Does Music Link Space and Time in Brain Dynamics?

opentheory |  I think all neuroscientists, all philosophers, all psychologists, and all psychiatrists should basically drop whatever they’re doing and learn Selen Atasoy’s “connectome-specific harmonic wave” (CSHW) framework. It’s going to be the backbone of how we understand the brain and mind in the future, and it’s basically where predictive coding was in 2011, or where blockchain was in 2009. Which is to say, it’s destined for great things and this is a really good time to get into it.

I described CSHW in my last post as:

Selen Atasoy’s Connectome-Specific Harmonic Waves (CSHW) is a new method for interpreting neuroimaging which (unlike conventional approaches) may plausibly measure things directly relevant to phenomenology. Essentially, it’s a method for combining fMRI/DTI/MRI to calculate a brain’s intrinsic ‘eigenvalues’, or the neural frequencies which naturally resonate in a given brain, as well as the way the brain is currently distributing energy (periodic neural activity) between these eigenvalues.

This post is going to talk a little more about how CSHW works, why it’s so powerful, and what sorts of things we could use it for.

CSHW: the basics

All periodic systems have natural modes— frequencies they ‘like’ to resonate at. A tuning fork is a very simple example of this: regardless of how it’s hit, most of the vibration energy quickly collapses to one frequency- the natural resonant frequency of the fork.

All musical instruments work on this principle; when you change the fingering on a trumpet or flute, you’re changing the natural resonances of the instrument. 

CSHW’s big insight is that brains have these natural resonances too, although they differ slightly from brain to brain. And instead of some external musician choosing which notes (natural resonances) to play, the brain sort of ‘tunes itself,’ based on internal dynamics, external stimuli, and context.

The beauty of CSHW is that it’s a quantitative model, not just loose metaphor: neural activation and inhibition travel as an oscillating wave with a characteristic wave propagation pattern, which we can reasonably estimate, and the substrate in which they propagate is the the brain’s connectome (map of neural connections), which we can also reasonably estimate.

We Know A Little About What Matter Does, But Nothing About What It Is....,

qz |  Interest in panpsychism has grown in part thanks to the increased academic focus on consciousness itself following on from Chalmers’ “hard problem” paper. Philosophers at NYU, home to one of the leading philosophy-of-mind departments, have made panpsychism a feature of serious study. There have been several credible academic books on the subject in recent years, and popular articles taking panpsychism seriously.

One of the most popular and credible contemporary neuroscience theories on consciousness, Giulio Tononi’s Integrated Information Theory, further lends credence to panpsychism. Tononi argues that something will have a form of “consciousness” if the information contained within the structure is sufficiently “integrated,” or unified, and so the whole is more than the sum of its parts. Because it applies to all structures—not just the human brain—Integrated Information Theory shares the panpsychist view that physical matter has innate conscious experience.

Goff, who has written an academic book on consciousness and is working on another that approaches the subject from a more popular-science perspective, notes that there were credible theories on the subject dating back to the 1920s. Thinkers including philosopher Bertrand Russell and physicist Arthur Eddington made a serious case for panpsychism, but the field lost momentum after World War II, when philosophy became largely focused on analytic philosophical questions of language and logic. Interest picked up again in the 2000s, thanks both to recognition of the “hard problem” and to increased adoption of the structural-realist approach in physics, explains Chalmers. This approach views physics as describing structure, and not the underlying nonstructural elements.

“Physical science tells us a lot less about the nature of matter than we tend to assume,” says Goff. “Eddington”—the English scientist who experimentally confirmed Einstein’s theory of general relativity in the early 20th century—“argued there’s a gap in our picture of the universe. We know what matter does but not what it is. We can put consciousness into this gap.”  Fist tap Dale.

MindSmash Pipes Up Into The Digital Catheter...,

endgadget |  The new replay tools offered in PlayerUnknown's Battlegrounds are so much more than standard video-capture technology. In fact, it isn't video capture at all -- it's data capture. The 3D replay tools allow players to zoom around the map after a match, tracking their own character, following enemies' movements, slowing down time and setting up cinematic shots of their favorite kills, all within a 1-kilometer radius of their avatar. It's filled with statistics, fresh perspectives and infinite data points to dissect. This isn't just a visual replay; it's a slice of the actual game, perfectly preserved, inviting combatants to play God.

PUBG is an ideal test case. It's a massively popular online game where up to 100 players parachute onto a map, scavenge for supplies, upgrade weapons and attempt to be the last person standing. Even though it technically came out in December, PUBG has been available in early access since March and it's picked up a considerable number of accolades -- and players -- in the process. Just last week, SteamDB reported PUBG hit 3 million concurrent players on PC, vastly outstripping its closest competitor, Dota 2, which has a record of 1.29 million simultaneous players.

Part of PUBG's success stems from developers' relentless focus on making the game fun to watch. Live streaming is now a major part of the video-game world, with sites like Twitch and YouTube Gaming growing in prominence and eSports bursting into the mainstream.

Kim says PUBG creator Brendan Greene and CEO Chang Han Kim built the idea of data-capture into the game from the beginning, and Minkonet's tech is a natural evolution of this focus. Minkonet and PUBG developers connected in late 2016 and started working together on the actual software earlier this year.

"One of their first visions was to have PUBG as not just a great game to play, but a great game to watch," Kim says. "So they were already from the very beginning focused on having PUBG as a great live streaming game; esports was also one of their sort of long-term visions."

Is Ideology The Original Augmented Reality?

nautil.us |  Released in July 2016, Pokémon Go is a location-based, augmented-reality game for mobile devices, typically played on mobile phones; players use the device’s GPS and camera to capture, battle, and train virtual creatures (“Pokémon”) who appear on the screen as if they were in the same real-world location as the player: As players travel the real world, their avatar moves along the game’s map. Different Pokémon species reside in different areas—for example, water-type Pokémon are generally found near water. When a player encounters a Pokémon, AR (Augmented Reality) mode uses the camera and gyroscope on the player’s mobile device to display an image of a Pokémon as though it were in the real world.^* This AR mode is what makes Pokémon Go different from other PC games: Instead of taking us out of the real world and drawing us into the artificial virtual space, it combines the two; we look at reality and interact with it through the fantasy frame of the digital screen, and this intermediary frame supplements reality with virtual elements which sustain our desire to participate in the game, push us to look for them in a reality which, without this frame, would leave us indifferent. Sound familiar? Of course it does. What the technology of Pokémon Go externalizes is simply the basic mechanism of ideology—at its most basic, ideology is the primordial version of “augmented reality.”

The first step in this direction of technology imitating ideology was taken a couple of years ago by Pranav Mistry, a member of the Fluid Interfaces Group at the Massachusetts Institute of Technology Media Lab, who developed a wearable “gestural interface” called “SixthSense.”^** The hardware—a small webcam that dangles from one’s neck, a pocket projector, and a mirror, all connected wirelessly to a smartphone in one’s pocket—forms a wearable mobile device. The user begins by handling objects and making gestures; the camera recognizes and tracks the user’s hand gestures and the physical objects using computer vision-based techniques. The software processes the video stream data, reading it as a series of instructions, and retrieves the appropriate information (texts, images, etc.) from the Internet; the device then projects this information onto any physical surface available—all surfaces, walls, and physical objects around the wearer can serve as interfaces. Here are some examples of how it works: In a bookstore, I pick up a book and hold it in front of me; immediately, I see projected onto the book’s cover its reviews and ratings. I can navigate a map displayed on a nearby surface, zoom in, zoom out, or pan across, using intuitive hand movements. I make a sign of @ with my fingers and a virtual PC screen with my email account is projected onto any surface in front of me; I can then write messages by typing on a virtual keyboard. And one could go much further here—just think how such a device could transform sexual interaction. (It suffices to concoct, along these lines, a sexist male dream: Just look at a woman, make the appropriate gesture, and the device will project a description of her relevant characteristics—divorced, easy to seduce, likes jazz and Dostoyevsky, good at fellatio, etc., etc.) In this way, the entire world becomes a “multi-touch surface,” while the whole Internet is constantly mobilized to supply additional data allowing me to orient myself.

Mistry emphasized the physical aspect of this interaction: Until now, the Internet and computers have isolated the user from the surrounding environment; the archetypal Internet user is a geek sitting alone in front of a screen, oblivious to the reality around him. With SixthSense, I remain engaged in physical interaction with objects: The alternative “either physical reality or the virtual screen world” is replaced by a direct interpenetration of the two. The projection of information directly onto the real objects with which I interact creates an almost magical and mystifying effect: Things appear to continuously reveal—or, rather, emanate—their own interpretation. This quasi-animist effect is a crucial component of the IoT: “Internet of things? These are nonliving things that talk to us, although they really shouldn’t talk. A rose, for example, which tells us that it needs water.”¹ (Note the irony of this statement. It misses the obvious fact: a rose is alive.) But, of course, this unfortunate rose does not do what it “shouldn’t” do: It is merely connected with measuring apparatuses that let us know that it needs water (or they just pass this message directly to a watering machine). The rose itself knows nothing about it; everything happens in the digital big Other, so the appearance of animism (we communicate with a rose) is a mechanically generated illusion.

The Rape of RAP - Don't Say ISHT To Me About Harvey Weinstein...,

yournewswire |  John Homeston, a retired CIA agent, has admitted this week on National Russian Television (NTV) that the CIA was behind the creation of the 1980s hip hop scene and financed major hip hop acts including NWA, Afrika Bambaataa, and Grandmaster Flash & the Furious Five.

The government at the time spent “big money, serious money” on this covert operation destined to “further division” and “corrupt the American youth to nihilist, anti-establishment and anti-American ideologies”, he explained in a half hour interview broadcast on national television.

Famous hip hop songs of the legendary hip hop outfit NWA were even scripted by a team of psychologists and war propagandists of the CIA. “F#ck the police,” and “When I’m called off, I got a sawed off / Squeeze the trigger, and bodies are hauled off,” and other nihilist and anti-establishment lyrics were intended to unleash a wave of cynicism towards authorities, promote the use of heavy drugs, and entice the youth with revolutionary, counter-establishment ideas.

The retired CIA agent claims the social engineering maneuver was “extremely successful.“

“We understood at the time that music was a powerful means of propaganda to reach the youth,” explained the 77-year-old man.

“Our mission was to use teenage angst to our advantage and turn Generation X into a decadent, pro-drug and anti-establishment culture that would create uprisings and further division within society. We even infiltrated mainstream radio to promote their music and reach millions of people everyday,” he admitted, visibly proud of the accomplishment.

“For many of us in the CIA, infiltrating the 1980s hip hop scene was one of the CIA’s most successful experiments of propaganda to date,” he acknowledged during the interview.

“You could say Frankenstein’s monster got up off the table and started goose-stepping.”

Aesthetic Relativism > Moral Relativism > Cultural Assassination...,

Counterpunch |  In contrast, an ongoing exhibition at the Chicago Art Institute shows the early Soviet arts in all their bustling contradiction and coming-to-be. The CIA could not have produced anything on this scale, which required a world-shaking collision of forces and a belief uncomfortably close to the religious. Malevich, Dziga Vertov, El Lissitzky, Lenin, Mayakovsky… The US, too, had considerable forces at its disposal (Buster Keaton, first and foremost). The strange thing is that this exhibition, mounted in a refreshingly no-nonsense and rather cool style, still manages to inspire, as if the past was waiting for the present to catch up to it. This power lies not so much in the myriad forms of the works, which may be bound in time, but in the pure electricity of their still-disarming presence. Against the morose ideas of ends, the grand mortuary they call ‘history’, against the relegation of past works of art to nostalgia and price, something else appears beside the collages, constructivist paintings, fabrics and living spaces constructed for the great new socialist world. We are always told that Stalin was the culmination of this moment in time. Who says? And who paid him to say it? The answer is obvious. They say that here is only one modernism; that there is only one history (and one power able to declare that it is over); that there is only one self to express; that there is only one public and one art which can express it (sometimes fearfully, it has to be admitted). If this sums up the most banal kinds of socialist realism, it is equally applicable to the art the CIA promoted in the middle of last century. Behind the paintings was the logic of pacification.

Alan Dulles’ influence extends far beyond his admittedly meagre artistic output. The CIA’s most recent work of criticism is the destruction of San’a and Aleppo, where the Agency has taken to task outmoded theories of architecture in an imperial inversion of the Situationists’ support for the Watts riots. And The Intercept informsus that Erik Prince, infamous Blackwater capo, and that old has-been Oliver North are setting up a parallel intelligence agency to defend the embattled President against a rogue CIA. Thus, the old rivalry between Classical and Romantic has returned with a swinging post-modern, mercenary twist. Although painting seems to be off the radar for now, the ideas behind the Abstract Intelligence school await resurrection in another form whose inelegance may delight or offend, depending on the myths necessary for the murder of both the Image and its reflection.

The Long Leash

independent - 1995 |  For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

gizmodo -2010 |   There's little more divisive than modern art—most take a staunch "brilliance" or "bullshit" stance. So it should come as a surprise that the straight-laced feds at the CIA leaned toward the former camp—or at least saw it as brilliantly exploitable in the psychological war against the Soviets. Reports from former agents acknowledge what was always a tall tale in the art world—that CIA spooks floated pioneering artists like Jackson Pollock, Willem de Kooning, and Robert Motherwell, to drop an aesthetic nuke on Communism. What seemed like natural popularity of certain artists was, in part, actually a deliberate attempt at psychological warfare, backed by the US government.

But why modern art? At the time period in question—the 1950s and 60s—the artistic style of the moment was Abstract Expressionism. Abstract Expressionism (or AbEx, if you want to impress people at your next snooty cocktail party) stood for, above all else, self expression. Radically so. Take a look at a Pollock, for instance.

bbc - 2016 |  In the immediate aftermath of World War Two, something exciting happened in the art world in New York. A strange but irresistible energy started to crackle across the city, as artists who had struggled for years in poverty and obscurity suddenly found self-confidence and success. Together, they formed a movement that became known, in time, as Abstract Expressionism. It is currently the subject of a major exhibition, featuring 164 artworks by 30 artists (including Willem de Kooning, Jackson Pollock, and Mark Rothko), at the Royal Academy of Arts in London.

One of the most remarkable things about Abstract Expressionism was the speed with which it rose to international prominence. Although the artists associated with it took a long time to find their signature styles, once the movement had crystallised, by the late ‘40s, it rapidly achieved first notoriety and then respect. By the ‘50s, it was generally accepted that the most exciting advances in painting and sculpture were taking place in New York rather than Paris. In 1957, a year after Pollock’s death in a car crash, the Metropolitan Museum paid $30,000 for his Autumn Rhythm – an unprecedented sum of money for a painting by a contemporary artist at the time.

unleashing the power of neuroscience

royalsociety |  In addition to causing distress and disability to the individual, neuropsychiatric disorders are also extremely expensive to society and governments. These disorders are both common and debilitating and impact on cognition, functionality and wellbeing. Cognitive enhancing drugs, such as cholinesterase inhibitors and methylphenidate, are used to treat cognitive dysfunction in Alzheimer's disease and attention deficit hyperactivity disorder, respectively. Other cognitive enhancers include specific computerized cognitive training and devices. An example of a novel form of cognitive enhancement using the technological advancement of a game on an iPad that also acts to increase motivation is presented. Cognitive enhancing drugs, such as methylphenidate and modafinil, which were developed as treatments, are increasingly being used by healthy people. Modafinil not only affects ‘cold’ cognition, but also improves ‘hot’ cognition, such as emotion recognition and task-related motivation. The lifestyle use of ‘smart drugs' raises both safety concerns as well as ethical issues, including coercion and increasing disparity in society. As a society, we need to consider which forms of cognitive enhancement (e.g. pharmacological, exercise, lifelong learning) are acceptable and for which groups (e.g. military, doctors) under what conditions (e.g. war, shift work) and by what methods we would wish to improve and flourish.

smart drug modafinil safe for widespread use

reason |  Good news, overachieving students, ADHD-havers, Limitless fans, and pillheads everywhere: A meta-analysis of the data on "smart drug" modafinil has found that yes, it's safe, and yes, it's effective as a cognitve enhancer.

Published in the journal European Neuropsychopharmacology, the review covers 24 placebo-controlled studies of modafinil—also known by the brand name Provigil—that were conducted between 1990 and 2014 on healthy, non-sleep deprived individuals. "Such an analysis overcomes some of the limitations of each of the smaller studies, such as narrow demographics or conflicting results, and draws an overarching conclusion," notes Quartz writer Akshat Rathi. 

Officially sanctioned in the U.S. to treat sleep disorders such as narcolepsy, modafinil is sometimes prescribed off-label to treat conditions like depression, chronic fatigue syndrome, and Parkinson's disease. It's also become popular as a cognitive enhancer, or nootropic. A 2008 poll from science journal Nature found that 44 percent of its readers had tried modafinil. And while less popular than Adderall, it's also a hit among college students as a study aid. 

Without a prescription, modafinal is still pretty easy for Americans to purchase online from foreign pharmacies (where it's sold under names such as Modalert, Modvigil, and Alertec), albeit also pretty illegal. Some countries, such as India and Mexico, neither classify modafinil as a controlled substance nor require buyers to have a medical prescription; in others, such as Canada, Australia, Germany, and the U.K., it's not a controlled substance but a prescription is required. In the U.S., however, it's both a Schedule IV controlled drug and prescription-only. 

Could that change? In the new review, researchers found that "modafinil appears to consistently engender enhancement of attention, executive functions, and learning," all without "any preponderances for side effects or mood changes." Modafinil "appears safe for widespread use," concluded researchers, calling it "one of the most promising and highly-investigated neuroenhancers to date."