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Steven PinkerHow the Mind WorksAn excerpt Standard Equipment Why are there so many robots in fiction, but none in real life? I would pay a lot for a robot that could put away the dishes or run simple errands. But I will not have the opportunity in this century, and probably not in the next one either. There are, of course, robots that weld or spray-paint on assembly lines and that roll through laboratory hallways; my question is about the machines that walk, talk, see, and think, often better than their human masters. Since 1920, when Karel Capek coined the word robot in his play R.U.R., dramatists have freely conjured them up: Speedy, Cutie, and Dave in Isaac Asimov's I, Robot, Robbie in Forbidden Planet, the flailing canister in Lost in Space, the daleks in Dr. Who, Rosie the Maid in The Jetsons, Nomad in Star Trek, Hymie in Get Smart, the vacant butlers and bickering haberdashers in Sleeper, R2D2 and C3PO in Star Wars, the Terminator in The Terminator, Lieutenant Commander Data in Star Trek: The Next Generation, and the wisecracking film critics in Mystery Science Theater 3000. This book is not about robots; it is about the human mind. I will try to explain what the mind is, where it came from, and how it lets us see, think, feel, interact, and pursue higher callings like art, religion, and philosophy. On the way I will try to throw light on distinctively human quirks. Why do memories fade? How does makeup change the look of a face? Where do ethnic stereotypes come from, and when are they irrational? Why do people lose their tempers? What makes children bratty? Why do fools fall in love? What makes us laugh? And why do people believe in ghosts and spirits? But the gap between robots in imagination and in reality is my starting point, for it shows the first step we must take in knowing ourselves: appreciating the fantastically complex design behind feats of mental life we take for granted. The reason there are no humanlike robots is not that the very idea of a mechanical mind is misguided. It is that the engineering problems that we humans solve as we see and walk and plan and make it through the day are far more challenging than landing on the moon or sequencing the human genome. Nature, once again, has found ingenious solutions that human engineers cannot yet duplicate. When Hamlet says, "What a piece of work is a man! how noble in reason! how infinite in faculty! in form and moving how express and admirable!" we should direct our awe not at Shakespeare or Mozart or Einstein or Kareem Abdul-Jabbar but at a four-year old carrying out a request to put a toy on a shelf. In a well-designed system, the components are black boxes that perform their functions as if by magic. That is no less true of the mind. The faculty with which we ponder the world has no ability to peer inside itself or our other faculties to see what makes them tick. That makes us the victims of an illusion: that our own psychology comes from some divine force or mysterious essence or almighty principle. In the Jewish legend of the Golem, a clay figure was animated when it was fed an inscription of the name of God. The archetype is echoed in many robot stories. The statue of Galatea was brought to life by Venus' answer to Pygmalion's prayers; Pinocchio was vivified by the Blue Fairy. Modern versions of the Golem archetype appear in some of the less fanciful stories of science. All of human psychology is said to be explained by a single, omnipotent cause: a large brain, culture, language, socialization, learning, complexity, self-organization, neural-network dynamics. I want to convince you that our minds are not animated by some godly vapor or single wonder principle. The mind, like the Apollo spacecraft, is designed to solve many engineering problems, and thus is packed with high-tech systems each contrived to overcome its own obstacles. I begin by laying out these problems, which are both design specs for a robot and the subject matter of psychology. For I believe that the discovery by cognitive science and artificial intelligence of the technical challenges overcome by our mundane mental activity is one of the great revelations of science, an awakening of the imagination comparable to learning that the universe is made up of billions of galaxies or that a drop of pond water teems with microscopic life.
What does it take to build a robot? Let's put aside superhuman abilities like calculating planetary orbits and begin with the simple human ones: seeing, walking, grasping, thinking about objects and people, and planning how to act. In movies we are often shown a scene from a robot's-eye view, with the help of cinematic conventions like fish-eye distortion or crosshairs. That is fine for us, the audience, who already have functioning eyes and brains. But it is no help to the robot's innards. The robot does not house an audience of little people homunculi gazing at the picture and telling the robot what they are seeing. If you could see the world through a robot's eyes, it would look not like a movie picture decorated with crosshairs but something like this: 225 221 216 219 219 214 207 218 219 220 207 155 136 135 213 206 213 223 208 217 223 221 223 216 195 156 141 130 206 217 210 216 224 223 228 230 234 216 207 157 136 132 211 213 221 223 220 222 237 216 219 220 176 149 137 132 221 229 218 230 228 214 213 209 198 224 161 140 133 127 220 219 224 220 219 215 215 206 206 221 159 143 133 131 221 215 211 214 220 218 221 212 218 204 148 141 131 130 214 211 211 218 214 220 226 216 223 209 143 141 141 124 211 208 223 213 216 226 231 230 241 199 153 141 136 125 200 224 219 215 217 224 232 241 240 211 150 139 128 132 204 206 208 205 233 241 241 252 242 192 151 141 133 130 200 205 201 216 232 248 255 246 231 210 149 141 132 126 191 194 209 238 245 255 249 235 238 197 146 139 130 132 189 199 200 227 239 237 235 236 247 192 145 142 124 133 198 196 209 211 210 215 236 240 232 177 142 137 135 124 198 203 205 208 211 224 226 240 210 160 139 132 129 130 216 209 214 220 210 231 245 219 169 143 148 129 128 136 211 210 217 218 214 227 244 221 162 140 139 129 133 131 215 210 216 216 209 220 248 200 156 139 131 129 139 128 219 220 211 208 205 209 240 217 154 141 127 130 124 142 229 224 212 214 220 229 234 208 151 145 128 128 142 122 252 224 222 224 233 244 228 213 143 141 135 128 131 129 255 235 230 249 253 240 228 193 147 139 132 128 136 125 250 245 238 245 246 235 235 190 139 136 134 135 126 130 240 238 233 232 235 255 246 168 156 144 129 127 136 134 Each number represents the brightness of one of the millions of tiny patches making up the visual field. The smaller numbers come from darker patches, the larger numbers from brighter patches. The numbers shown in the array are the actual signals coming from an electronic camera trained on a person's hand, though they could just as well be the firing rates of some of the nerve fibers coming from the eye to the brain as a person looks at a hand. For a robot brain or a human brain to recognize objects and not bump into them, it must crunch these numbers and guess what kinds of objects in the world reflected the light that gave rise to them. The problem is humblingly difficult. First, a visual system must locate where an object ends and the backdrop begins. But the world is not a coloring book, with black outlines around solid regions. The world as it is projected into our eyes is a mosaic of tiny shaded patches. Perhaps, one could guess, the visual brain looks for regions where a quilt of large numbers (a brighter region) abuts a quilt of small numbers (a darker region). You can discern such a boundary in the square of numbers; it runs diagonally from the top right to the bottom center. Most of the time, unfortunately, you would not have found the edge of an object, where it gives way to empty space. The juxtaposition of large and small numbers could have come from many distinct arrangements of matter. This drawing, devised by the psychologists Pawan Sinha and Edward Adelson, appears to show a ring of light gray and dark gray tiles.
![]() In fact, it is a rectangular cutout in a black cover through which you are looking at part of a scene. In the next drawing the cover has been removed, and you can see that each pair of side-by-side gray squares comes from a different arrangement of objects.
![]() Big numbers next to small numbers can come from an object standing in front of another object, dark paper lying on light paper, a surface painted two shades of gray, two objects touching side by side, gray cellophane on a white page, an inside or outside corner where two walls meet, or a shadow. Somehow the brain must solve the chicken-and-egg problem of identifying three-dimensional objects from the patches on the retina and determining what each patch is (shadow or paint, crease or overlay, clear or opaque) from knowledge of what object the patch is part of. The difficulties have just begun. Once we have carved the visual world into objects, we need to know what they are made of, say, snow versus coal. At first glance the problem looks simple. If large numbers come from bright regions and small numbers come from dark regions, then large number equals white equals snow and small number equals black equals coal, right? Wrong. The amount of light hitting a spot on the retina depends not only on how pale or dark the object is but also on how bright or dim the light illuminating the object is. A photographer's light meter would show you that more light bounces off a lump of coal outdoors than off a snowball indoors. That is why people are so often disappointed by their snapshots and why photography is such a complicated craft. The camera does not lie; left to its own devices, it renders outdoor scenes as milk and indoor scenes as mud. Photographers, and sometimes microchips inside the camera, coax a realistic image out of the film with tricks like adjustable shutter timing, lens apertures, film speeds, flashes, and darkroom manipulations. Our visual system does much better. Somehow it lets us see the bright outdoor coal as black and the dark indoor snowball as white. That is a happy outcome, because our conscious sensation of color and lightness matches the world as it is rather than the world as it presents itself to the eye. The snowball is soft and wet and prone to melt whether it is indoors or out, and we see it as white whether it is indoors or out. The coal is always hard and dirty and prone to burn, and we always see it as black. The harmony between how the world looks and how the world is must be an achievement of our neural wizardry, because black and white don't simply announce themselves on the retina. In case you are still skeptical, here is an everyday demonstration. When a television set is off, the screen is a pale greenish gray. When it is on, some of the phosphor dots give off light, painting in the bright areas of the picture. But the other dots do not suck light and paint in the dark areas; they just stay gray. The areas that you see as black are in fact just the pale shade of the picture tube when the set was off. The blackness is a figment, a product of the brain circuitry that ordinarily allows you to see coal as coal. Television engineers exploited that circuitry when they designed the screen. The next problem is seeing in depth. Our eyes squash the three-dimensional world into a pair of two-dimensional retinal images, and the third dimension must be reconstituted by the brain. But there are no telltale signs in the patches on the retina that reveal how far away a surface is. A stamp in your palm can project the same square on your retina as a chair across the room or a building miles away. A cutting board viewed head-on can project the same trapezoid as various irregular shards held at a slant. You can feel the force of this fact of geometry, and of the neural mechanism that copes with it, by staring at a lightbulb for a few seconds or looking at a camera as the flash goes off, which temporarily bleaches a patch onto your retina. If you now look at the page in front of you, the afterimage adheres to it and appears to be an inch or two across. If you look up at the wall, the afterimage appears several feet long. If you look at the sky, it is the size of a cloud. |
The Steven Pinker Website
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1998 / Paperback / ISBN 0-393-31848-6 / 672 pages / Science | |||||
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