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Things 2025 Q3: Neuromancer, Expertise, Consciousness

Brian David Gilbert (BDG)

BDG makes the kind of weird videos I wish I had my act together enough to make. Here’s two examples that show his range.

A short song about hats:

A slightly spooky promotional video about get-rich-quick schemes:

I think we need more of this kind of thing, so please go watch all of his videos and even consider his Patreon.

(Side-note: BDG reminds me of Spike Jonze both as a person and for his creative output.)

Neuromancer and the Prism of Hindsight

I recently read William Gibson’s 1984 debut novel, foundational cyberpunk text ‘Neuromancer’.

It projects ahead to an unspecified time in which everything is online, and hackers enter some sort of cyberspace ‘matrix’ to conduct various shenanigans. It’s also very much about cybernetic enhancement, with some consideration of AI and some space business. It’s noirish and fast-paced but also dense and intense. There’s a lot going on.

My first thought was that being written in 1984, it seems astoundingly prescient about the future online world.

Then I read that Gibson didn’t really know much about computers or networks, he just liked the language of it. So my second thought was perhaps you need to be far enough removed from a thing, like he was, to see where it will lead.

Then I paid attention to the cover of the copy I had been lent (by Nick H), and realised something strange: it seemed to have some of the hallmarks of an AI-generated image.

Examples:

  • The core composition is a bit odd
  • The shape of the hairline is dramatically and weirdly asymmetrical
  • There’s a strange artefact on the hand that doesn’t seem specific or prominent enough to represent anything
  • The cityscape in the background has some repeating patterns that a human artist would probably try to avoid
  • Some of the domes in the cityscape seem unintentionally asymmetrical

Of course, this thing was published in 1984, and this art is by a human (Steve Crisp). I’m looking at something from the past through the prism of hindsight; in the context of a “futuristic” image, I’m primed to look for AI signifiers.

So comes my third thought: my thoughts on the book being astoundingly prescient also come through the prism of hindsight.
– I’m discounting everything that doesn’t really add up (the 3D visual interface isn’t realistic or sensible; there’s an eye-hacking thing (I think?) that doesn’t really make sense; the stuff in space seems very fanciful)
– I’m over-reading the things that were prescient (the everything-is-online aspect, the ability to leverage that fact to achieve powerful feats with ‘hacking’
– I’m under-reading the parts that really weren’t prescient, at least so far (the cyber-business and simulation aspects mostly).

This doesn’t really diminish the book – it’s a fascinating and impressive work, building out its own strange reality, and inspiring The Matrix (1999) even more directly than I had assumed. You just have to be a bit careful when judging prescience.

Very Short Animal Videos

Thanks to the Reddit algorithm for serving me these tasty and very short animal videos. They are optimised for portrait though and I use YouTube videos to embed things, so I’m not sure how well this will work:

“My cat will eat anything”:

Eating anything
byu/TheHenanigans inUnexpected

“Cat tries ice-cream for the first time”

he tried ice cream for the first time
byu/tuanusser inholdmycatnip

Sound needed for these:

Surprise:

Trying out a new de-corker when..
byu/fpotw infunny

The Paradox of Expertise

An exchange I saw recounted online and can no longer find went something like this:

A: Oh, do you consider yourself some sort of expert in vaccines then?

B: Well yes, I studied medicine and specialise in vaccines

A: Don’t you think that makes you biased?

Humans are prone to confirmation bias. We tend to give heavier weight to things that support what we already believe, and lighter weight – or none at all – to those that contradict it.

What I find even more insidious is a kind of second-degree confirmation bias: we discount someone’s remarks as being due to their confirmation bias… due to our own confirmation bias. For example, someone might doubt a particular bit of well-evidenced medicine, but when they hear a medical expert defend that thing, they assume the expert is only defending it due to the expert’s own confirmation bias.

Without getting deep into the concept of hierarchical trust networks, this is quite difficult to cleanly dissect, because confirmation bias is a real thing.

For example, you may recall that Researcher Bias exists*: a researcher who believes that an experiment will yield a certain outcome is more likely to end up getting that outcome, even if they are not intentionally manipulating the experiment to that end.

*But aren’t the studies looking into Researcher Bias suspect? As I wrote about in Things 133, a meta-analysis and even a meta-meta-analysis cannot satisfyingly answer this question.

You also see this in Planck’s principle: “A new scientific truth does not triumph by convincing its opponents and making them see the light, but rather because its opponents eventually die and a new generation grows up that is familiar with it” – colloquially and bleakly paraphrased as: Science progresses one funeral at a time.

Or the Upton Sinclair quote:

It is difficult to get a man to understand something, when his salary depends on his not understanding it

If all this sounds a little vague and theoretical, I recently faced it head-on: a small stand of bamboo began to spread in my small garden. I know that some particular species of bamboo can spread very aggressively and do real damage. So what I need is an expert who can identify what kind of bamboo it is, and then I’ll know if I need to pay for some other expert to help get rid of it.

The trouble is those two experts are the same company. They will assess the bamboo for you, and then if they think it needs to be removed they will offer you the (quite expensive) service of removing it. The obvious question is: can I trust them to diagnose it correctly, if they know they can make money from one particular diagnosis? (My best guess for this was to at least consider the opinions of two different experts).

The same can be said of any product you buy in which the amount of it you should use is unclear. How many Aspirin should you take, how much sunscreen to put on how often, what collection of skincare products? The people who make these things should really know the answer, but they also make more money if they can convince you to use more than you need.

Infamously, Alka-Seltzer increased sales by normalising the use of two tablets instead of one through their advertising (and tagline, ‘plop plop, fizz fizz’, or ‘plink plink fizz’ in the UK). Still, the origin story (Snopes link) does at least suggest this did originate with a doctor suggesting two would work better than one.

This also runs the other way – a product could offer a legitimate advantage, but by default we don’t believe it when they tell us. I recall the story of a certain battery manufacturer having a significant research breakthrough making their batteries as much as 20% more efficient, an advantage they kept for a few years. Unfortunately from the consumer perspective, all batteries are claiming some kind of mysteriously special efficacy, so it’s hard to trust any one of them as being particularly meaningful. (I wish I could remember who this actually was!)

One possible answer here is Which?, who try to assess consumer product effectiveness with scientific tests. Of course, when they find a product doesn’t do what it should, the manufacturer will usually counter that they didn’t test it properly, and claim that they have a better understanding and more accurate test of their own product. Depending on the product in question I tend to find this more or less compelling.

So what, really, should we do about this?

In some cases, as I alluded to earlier, there are ‘trust networks’. I don’t need to trust a single vaccine expert on their effectiveness, because they are endorsed by thousands of disparate experts, and disparaged by a small number of non-experts (who can also have their own biases, if for example they are selling an alternative).

In other cases the direct incentive structure seems to run very strongly one way – it doesn’t seem to me that climate scientists finding evidence for climate change benefit from that conclusion anywhere near as much as climate-deniers trying to sell you an online course about their views benefit from people believing their denial.

For substances such as sun-screen and painkillers, the proper quantity to use tends to be endorsed by professional bodies, not just the people who sell them. In the case of painkillers you are of course free to experiment with a lower dose and judge the results for yourself.

When it comes to academic research, you can often look into the funding source. If a study casting doubt on climate change is funded by a big oil company, maybe it’s worth looking for other studies.

It feels like I’ve climbed all the way up a mountain of concern only to climb all the way back down again, so, er, maybe it’s fine???

Emel – the Man Who Sold the World

I enjoy David Bowie much more as an actor (Labyrinth, The Prestige) than as a musician, but this cover of ‘The Man Who Sold the World’ stopped me in my tracks. Emel’s delivery seems much more suitable for the slightly spooky lyrics than Bowie’s, and the extended glissando vocal at the end was so compelling I bought a Theremin (this one) in an ultimately misguided attempt to find a way to make a similar sound.

The Science of Consciousness

Here’s the ‘hard problem of consciousness’ as David Chalmers puts it:

It is widely agreed that experience arises from a physical basis, but we have no good explanation of why and how it so arises. Why should physical processing give rise to such a rich inner life at all? It seems objectively unreasonable that it should, and yet it does.

I had previously thought there was nothing interesting here. We only have our own experience of consciousness to go on, so it seems unjustified to consider it “objectively unreasonable”; this is just how it turns out and there’s nothing more to say. (Previously I wrote about Chalmers’ other formulation, the meta-hard problem of consciousness, although perhaps I misread his intent).

I read the book “Being You: a new science of consciousness” by Anil Seth, and I’m excited to have slightly changed my mind as a result!

An argument against there being anything about consciousness to dig into is the ‘philosophical zombie’: a creature that in every way resembles and reacts like a normal human but lacks consciousness. This is easy to imagine, and suggests there’s nothing you can “do science on” because there’s no way to distinguish the zombie from a human that does have consciousness.

Seth makes this counter-argument: “Can you imagine an A380 flying backwards?” In one sense, this is easy – just picture a large plane in the air moving backwards. But “the more you know about aerodynamics and aeronautical engineering, the less conceivable it becomes”. The plausibility of the argument is “inversely related to the amount of knowledge one has”.

One could imagine the same thing applies to consciousness – it does seem like if you deeply understood the way in which consciousness arises, “imagining” a philosophical zombie would be a lot harder. That does seem fair to me!

But still, how do you find a way in to this topic?

Seth’s answer is what he calls the ‘real problem of consciousness’: to explain, predict and control the phenomenological properties of conscious experience. Still difficult, but at least something specific to aim for.

His first way in is to consider how we might measure how conscious someone is – specifically the level of awareness rather than wakefulness. The diagram below shows how different states sit across these two axes.

So we’re looking for some kind of measurement that would show regular conscious wakefulness as having a similar level to lucid dreaming, for example.

He talks about some interesting research showing that a measure of the complexity of electrical signals in the brain seems to correlate well with what we think of as consciousness. Even better, there are tests that can distinguish someone with ‘locked-in syndrome’ (conscious and aware but unable to move any part of the body) from someone in a ‘vegetative state’.

A simpler precedent to the complexity model is this: simply imagining playing tennis produces a detectably different pattern of brain activity to imagining navigating a house. These two kinds of thoughts can therefore be mapped to ‘yes’ and ‘no’, enabling someone with locked-in syndrome to communicate. This dramatically debunks my thought that there was nothing useful to look into here!

Unfortunately, the rest of the book gets quite a bit heavier and less compelling.

First there is Giulio Tononi’s “Integrated Information Theory” (IIT) of consciousness. Put tersely it posits that consciousness is integrated information – kind of a huge claim as it arguably means even atoms are perhaps a ‘little bit’ conscious. It suggests a very specific measure of consciousness: Φ (Phi), essentially how much an information system is more than the sum of its parts.

This theory doesn’t seem to go very far just yet. Seth’s summary of where it is at:

…some predictions of IIT may be testable […] there are alternative interpretations of IIT, more closely aligned with the real problem than the hard problem, which are driving the development of new measures of conscious level that are both theoretically principled and practically applicable.

So it seems we just have to wait to hear a bit more about that.

Next is the Karl Friston’s “Free Energy Principle”. In this, the term ‘free energy’ can be thought of as a quantity that approximates sensory entropy. The clearest summary Seth makes is this:

Following the FEP, we can now say that organisms maintain themselves in the low-entropy states that ensure their continued existence by actively minimising this measurable quantity called free energy. But what is free energy from the perspective of the organism? It turns out, after some mathematical juggling, that free energy is basically the same thing as sensory prediction error. When an organism is minimising sensory prediction error, as in schemes like predictive processing and active inference, it is also minimising this theoretically more profound quantity of free energy.

This is not really a theory of consciousness but, Seth considers, something that will help explain consciousness eventually. I get the impression Seth understands this enough to see how it might be of value, but not well enough to explain it so others can see that – at least not me.

Finally Seth considers the possibilities of animal and machine consciousness, and largely concludes it’s very hard to say anything about these, which is a bit disappointing but is also quite fair.

To summarise, I thought there was nothing useful to say or do about consciousness, but after reading ‘Being You’ I now think that’s wrong; it seems like there is something to dig into here, but so far our theories are only just scratching the surface of it.

(If you want a more detailed recounting of the book with added commentary, not all of which I agree with, you can read this long review by ‘Alexander’ on LessWrong)

  • Transmission ends
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Things 2024 Q1: Dancing, Temp tracks, Creativity

LEGO is doing okay

This nice visualisation of LEGO group annual revenue shows that after a lull in the late 2010’s, there has been incredible growth since 2020 – presumably somewhat assisted by pandemic lockdowns?

Not shown – revenue growth flattened in 2023

As someone who enjoys LEGO but is running out of storage space, I’ve been trying out BrickBorrow for the last year, where for a subscription (and some postage each time) you can borrow LEGO sets.

A well-designed feature restricts big sets to those who have been subscribed for 3 months – this shows reliability, and also helps with availability of those sets. Now that BrickBorrow have shifted to a Royal Mail sticker postage method, and added a filter on the sets to only show those that are available, I recommend it!

£915 of LEGO I got to build for £235… but had to send back. Worth it!

I Am Not Left-Handed

This is the name of a trope where a character reveals they were previously fighting with a self-imposed handicap, which they then shed to fight at their true power. This is a classic technique for shallow power-fantasy stories, but despite that I find it incredibly compelling every time.

My favourite concentrated example of it is this (now very old!) Anime Music Video which edits together a particular fight from Naruto, which I also appreciate for how it establishes a rooting interest in one of the combatants without any dialogue:

Temp Tracks in film

In this episode of Every Frame a Painting, Tony Zhou and Taylor Ramos break down the way in which ‘safe’ creative choices around music in the Marvel films has led to a weaker overall effect:

Towards the end they highlight the problem of the ‘Temp Track’: a piece of film is edited to a suitable existing piece of music, but the film-makers work with that version for so long they become wedded to the way it sounds, so when they eventually commission original music, they request something almost identical. In a spin-off video, EFAP show a lot of examples.

The opposite of this is Tom Tykwer’s method (director of Run Lola Run (1998) ), in which the soundtrack is composed first. You can hear a bit about it in this segment of the making of The Matrix Resurrections, and it does seem very effective.

While we’re on the topic, I personally greatly enjoyed The Matrix Resurrections (2021) for it’s metatextual resonance rather than literal content, apparently in marked contrast to most people. But that is a story for another time.

Dancing at the end of films

A Bollywood staple, after the film reaches its narrative conclusion, even if it’s not a musical and there has been no dancing before, the film ends with the whole cast performing an elaborate dance number (TV Trope: Dance Party Ending). This can have a fascinating effect on how you feel about the film as a whole, sometimes redeeming antagonists, bringing back characters who died, or just providing an emotional catharsis after an otherwise tense time.

Unfortunately I suspect that citing my favourite Western films that do this is also a strange kind of spoiler. So instead I will recommend to you several films that I have seen recently, at least one of which uses this to good effect, but all of which I think are worth watching for one reason or another. Some will even be improved by you thinking there might be a dance at the end, even if there isn’t!

  • Knight and Day (2010), Disney+, a strange clash of genres that works great… some of the time
  • Labyrinth (1986)
  • Medusa Deluxe (2022), a ‘single-take’ hairdressing competition murder mystery
  • Saltburn (2023), directed by Emerald Fennell, whose previous film Promising Young Woman (2022) I also recommend… for adults that like ambiguous protagonists
  • The Marvels (2023), Disney+, MCU take some creative risks! Some of which work!
  • Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)
  • White Noise (2022), Netflix, weirder and less ‘fun’ than the trailer implies (but I still recommend it)
  • The Zone of Interest (2023)

Dancing in a fursuit

Probably best to jump in with no context and watch this one-minute clip, which annoyingly I can’t embed so you will have to actually click on it:

https://www.youtube.com/shorts/L03td6_rOvk

Wow! What the heck was that? This ad-laden article lays out the whole story. Gintan is some kind of K-pop star in his own right, but is now known for performing at ‘Random Dance’ events in this very distinctive fursuit. In these events, clips from K-Pop songs with popular choreography are played, and anyone who knows the routine jumps into the centre to perform it. There’s a delightfully over-academic essay about these events here.

What’s really impressive is that not only has Gintan memorised so many of these routines, and not only can he perform them with incredible precision and panache on demand, he does all of this while wearing a heavy fursuit – which is like a really fun version of the ‘I Am Not Left-Handed’ trope described above!

On top of that, the slightly serious expression on the suit is a great contrast with the frivolousness of the whole thing, and it always brings a smile to my face.

Find lots more Gintan footage like this with this Youtube search.

The Meta-Problem of Consciousness

Let’s get a bit more serious for a moment.

The Hard Problem of Consciousness is a philosophical one: to use Wikipedia’s summary, it asks why and how do we experience qualia, phenomenal consciousness, and subjective experiences? Related questions: where does consciousness reside? Is it a quantum effect? Is it separate from our physical forms in some way?

I never found this problem convincing at all. Why would we expect consciousness to feel any different to the way it actually does? Literally our only reference case is how we experience it, on what grounds can we say this is surprising?

I first read about this some decades ago, so I was delighted to find that in 2018 philosopher David Chalmers proposed a more precise and slightly sassy formulation of my line of thinking: the “Meta-problem of Consciousness”. This is “the problem of explaining why we think that there is a [hard] problem of consciousness.”

Yes! That does indeed seem to be the more pressing problem.

The Temp Track that went well

I know of one example of a film that used a temp track to edit a key scene, and (in my opinion) this actually produced an excellent final result. Even as someone quite averse to spoilers, in this particular case I don’t think reading about it – or even watching the scene on its own – actually spoils the film!

However, if you worry even more about spoilers than me, you might not want to know about it. So, just know that it is from one of the films listed above, I’ll be talking about it after the extended Thing about creativity-over-time below, and it is the last Thing of this episode so you can easily skip it if you want. Be ready!

Creativity over time: productivity and scope

I’m very interested in the creative process. The brain is a machine that can come up with ideas or whole creative works, but the methods by which you can best achieve that are not obvious.

When it comes to long-form works this is particularly tricky. Here’s a segmentation I came up with for thinking about this:

Planning style: Plan in advance vs. Freestyle
Routine style: Fixed schedule vs. When it’s ready

The pro/con on these is pretty clear, at least for narrative works.

Plan in advance
Pro: A solid overall story that wraps up satisfyingly (even if you have to alter it a bit as you go)
Con: Characters may not act consistently as you’re forcing them to hit story beats

Freestyle
Pro: Characters and situations evolve naturally
Con: Plot may spiral out of control and not go anywhere

Fixed schedule
Pro: Progress is made consistently, can retain and build an audience
Con: Quality may suffer

When it’s ready
Pro: Maximise quality
Con: Easy to put off and polish indefinitely

If you know me, you know what’s coming next… a consideration of the four combinations!

The four approaches to ongoing narrative

As with any classification of creative works, some of this is subjective or debatable for many reasons. Regardless, here’s some examples:

Plan in advance, fixed schedule
Star Wars original trilogy (sort-of), Babylon 5, Breaking Bad.

Plan in advance, when it’s ready
The Gentleman Bastards book series

Freestyle, fixed schedule
Questionable Content, Star Wars sequel trilogy, Lost

Freestyle, when it’s ready
Game of Thrones, Dresden Codak, Confinement animation

Now, just from writing down the first examples I could think of, some very natural patterns emerge.

A plot planned in advance and delivered to a fixed schedule has produced some of the most beloved completed works there are.

In opposition to that, Freestyle and When it’s Ready has produced works that I think have an even more intense fandom (as it maximises quality), but frequently slow down and stall for one reason or another.

Freestyle with a fixed schedule generally seems like a bad idea, but over long time periods works in a sort of ‘soap opera’ format.

Plan in advance, release when ready seems to be very rare, and seems intuitively the most likely to become a victim of procrastination / anxiety / writer’s block stalling progress.

Some case studies in slowed progress

Game of Thrones (or properly titled, the ‘A Song of Ice and Fire’ series) is perhaps the apex example of ‘Freestyle, when it’s ready’ slowing to a crawl (or possible halt). Here’s a chart showing the release date and length of each book, running up to the present day when ‘The Winds of Winter’ has not yet come out.

To be clear, I don’t consider this a failing. I think the books are as well-loved as they are precisely because this method of production maximises quality and character. However, expectations for a timely finish should be held quite low.

A recent example was shared with me by Laurence: Confinement, a series of animations based on the SCP Foundation (referenced in Things November 2022). These had an even more dramatic stall: episode 7 was extremely popular and drove many to support the creator’s Patreon. However, about 3.5 years later the creator admitted they didn’t have it in them to make episode 8 any more and formally closed all their social channels. (There’s a lot more drama to that, which you can read about here).

Here’s how those releases looked, running the x-axis to the point when the project was officially cancelled:

In what is (I think) an example of the rare “Planned in advance, release when ready”, the Bee and Puppycat animation managed to reach a pretty satisfying conclusion (so far) about 9 years after it began – with an astonishing 83% of the run-time dropping all at once at the very end:

The slowness of early releases was due to a very small team working on the animation. Then a series of complicated licensing delays and disasters conspired to delay later releases. But in the end, a soft reboot / series 2 eventually dropped all at once on Netflix in September 2022.

I’ll tell you why Bee and Puppycat is so good another time, but for now just know that when I audited all 50+ in-jokes I share with Clare, this series accounted for more of them than anything else.

While less narrative in nature, the web comic Hyperbole and a Half had a very prolonged hiatus. In the dangerous “Freestyle, release when it’s ready” category, but without the burden of an overarching narrative, artist Allie Brosh had published a series of excellent and very personal hybrid comic/narratives, from 2009-2010. Output slowed in 2011 due to mental health issues, a medical condition, and a focus on turning the content into a book. Things seemed to end with the book coming out in October 2013 and at the same time the truly excellent “Menace” strip being published (shortly after the Bee and Puppycat pilot aired).

Then, nothing, for a very long time. This was also quite concerning given the prior comic was a very personal one about coming to terms (perhaps?) with depression. On the other hand, author Allie Brosh had said “In the world of writing internet content, there’s all this talk of “maintaining an audience” and “staying on the radar,” but I’d rather just work really hard for a really long time on one thing that I feel really good about publishing.”

So it was that a sequel book “Solutions and Other Problems”, announced in 2015, eventually came out in September 2022, 9 years after the last published work (and also around the time the Netflix Bee and Puppycat series finally dropped, as it happens). The content of that book follows the previous form, and also details some of the things that happened to Brosh in the intervening years, and the reason for the gap in public output becomes devastatingly clear. I highly recommend both books.

Finally, in that rare “Plan in advance, release when ready” category, Scott Lynch published The Lies of Locke Lamora in 2006. Nick recommended it to me, and I enjoyed it quite a lot, but it seemed like the author liked world-building a little too much. As the first in a planned series of 7 books called the ‘Gentleman Bastard’ series, I decided to wait until the series finished before reading on.

A second book appeared in 2007, a third in 2013… and at the time of writing, nothing else.

Scott Lynch wrote very candidly in 2022 about what has been going on. He has in fact been writing very productively, but a kind of anxiety is holding him back from publishing any of it, including updates about how it is going. (As a Things reader you probably enjoy ‘meta’ things, so you should read that post).

Here’s the point where we get meta about it right here: I recognise that problem because that is exactly what happened to me since 2020 (when a pandemic happened, funnily enough). I have 4 rather long and pretty much complete blog posts about various topics, none of which I felt confident enough about to post. This hasn’t happened to me before!

As a Things reader you might also recognise that even aside from that, the rate of Things posts gets slower and slower (with the surprise exception of this one… at the time I’m writing this sentence, anyway). That is something I find a bit harder to explain.

Having written all the above, it does make me wonder: should I commit to a schedule for Things? Wouldn’t once a quarter be a completely reasonable one to try?

Let’s say this is the 2024 Quarter 1 things and see how things go from there!

The Temp Track that Went Well: not a spoiler, but might be if you’re very worried in which case don’t read this

Are you ready?

So this is about a scene that happens at the very end of one of the films in my list above.

Specifically a scene where everyone starts dancing

That’s enough line spacing, so here we go. Perhaps you are familiar with the LCD Soundsystem’s 2005 song “Daft Punk is Playing in my House”. It seems to be their 3rd most popular song on Spotify, and 2nd most popular song on Youtube. It is rather repetitive but has a very compelling hook:

(The music video references the Things-favourite Michel Gondry-directed music video to Daft Punk’s “Around the World”, another repetitive but compelling song).

So at the end of White Noise (2022), there is a scene where the characters visit the excellently set-dressed 80’s supermarket and everyone there starts dancing as the credits roll. Incidentally, this tipped the movie over from something I thought was interesting-but-a-bit-weird into excellent.

LCD Soundsystem’s ‘Daft Punk is Playing in my House’ was used as the temp track for this scene – and indeed was the track the dancing was choreographed and performed to, which ordinarily I would say is going a bit too far for a temp track. However, here’s the twist: they commissioned LCD Soundsystem themselves to write a new track to play over the scene instead.

I had previously written about how fans of a band often cling to the past and are less keen (at least initially) on new musical directions, with the example of the audience response to a DJ Shadow gig (“Artistic Stasis or Death!”). So it seems like an outrageously bold thing to ask a band to make a new song so specifically similar to a well-loved old one.

And the beauty of it is, LCD Soundsystem did it. They made a new track – “new body rhumba” – that for me is even better than DPIPIMH from 17 years earlier, and is completely perfect for this scene in the movie. You can listen to it here or just watch that scene itself (accepting that this is perhaps more of a spoiler, although not really given how loose the rules of continuity are when it comes to Dance Party Endings).

Side-note, this may just seem weird and boring without the context of the film leading up to it, or even with it since everything is subjective. But anyway, enjoy!

  • Transmission ends
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Things 112: Eyes, Guessing Cat, Amigara Fault

This week Things has a very slight Hallowe’en theme.

Puzzle
This is one where you should gather some people around the monitor and see who can do best: guess the cartoon (or CG) character from their eyes (mouse over the eyes to see the character outline that should tell you if you’re right).

And yes, it is pretty difficult – I only got 6, and I watch a lot of animation!

Video
Here’s a video that begs the question: is the cat playing the game, or just acting out of blind instinct?

http://www.youtube.com/watch?v=QrlTijuhVOA

To which the answer is to have a big argument about the definitions being used before concluding that you can’t tell.

Quote
In the wonderfully stylised animation The Secret of Kells, I heard the line “One beetle recognises another” and wondered if it was some kind of proverb. It turns out that it is, and actually – obviously – there are a whole bunch of Irish Proverbs, which in translated form become alternately profound, banal or hilarious, just as I imagine English proverbs must seem if you haven’t grown up with them. Here’s a list of them on Wikiquote, and here are a few of my favourites, for unstated reasons:

“Every beginning is weak.”

“Time is a good story teller.”

“A lamb becomes a sheep with distance…”

“The quiet are guilty”

Comic
The Enigma of Amigara Fault is a horror comic that impressed me with its unconventional approach. It’s 32 pages, and originally in Japanese so you have to read the panels right to left. But if you want a comic that will freak you out for Hallowe’en, it’s worth it. Unless you’re particularly claustrophobic, in which case you should probably steer clear of it entirely.

Answer – Malady X
In Things 111 I asked what the probability of having Malady X is if a randomly administered 99%-accurate test for it comes back positive. As Phil and Thomas noted, you can’t actually answer from this information alone: you also have to know what the probability of a random person actually having Malady X is. A lot of people don’t have an intuition for this fact. I’m going to attempt to explain ways to apprehend that hand-wavingly, mathematically, and visually.

Argument from hand waving and examples:
Imagine the probability of having Malady X is 0% – nobody has it. In this case, it’s certain that getting a positive result means you were simply in the 1% of cases where the test comes back incorrect.
Conversely if the probability of having it is 100% – everybody has it – then you must be in the 99% of cases where it is accurate. In this way, it’s clear the underlying probability influences the chances that the test is correct!

We might worry that these extremes somehow break the puzzle, so let’s imagine less extreme alternatives. Imagine 1,000 people are tested. If 50% (500) really have Malady X, on average we expect the test to come back positive for 99% of them (495) and also for 1% of the 500 that don’t have it (5). In this situation, 495 out of the 500 people for whom the test was positive actually have the disease – 99%.

Alternatively, if 1 person (or 0.1%) out of the 1,000 has the disease, they’re very likely to be correctly diagnosed, and we expect roughly 10 of the other 999 to get a positive result. In this case 1 out of 11 people with a positive result actually have Malady X – fewer than 10%. So clearly the underlying incidence level matters.

Argument from maths:
There are two probabilities at work: the chance the test is correct (99%) and the chance of anyone having Malady X (unknown – let’s call it X%). When you combine probabilities you multiply them, so for example the chance of anyone actually having Malady X AND getting a postive result is 99% times X%.

If someone gets a positive result and that’s all we know, we reason as follows:
A = Probability someone has Malady X and tests positive = X% times 99% times
B = Probability someone does not have Malady X but still tests positive = (100% – X%) times 1%
If you test positive, the chance you actually have it is C = A / (A+B). But if you haven’t studied probability carefully, I’m not sure you could infer this, which is why I like to come up with other ways of getting a feel for the correct answer.

Argument from visualisation:
Since there are two probabilities in question, and we combine probabilities by multiplying, this naturally suggests a visualisation where probability is represented by rectangular area (since area is calculated by multiplying height by breadth).

For example, if we imagine the actual incidence rate of Malady X is 50%, the picture would look like this (click for big):

If the test result is positive, you either have it and the result is correct (big yellow area) or you don’t have it but the test was incorrect (small dark blue area). The chance of you actually having Malady X is equal to the proportion of those combined areas that is yellow. In this case:
Yellow = 99% x 50% = 49.5%
Dark blue = 1% * 50% = 0.5%
Probability you have it = Proportion that is yellow = 49.5% / (49.5% + 0.5%) = 99%.

Alternatively if the incidence rate is, say, 2%, it looks like this:

Here we see the yellow and dark blue areas are very similar, so the chance of you being one or the other is much more even. In fact, it’s:
Yellow = 99% x 2% = 1.98%
Dark blue = 1% x 98% = 0.98%
Probability you have it = Proportion that is yellow = 1.98% / (1.98% + 0.98%) = 67% (ish).

As Peter Donnelly shows in this TED talk, this actually has some severe ramifications, because when the probability of the thing being tested for is extremely low, it becomes overwhelmingly likely that a positive result is false, but people intuitively feel that a 99% accurate test should be correct 99% of the time.

Thomas also noted:

If anyone is interested in playing around with the probabilities (even if you’re not familiar with the maths), I recommend GeNIe:
http://genie.sis.pitt.edu/
It lets you create networks of dependencies, set evidence and work out probabilities in problems just like these.

-Transmission finally ends