When we look further behind that stage, more versions of Joan begin to emerge. There must be a Writer-Joan to script the plot and a Designer-Joan to arrange the scenes. There must be other Joans in the wings, to manage the curtains, lights, and sounds. We need a Director-Joan to stage the play—and we need a Critic-Joan to complain, “I just can’t endure any more of this pain!”
However, when we look closely at this theatrical view, we see that it provides no answers, but only raises additional questions. When Critic-Joan complains about pain, how does she relate to the Joan-on-the-stage? Does each of those actresses need her own theater, each with its own one-woman show? Of course no such theater really exists, and those Joan-things are not people like us; they are only different models that Joan has constructed as ways to represent herself in various kinds on contexts. In many cases, those models are much like cartoons or caricatures— and in yet other cases, they are downright wrong. Still, Joan’s mind abounds with varied self-models—Joans past, Joans present and future Joans; some represent remnants of previous Joans, while others describe what she hopes to become; there are sexual Joans and social Joans, athletic and mathematical Joans, musical and political Joans, and various kinds of professional Joans—and because of their different interests, we shouldn’t expect them to all ‘get along’. We’ll discuss this more in §9-X.
Why would Joan model herself this way? The mind is a maze of processes, few of which we understand. And whenever there’s something we don’t comprehend, we try to represent it in familiar ways—and nothing is more familiar to us than the ways that objects work in space. So it’s easy for us to imagine a place for the processes that we use when we think—and it certainly seems that many people do indeed construct such models. Daniel Dennett has named this “The Cartesian Theater.”[67]
Why is this image so popular! To begin with, it doesn’t explain very much—but it’s better than the simpler idea that all thinking is done by a Single Self. It recognizes that minds have parts, and that these may need to interact—and that theater serves as a metaphor for a ‘place’ in which those processes can work and communicate. For example, if different resources were to propose plans for what Joan should do, then this idea of a theater-like stage suggests that they could settle their arguments in some kind of communal working-place. Thus Joan’s Cartesian Theater lets her use many familiar real-world skills by providing locations in space and time to represent the things ‘on her mind.’ So this could give her a way to start to reflect on how she makes those decisions.
Why do we find this metaphor to be so plausible and natural? Perhaps this ability to ‘simulate a spatial world inside the mind’ was one of the early seeds or catalysts that led our ancestors to be able to self-reflect. (There is some evidence that some other animals’ brains develop map-like representations of environments they’re familiar with.) In any case, such metaphors now permeate our language and thought; imagine how hard it would be to think without our thousands of concepts like, “I’m getter closer to my goal.” Space-related models are so useful in our everyday lives, and we have such powerful skills for using them, that it would seem that almost always engaging them.[68]
However, perhaps we’ve carried this too far, and the concept of a Cartesian Theater is now become an obstacle in the path toward further insights into psychology minds.[69] For example, we have to recognize that a theatrical stage is merely a front, which conceals what’s happening in the wings; the processes behind the scenes are concealed inside the minds of the cast. What dictates what appears in the play—that is, chooses which subjects will interest us? How does Joan actually make her decisions? How could such a model represent comparing two different, possible ‘future worlds’ without maintaining two theaters at once?
The theatrical image, by itself, does not help us answer questions like these because it delegates too much intelligence to that Joan who observes from the audience. However, we see a better way to deal with this in the Global Workspace view proposed by Bernard Baars and James Newman, in which,
“The theater becomes a workspace to which the entire audience of “experts” has potential access … Awareness, at any moment, corresponds to the pattern of activity produced by the then most active coalition of experts, or modular processors. … At any one moment, some may be dozing in their seats, others busy on stage … [but] each can potentially contribute to the direction the play takes. … Each expert has a “vote”, and by forming coalitions with other experts can contribute to deciding which inputs receive immediate attention and which are “sent back to committee”. Most of the work of this deliberative body is done outside the workspace (i.e., non-consciously). Only matters of central import gain access to center stage.”[70]
Those two final sentences warn us to not attribute too much to some compact self or ‘homunculus’—a miniature person inside the mind—who actually does all the hard mental work; instead we have to distribute the work. For as Daniel Dennett has said,
“Homunculi are bogeymen only if they duplicate entire the talents they are rung in to explain. If one can get a team or committee of relatively ignorant, narrow-minded, blind homunculi to produce the intelligent behaviour of the whole, this is progress.”
All the ideas in this book agree with this. However, will raise serious questions about the extent to which our minds depend on a centralized workspace or bulletin board. We’ll conclude that the idea of a ‘cognitive marketplace’ is a good way to start to think about thinking, but that when we look more closely we’ll see the need for a great deal more architectural structure.
§4-7. The Serial Stream of Consciousness
The truth is, that no mind is much employed upon the present: recollection and anticipation fill up almost all our moments. Our passions are joy and grief, love and hatred, hope and fear; even love and hatred respect the past, for the cause must have been before the effect...
The world of subjective experience seems perfectly continuous. We feel that we’re living here and now, moving steadily into the future. Yet whenever we use the present tense, we’re under a misconception, as we noted in §4-2: We can know about things that we’ve recently done, but have no way to know what we’re doing ‘right now.’
Citizen: Ridiculous. Of course I know what I’m doing right now—and thinking now, and feeling now. How do your theories explain why I sense a continuous stream of consciousness?
While the stories that we tell ourselves may seem to run in ‘real time,’ what actually happens must be more complex. To construct them, some resources must zigzag through memories; they sometimes look back to old goals and regrets, to assess our progress on previous plans.
Dennett and Kinsbourne: “[Remembered events] are distributed in both space and time in the brain. These events do have temporal properties, but those properties do not determine subjective order, because there is no single, definitive ‘stream of consciousness,’ only a parallel stream of conflicting and continuously revised contents. The temporal order of subjective events is a product of the brain’s interpretational processes, not a direct reflection of events making up those processes.”[71]
69
I don’t think modern programming, on the whole, has reached this stage. Indeed, I did once suggest, very long ago, that a Cartesian Theater concept be a good model of programming. Old design paper]
71
Dennett, Daniel C and Kinsbourne, Marcel, (1992) Time and the Observer.