now, it had to begin at some point. Hence, time has a beginning, Dühring concludes.

Nietzsche claims that Dühring makes a mistake. His sense of the future might be correct. It never ends, because there is always something more. But his portrayal of the infinite past is erroneous. For him, the infinite past began at some point, and continued infinitely until now. That of course could not be infinite, because there are two determinate points, the beginning point and the now point. So he wrongly considers a finite progress to be an infinite regress. Indeed, the future is infinite, because we can begin from now, and perpetually add more moments. Nietzsche says we can do the same in reverse for the past. We can begin now and continually subtract moments infinitely into the past.
Only if I made the mistake I shall guard against it of equating this correct concept of a regressus in infinitum with an utterly unrealizable concept of a finite progressus up to this present, only if I suppose that the direction (forward or backward) is logically a matter of indifference, would I take the head this moment for the tail: I shall leave that to you, my dear Herr Dühring! (548d)
Nietzsche argues that the universe always must have been in a state of becoming. If it ever did stop, there would be no imbalancing forces to get it going again. Since we still experience a state of flux, there must never have been complete stability in the past.
If the world could in any way become rigid, dry, dead, nothing, or if it could reach a state of equilibrium, or if it had any kind of goal that involved duration, immutability, the once-and-for-all (in short, speaking metaphysically: if becoming could resolve itself into being or into nothingness), then this state must have been reached: from which it follows (548-549) [again, see this entry for more on Nietzsche's infinite time theory.]
Lord Kelvin worried that entropy would cause all the forces in the universe to someday spend all their energy, causing the world to die [see this entry for more]. Nietzsche says that if this is true, then that means it is possible for there to be equilibrium. But if it were possible, it should have happened already. So if a mechanistic theory concludes that eventually there will be stasis, it is refuted by the very fact that it has not yet occurred and is thus an impossibility. (549b)

Now Nietzsche will describe the eternal return as being both pure chance and yet also an infinite repetition of the same. It's truly a marvel of computational engineering, the ultimate abstract machine of the digital variety. Purely wild, purely unknown, yet it always is the same thing over-and-over again. And we do not just mean it is difference over-and-over, or chance over-and-over. It is not so simple as "the only thing that remains the same is change." Rather, the same combinations of events recur as exactly the same on infinite scales and yet each individual event is decided by chance.

Before continuing, let's first recall Nietzsche's description of the Pythagorean cosmic eternal recurrence. They believed that there were rings of stars in the cosmos that move in circles.
Whenever the stars once more attain the same position, not only the same people but also the same behavior will again occur. (139c)

To better grasp Nietzche's complex theory, we tread carefully through the sixth paragraph of §1066, moving sentence-by-sentence.

If the world may be thought of as a certain definite quantity of force and as a certain definite number of centers of force and every other representation remains indefinite and therefore useless it follows that, in the great dice game of existence, it must pass through a calculable number of combinations. (549b)
The cosmos always has the same net amount of force. But, it is distributed unevenly. However, the forces are not distributed to an infinite number of places. Rather, the total amount of force is finite, so it must find itself in a "definite number of centers of force."

So, because the quantities and locations are finite and determinate, there are only so many possible arrangements.
In infinite time, every possible combination would at some time or another be realized; more: it would be realized an infinite number of times. (549bc)
So the gods together shake an enormous number of dice, and cast them all together. The outcomes decide a series of events. We are a part of this series. The gods rolled the dice this round in such a way that we were born and came to the present moment as we are now. If just one of those countless dice rolled differently, some detail would have been different. Perhaps everything would be exactly the same, except we all have six fingers instead of five. As you can see, there are so many small ways that things could have been different, even on the atomic level. It's impossible to begin imagining every other possibility. We will have to oversimplify. Let's say that when the gods rolled-out the sequence of events that we live-in now, we call that roll '1.' There are countless other possible rolls, but still a finite number. We will consider just one other possibility and keep in mind that really that are very many others that we are not considering for the moment. In this other roll, everything else is the same as now, except we have six fingers. We call this roll '0.'

The gods have been rolling infinitely long before us. We need to imagine an endless series of rounds of rolls. Every round is in the middle of the series, because the sequence extends infinitely into the past and future. So we need to think of a series like this, but one that really has no beginning or end.


But let's begin with the present roll. They rolled a 1. It's us. We have five fingers.



[Each of the rolls we take from a random number generator.] Events in the cosmos go on-and-on according to all the many dice-throws that make-up this roll. There is a finite number of those rolls, which takes the cosmos so far in its becoming. Then, they roll again. This time, a zero.



Nietzsche writes:
And since between every combination and its next recurrence all other possible combinations would have to take place, and each of these combinations conditions the entire sequence of combinations in the same series, a circular movement of absolutely identical series is thus demonstrated: the world as a circular movement that has already repeated itself infinitely often and plays its game in infinitum. (549c)
We have not yet encountered a recurrent combination. So let's see the next roll.



The gods roll a one again. Everything is exactly the same as now. We live every detail of our lives again the same way, with our five fingers, and every other detail of the cosmos is the same as well. So here we have "a combination and its next recurrence."



As we saw, Nietzsche writes that there will be a "circular movement of absolutely identical series." This could be so if the gods rolled 1010101010101.... from now on, and have rolled that way up to now. But that's extraordinarily improbable. Each time it is left to chance. So let's see what they actually roll the next time.



We see already that the pattern of 101010101... was broken. However, perhaps there is a higher-order repetition. Given this next roll, it could be that 101 repeats, to be 101101101101101... This would fulfill Nietzsche's criteria that the repetition be "absolutely identical." In fact, he writes that each of the combinations "conditions the entire sequence of combinations in the same series." So when we roll 101, this imposes the condition that the next set of repetitions will need to have a 101, at least somewhere in the series. So we look now for this block to recur.



Next they roll a zero.



That is promising. Then they roll a one.



Perfect. So now it will be absolutely identical if they continue rolling 10110101101...
Let's see if they do. They roll a one. That's good.



Then a zero, also good.



All we need now is a one and then we can say we have an absolutely identical series. But, chance decided otherwise. They roll another zero.



We might ask when the next recurrence of 101101 is. That will give us another longer series, and we can see if that is the series that repeats eternally. Here are some more rolls.



Still not what we need. It is not until much later that 101101 repeats. But sure enough, it does.



Let's now consider this whole sequence from end-to-end. Then let's see if it as a whole series repeats again after more dice throws.


But given its complexity, the entire sequence does not repeat again any time soon. It is not until much later that we see this whole block again.



So then we might ask, when will that whole block repeat?



It will repeat, given that it has an infinite number of chances to do so. However, it will not be for very many more rolls, so many that we cannot show it here. But it will repeat. And that will create another much longer sequence. And that even longer sequence will repeat too. Over-and-over again, there will show to be higher orders of identical series that repeat themselves. And because the series is infinite, there is no end to this repetition of same series, each one found in an even longer such repetition.

Now consider that we arbitrarily started with the roll for the present time. But the series has already been going on infinitely. So even the present roll is right now instantiating the infinite repetition of absolutely and precisely the exact same sequences. The gods rolled a one this time. That one is part of an infinite number of series that repeat exactly. Not because the gods roll the same sequences over and over like A B A B A B A.... No, it's because, as Nietzsche writes, "each of these combinations conditions the entire sequence of combinations in the same series." In other words, each new roll is purely produced by chance. But that chance-roll influences the individuality of the higher-and-higher orders of absolutely same sequences that infinitely repeat. So the gods rolled a one now. Then they rolled a zero. So we know that "1-0" will repeat again. Future repetitions must have that sequence "10". But the next rolls were decided by chance, not by algorithms. So they gave us "1011" instead. Now this longer series conditions the rest of the sequence. It must have "1011" again. Each new roll is by chance, and conditions what will be the same. But note also that this has been going on infinitely long. That means, past rolls conditioned that the gods would roll a 1 sometime in the future, with that time happening to be the present.

We can see then that Nietzsche's circular movement of eternal recurrence is not circular like A B A B. It is circular in a fractal way. Each repetition is at a higher order. So the eternal recurrence is a recurrence happening each time at a higher power, order, exponent, level, etc. In each instance is implied the infinity of its recurrences. [In this way, each time is a first time that is carried to infinitely higher levels, that is, to the nth power.]

Nietzsche ends by writing that the eternal recurrence is not a "mechanistic conception." (549c) There are no laws that determine what the next roll will be. For, that would "not condition an infinite recurrence of identical cases, but a final state." Instead, we see that because each roll is pure chance, there is no final state. Yet, although there is no final state, there still is an absolutely-identical perfect repetition of the same. And it all makes logical sense, when we combine these principles:
a) finite possibilities,
b) pure chance,
c) infinite time.

That is the recipe for eternal recurrence.

And we see also that it is a computational process. He says in his Pythagoreans lecture that they believed becoming is a calcating. However, they were not able to say what was doing that calculating. Here we have Nietzsche's answer. The eternal recurrence performs this computation. Each roll is another computational operation. This produces longer-and-longer series of combinations, each having infinitely many more recurrences, every time at a higher order. Out of the infinity emerges pure becoming as nothing more than wild chance computation calculated eternally.

We see then why we must affirm chance. Nothing is determined. But whatever happens, occurs infnitely more times. Because the chain of rolls is infinitely long, there is no pattern to allow us to predict the rest of the rolls based on a finite sample. However, we can be sure that whatever happens in any finite sample will repeat infinitely, and not in a reduntant way. It is repetition without redudency. It produces novelty despite absolutely identical cycles. And it is only on account of higher-order pattern-emergences ascending to infinite levels that this marvellous computer of becoming may operate and give infinite meaning to our lives.



From the original Kaufmann translation, obtained gratefully from the Athenaeum Reading Room:

1066
(March-June 1888)

The new world-conception. The world exists; it is not something that becomes, not something that passes away. Or rather: it becomes, it passes away, but it has never begun to become and never ceased from passing away it maintains itself in both. It lives on itself: its excrements are its food.

We need not worry for a moment about the hypothesis of a created world. The concept "create" is today completely indefinable [This word is illegible.], unrealizable; merely a word, a rudimentary survival from the ages of superstition; one can explain nothing with a mere word. The last attempt to conceive a world that had a beginning has lately been made several times with the aid of logical procedures generally, as one may divine, with an ulterior theological motive.

Lately one has sought several times to find a contradiction in the concept "temporal infinity of the world in the past" (regressus in infinitum): one has even found it, although at the cost of confusing the head with the tail. Nothing can prevent me from reckoning backward from this moment and saying "I shall never reach the end"; just as I can reckon forward from the same moment into the infinite. Only if I made the mistake I shall guard against it of equating this correct concept of a regressus in infinitum with an utterly unrealizable concept of a finite progressus up to this present, only if I suppose that the direction (forward or backward) is logically a matter of indifference, would I take the head this moment for the tail: I shall leave that to you, my dear Herr Dühring!

I have come across this idea in earlier thinkers: every time it was determined by other ulterior considerations (mostly theological, in favor of the creator spiritus). If the world could in any way become rigid, dry, dead, nothing, or if it could reach a state of equilibrium, or if it had any kind of goal that involved duration, immutability, the once-and-for-all (in short, speaking metaphysically: if becoming could resolve itself into being or into nothingness), then this state must have been reached: from which it follows

This is the sole certainty we have in our hands to serve as a corrective to a great host of world hypotheses possible in themselves. If, e. g., the mechanistic theory cannot avoid the consequence, drawn for it by William Thomson [*], of leading to a final state, then the mechanistic theory stands refuted.

If the world may be thought of as a certain definite quantity of force and as a certain definite number of centers of force and every other representation remains indefinite and therefore useless it follows that, in the great dice game of existence, it must pass through a calculable number of combinations. In infinite time, every possible combination would at some time or another be realized; more: it would be realized an infinite number of times. And since between every combination and its next recurrence all other possible combinations would have to take place, and each of these combinations conditions the entire sequence of combinations in the same series, a circular movement of absolutely identical series is thus demonstrated: the world as a circular movement that has already repeated itself infinitely often and plays its game in infinitum.

This conception is not simply a mechanistic conception; for if it were that, it would not condition an infinite recurrence of identical cases, but a final state. Because the world has not reached this, mechanistic theory must be considered an imperfect and merely provisional hypothesis.

[*] First Baron Kelvin (1824-1907), British physicist and mathematician who introduced the Kelvin or Absolute Scale of temperature.

Nietzsche, Friedrich. The Will to Power. Ed. Walter Kaufmann. Transl Walter Kaufmann and R.J. Hollingdale. New York: Random House Vintage Books, 1967.
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16 Apr 2009

Pythagoras' Natural Computers: The Wild Cosmic Computation of Melodies and Flowers



We previously looked at how we might characterize the formal principles of a wild logic. We ask now what wild computation would be. Does the wilderness compute numbers? If so, by what means? And what properties characterize it?

I would like to stand natural computation against mechanical computation, for comparison. My broader aim is to see how Deleuze's ideas can contribute to artificial intelligence theory.

Recall that a simple program for a Turing Machine would allow us to automatically compute the natural numbers.

Does nature exhibit anything similar? I propose two possibilities: wave motion's harmonic overtones and the golden ratio. The Pythagoreans were involved in discovering both of these phenomena.

The first principle we need to consider is wave superposition. When wave peaks cross, they add their amplitude. [Click on image for enlargement. Image credits provided at the end. Image 1]



[The source of this image also animates the superposition. Another great animation can be found here]

Prof. Walter Lewin of MIT explains this phenomenon.



If the peaks and troughs line-up, the waves add to each other. When they do not, they interfere and subtract from each other. Most times their allignments are irregular, which creates wilder patterns. [2]



Now consider if we have a wave at one frequency. Then we superpose to it a wave at twice the frequency. That means, for every two repetitions of the faster frequency, it lines-up with each single cycle of the larger frequency. The single and doubled frequencies are shown in purple.[3]



The blue wave-form is their synthesis. We see that it too is regular, but a bit more complex. If we were to take a string at one length, and play it with another string of half the length, we would obtain such a harmonic as above. This was Pythagoras' harmonic demonstration. Prof Lewin describes his discovery.



Pythagoras was able to calculate the harmonic ratios this way. His calculator was a musical instrument, the monochord. [4]



The monochord has one string. You change the pitch by moving the bridge mechanism. Wherever you stop the bridge, that terminates the length of the string. Shorter strings vibrate at higher rates. So shorter strings make higher pitches.

The monochord is an analog computer, like a slide rule. The bridge can find itself anywhere along a continuum of points across the string. So theoretically there are an infinity of possible string lengths, and hence an infinity of possible pitches.

Now, when two strings are of the same length, they produce tones of the same frequency. So if you play them together, the waves superpose and reinforce each other. Pythagoras showed this by playing two monochords with the strings fully open. If we gradually move the bridge toward the end, we can hear the two wave patterns slowly come to match each other. [The video below synthesizes pure sine waves].



The image on the screen displays the waves' synthesized form. You see that at first there is no pattern. Then they reinforce each other, but because they are off, they cancel at regular intervals, called beats. Finally they come together, and there is one solid wave form.

Now we will move the bridge toward the center of one monochord, while letting the other one continue playing at its full length. We want to see where we obtain another strong point of reinforcement. As we near the middle, we will experience that 'beating' phenomenon, but it will not be so pronounced.



Because the smaller string is half the larger one, it makes two waves by the time the larger string finishes one. This causes the waves to reinforce each other once every repetition of the larger cycle, as we saw in this image. This is the octave.



What we find is that the next strongest reinforcement is at one third the length, the next at one fourth the length, the following one at one fifth, and so on. Let's listen to the next three harmonies. The first will occur when the smaller string is at one third the longer one's length. The following one is at one fourth. And the final one is at one fifth.



We find that these harmonic ratios continue along the natural number series. [Click on image for enlargement. Image 5]



Here is a colored version of the image often associated with Nicomachus the Pythagorean's Manual of Harmony. It displays the ratio divisions along the monochord's string. [For more on the harmonic divisions, see Friedrich Nietzsche's lecture on the Pythagoreans] [6]



There is a legend that Pythagoras discovered these ratios first by hearing metal-smith hammers clanging on anvils. He noted the harmonic relations of the different sized hammers. Then he went to a "canon" instrument with strings whose tension was varied by means of different sized weights. [7], [8]





Each successive harmony on the string is another natural number. Hence wave harmonics compute the natural numbers. If we have a vibrating string, we do not need to measure where its midpoint is using a ruler. We can find it by moving the bridge until we reach the octave. The string thereby computes "1 + 1 = 2". The sound harmonics themselves are a precise measuring tool and computation device, sort of like a slide rule.

Although Pythagoras may not have been aware, the vibration of the one whole string already contains in it smaller wave-forms following the natural numbers. Waves are fractals. There is no pure sine wave in nature. Whenever there is a wave-form of a certain frequency, it is a composite wave that is made-up of smaller waves at higher frequencies, but at lower amplitudes. When we see a string vibrating, we see something like this [9]:



It is a blur, but with noticeable regularities in it.

We know that the string moves up-and-down like a jump-rope [10]:



This makes the basic frequency. But traveling within this wave are smaller waves, and they follow the natural number series [11].



And again, all together they make a form that looks something like this, over a period of time:



[See this site for an animation that shows how the wave-forms synthesize on the string.] Here Prof. Lewin explains the discrete values of the "natural frequencies." The subdivisions within a string "go on to infinity."



The reason we note these constituent overtones is because in this way, the string does not just compute the natural numbers, it visually displays them as well, just like slide-rules, abacuses, mechanical computers and electronic ones too. And because each sub-wave is a discretely different numerical value, 1, 2, 3, 4 and so on, the string displays its computation in digital. Here he explains how the harmonics go on infinitely. This is important, because that means in a very short amount of time, the string computes all the natural numbers perhaps to infinity, which would be impossible for any classical digital computer.



Now he will explain that the instrument strings do not just play one frequency, but also its higher harmonic frequencies as well.



Here he will use a device to indicate those higher harmonics.


But still we do not know precisely what are the higher overtones and how strong they are. We want a way to determine that in every wave there are certainly many more that follow the natural numbers. This will assure us that in fact waves do compute the natural numbers, and perhaps even infinitely many of them in a small amount of time.

The means for analyzing-out the constituent wave forms is a method called Fourier analysis. I will leave it for mathematicians to explain how you do it. I cannot. But we just need the results. We want to see with our own eyes the countless natural numbers that nature and the cosmos are calculating in so many places at once.

I found the animations and explanation at Peter Ceperley's site to be very helpful for grasping the basics of Fourier analysis. [the other parts of the site are wonderful too.] But we will follow the essential parts of Professor Lewin's lecture so that we can grasp enough to see the constituent waves.

Here he explains that the string's up-and-down motion is also its back-and-forth. This will lead us into his animation.



[See this page by Peter Ceperley for a helpful animation showing this wave phenomenon.]

We will now see how Fourier analysis allows us to determine the series of smaller frequencies and the amplitudes that superpose to make the larger wave form. In this case we begin with a triangle wave and find the curvy sinusoidal waves that make it up. You will see how waves are always complexes of smaller constituent waves, even though their synthesis only indicates them implicitly. The red wave is the actual wave. The blue waves are all the wave motions who synthesize together to make the red wave.



The peak of the red wave does not come to a triangular point. That is because we would need to include the full infinity of constituent blue waves, each one smaller then the prior, that together will fill-out the full wave-form.

Now Lewin will explain the Fourier analysis for a sound wave that we might find in the air, and not just as a mathematical abstraction. The analysis will show how the wave contains not only its full frequency, but also the first constituent harmonic (at double the frequency), the second (at triple) and so on.



Here he uses a device that can perform the analysis, although not to a great extent.



Below we can see displayed an analysis for a guitar playing a tone at around 300 hertz. Notice the spiking at 600, 900, 1200, and so on. Each spike is another multiple of the original wave. That means there is the fundamental wave, and moving through it are waves of half the size, a third, and so on. So the one guitar wave computed the natural numbers. We here are able to detect it calculating up to 10, but it is conceivable that the string computes them on to infinity.[12]



We investigate Fourier analysis because it shows that indeed waves are already computational engines. They compute natural numbers. The analysis just pulls out the implicit computations, some of which we can see just by looking at the string's motion. Trained musicians in fact can distinctly hear many of the successive overtones in the series.

We only need small moments of the vibration to deduce the numerical ratios that the wave is computing. The series of component waves is infinite. So in a matter of just moments, a wave computes and displays countless (perhaps infinite) natural numbers. This is something that a digital machine could never accomplish, because it can only complete tasks within finite numbers of steps. Even if it is shown that the string's computations are limited, and that digital computers can do better, nonetheless, it is quite remarkable that nature herself is constantly computing natural numbers to begin with. Now consider also how waves are ubiquitous in nature and the cosmos. Some reduce all things to waves or vibrations. The universe is sublimely great. Every moment countless galaxies are computing numbers. The world around us is a staggeringly sophisticated and extensive computer.



I propose another possibility for natural computation: the golden ratio. We can extend this to other naturally occurring irrational numbers like pi, but I begin with phi, the golden number.

The Pythagoreans are credited with discovering the golden ratio (Livio 35). They found it in the proportions of a pentagram.

I am interested in finding natural things that are like calculators in way that is similar to how an abacus or slide rule is a calculating device. The monochord string was one option. Now I propose a flower or other plant whose growth pattern follows the golden ratio.

Euclid defines the golden ratio in the third definition of the fourth book of his Elements:
A straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the less.



We see that we are dealing with an analogy. But normally analogies have four components:
a is to b as c is to d
This also formulates a proportion.

Just a ratio is one value taken in relation to another value:
a/b
A proportion is one ratio taken in relation to another ratio:
a/b = c/d
The golden ratio seems like it can be expressed as a proportion:
a+b / a = a/b
We see that we only have two terms. So on the one hand it is just a ratio; there are only really two terms that are being related. However, they are related in such a way that the relation itself self-relates. What we see is that the microcosm (a/b) is proportional to the macrocosm (a+b / a). The way that the whole relates to its larger part is the same as the way its larger part relates to the smaller one. What interests us here are not the terms, but the relations between them. We obtained this harmony with a middle term, a, the larger part. The larger part acts both as the smaller to one value, and the larger to another. But that relation in both cases is proportional. The golden ratio is magical because it is a self-proportional proportion.

Suppose we just cut the line in half. Then the whole relates to one of its parts as 2:1, but the one part relates to the other part as 1:1. Here the ratio does not find itself within itself. There is only one very precise division that produces the golden ratio. So the golden ratio is not so easy to calculate. It is a very sensitive determination. In fact, it is so sensitive that it cannot be determined precisely, at least with digits. Like all irrational numbers, when we try to display the digits of its decimals, we continually carry and carry to the next lower digit place, never arriving upon the last one.

Certain flowers and plants compute this ratio in their growth pattern. They shoot-out new branches one-by-one as the stalk grows upward. Some plants send out branches at golden ratios. Somehow the plant just naturally computes and displays a number that no digital computer could ever calculate.

If we were to divide a circle's circumference into goldenly divided parts, we would obtain the following proportion. [14]



We can approximate the angle. [15]



Many plants shoot-out new limbs each time at the golden angle. [16]



From 1 to 2 is the golden angle. From 2 to 3 is also the golden angle. 3 to 4 as well, and so on. After a while we obtain an interesting and pleasant formation. [17]



We can see how it calculates the golden ratio and displays it to us. [18]



We can also see that the golden 'phyllotaxis' in this case produces two sets of spirals going opposite directions. [19], [20]





Some other plants display the golden spirals more prominently. [21], [22]





Now, one might be unimpressed: nature only computes and displays the golden ratio in select species of plants. But recall the last time you poured cream into hot coffee. It spiraled. Your coffee displayed the golden ratio. That spiral can be found in hurricanes. In fact, our galaxy is such a spiral. [23]



Mathematician Benoit Mandelbrot is even said to have calculated that all the galaxies in the universe are arranged in such a spiral form. Spirals within spirals within spirals. Calculators upon calculators, all throughout the cosmos.

Someone else might object that in none of these examples does the phenomenon display the ratio precisely, because on some very small level at least, it will be off by a little bit. I respond in two ways.

1) Perhaps if we averaged every 'imprecise' manifestation of the golden ratio throughout the cosmos over the course of its eternity, we would have a precise calculation of the golden ratio.

2) What is remarkable in the very least is how these natural computers are tending to display the ratio precisely, or seemingly trying to. Now also consider the Fibonacci sequence, 1, 1, 2, 3, 5, 8, 13, 21, and so on. We add the prior number to any given number to obtain the following number. If we make a ratio between any two neighboring numbers, we obtain an approximation for the golden ratio. As the numbers get bigger, the approximation becomes more accurate. Many things in nature proceed according to the Fibonacci pattern. The pattern is tending toward an absolutely precise rendition of the golden ratio, as it goes on to infinity. But that tendency is there from the start. So things in nature that display the Fibonacci sequence and proceed developmentally in accordance with that pattern also exhibit the tendency toward an absolutely precise rendition of the golden ratio.


We examine natural computation to compare it with automated artificial computation using digital mathematics. If at all nature computes, that is remarkable enough, given that we consider computation to be an artificial human invention. But what is more remarkable is that

a) natural computers might be more computationally powerful than artificial digital ones, because natural ones seem to compute infinitely complex numbers in just instants when it would take a digital computer an eternity, and

b) natural computations make-up very much of the dynamics of the cosmos and nature, so much so that it lends evidence to the Pythagorean claim that all is number and Becoming is calculation. Consider also how many things such as bubbles tend toward a spherical form. We also spoke of sinusoidal waves that make-up every actual complex wave in nature. These formations involve circular geometries, which means a bubble for example calculates pi. But pi is also an irrational number that cannot be computed digitally. And yet, so much in the cosmos tends toward spherical shapes.

Lastly, I would like to address the question of whether natural computation is "wild" or not. Wild computations would be ones that follow a deterministic pattern but that are marginally thrown-off their deterministic track by natural (and not mathematical) random interferences. We said that natural computers are precise in their tendencies. In their actualities, they might always be wild. Nature computes irrational numbers. Such numbers cannot be computed and displayed digitally, because there is something about them that always defies determination. In other words, nature is a computer that defies determinism. Nature and the cosmos at heart are wild computers.




Livio, Mario. The Golden Ratio: The Story of Phi, the World's most Astonishing Number. New York: Broadway Books, 2002.

Peter Ceperley's wave site table of contents:

Wonderful animations and explanations at the University of Salford site:

Video from:

Images from:
[1]

[2]

[3]

[4], [5]
Guthrie, Kenneth Sylvan. The Pythagorean sourcebook and library : an anthology of ancient writings which relate to Pythagoras and Pythagorean philosophy. Grand Rapids (Mich.): Phanes, 1987. ISBN: 0-933999-51-8

[6]

[7],

[8]

[9], [10], [11]
Jones, George Thaddeus. Music Theory. New York: Harper & Row, 1974.

[12]

[13]

[14]

[15]

[16]

[17], [19], [20]

[18]

[21]

[22]

[23]