There is a new fundamental theory of physics that’s called constructor theory, and was proposed by David Deutsch who pioneered the theory of the universe of quantum computer. David and I are working this theory together. The fundamental idea in this theory is that we formulate all laws of physics in terms of what tasks are possible, what are impossible, and why. In this theory we have an exact physical characterization of an object that has those properties, and we call that knowledge. Note that knowledge here means knowledge without knowing the subject, as in the theory of knowledge of the philosopher, Karl Popper.
We’ve just come to the conclusion that the fact that extinction is possible means that knowledge can be instantiated in our physical world. In fact, extinction is the very process by which that knowledge is disabled in its ability to remain instantiated in physical systems because there are problems that it cannot solve. With any luck that bit of knowledge can be replaced with a better one.
What I wanted to talk about is somewhat of a parallel of that in human populations. If you were to go to a textbook on human biology from the time of Darwin or a bit later, you would certainly get an image that looked a bit like this. This is an image of the so-called races of humankind—racial types, as they called them. I’m not going to go into the question of whether there are real races of humankind because there aren’t. It’s interesting to note that until quite recently people assumed, and scientists assumed too, that the human species was divided into distinct groups that were biologically different from each other and had been isolated from each other for a long, long time.
Well, to some extent that was true. Until quite recently, human populations were isolated from each other. That’s changing quite quickly. ...
STEWART BRAND is the Founder of the "The Whole Earth Catalog" and Co-founder of The Long Now Foundation and Revive and Restore; Author, Whole Earth Discipline.
Stewart Brand's Edge Bio Page
RICHARD PRUM is an Evolutionary Ornithologist at Yale University, where he is the Curator of Ornithology and Head Curator of Vertebrate Zoology in the Yale Peabody Museum of Natural History. He is working on a book about duck sex, aesthetic evolution, and the origin of beauty.
Richard Prum's Edge Bio Page
... When I think of the work on social pain, and showing that some of the same neural regions that are involved in physical pain are involved in social pain, that can be very validating for people. Anyone who's felt the pain of losing somebody or who's felt the hurt feelings that come from being ostracized or bullied, I think there's something very validating in seeing this scientific work that shows it's not just in my head. I mean, it is in our head because it's in our brain. It's not just in our head, there is something biological going on that's interpreting the pain of social rejection as something that really is a painful experience. ...
NAOMI EISENBERGER is a professor in the Social Psychology program at the University of California, Los Angeles. She is director of the Social and Affective Neuroscience laboratory as well as co-director of the Social Cognitive Neuroscience Laboratory.
The way nature is—the nature of flowers, the nature of birdsong and bird plumages—implies that subjective experiences are fundamentally important in biology. That the world looks the way it does and is the way it is because of their vital importance as sources of selection in organic diversity, and as a result we need to structure evolutionary biology to recognize the aesthetic, recognize the subjective experience.
RICHARD PRUM is an evolutionary ornithologist at Yale University, where he is the Curator of Ornithology and Head Curator of Vertebrate Zoology in the Yale Peabody Museum of Natural History.
I'll tell you about my new favorite idea, which like all new favorite ideas, is really an old idea. This one, from the 1960s, was used only in a couple of studies. It's called "latitude of acceptance". If I want to persuade you, what I need to do is pitch my arguments so that they're in the range of a bubble around your current belief; it's not too far from your current belief, but it's within this bubble. If your belief is that you're really, really anti-guns, let's say, and I want to move you a bit, if I come along and say, "here's the pro-gun position," you're actually going to move further away. Okay? It's outside the bubble of things that I can consider as reasonable.
We all have these latitudes around our beliefs, our values, our attitudes, which teams are ok to root for, and so on, and these bubbles move. They flex. When you're drunk, or when you've had a good meal, or when you're with people you care about versus strangers, these bubbles flex and move in different ways. Getting two groups to work together is about trying to get them to a place where their bubbles overlap, not their ideas, not their beliefs, but the bubbles that surround their ideas. Once you do that, you don't try to get them to go to the other position, you try to get them to see there's some common ground that you don't share, but that you think would not be a crazy position to hold.
MATTHEW D. LIEBERMAN is a professor of psychology at UCLA. He is the author of Social: Why Our Brains Are Wired to Connect.
We think of stories as a wildly creative art form but within that creativity and that diversity there is a lot of conformity. Stories are very predictable. No matter where you go in the world, no matter how different people seem, no matter how hard their lives are, people tell stories, universally, and universally the stories are more or less like ours: the same basic human obsessions, and the same basic structure. The structure comes down to: stories have a character, the character has a predicament or a problem—they're always problem-focused—and the character tries to solve the problem. In its most basic terms, that's what a story is—a problem solution narrative.
JONATHAN GOTTSCHALL is a Distinguished Research Fellow in the English Department at Washington & Jefferson College. He is the author or editor of six books, including The Storytelling Animal: How Stories Make Us Human (a New York Times Editor’s Choice Selection and a finalist for the LA Times Book Prize).
One of the things that Julia Peyton-Jones and I try to do with the Serpentine Gallery Marathons, on which we've collaborated with Edge many times, is to provide a format that isn't like a normal conference: it takes place over 24 or 48 hours. And it happens in the Serpentine Gallery Pavilion, so this creates a connection between art and architecture. And then one connects to all the other disciplines through the invited speakers. It's a kind of knowledge festival. The marathon is a hybrid. It's a group show, because artists are doing performances, but they're given time and not space. But it's also a conference because there are lectures and presentations. This year's Marathon, which takes place at The Serpentine Gallery the weekend of October 18-20, will be about "Extinction".
HANS ULRICH OBRIST is the co-director of the Serpentine Gallery in London. He is the editor of A Brief History of Curating, Formulas for Now and the author of several books including, Hans Ulrich Obrist: Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground, A Brief History of New Music, and Ways of Curating.
What are the arts but products of the human mind which resonate with our aesthetic and emotional faculties? What are social issues, but ways in which humans try to coordinate their behavior and come to working arrangements that benefit everyone? There's no aspect of life that cannot be illuminated by a better understanding of the mind from scientific psychology. And for me the most recent example is the process of writing itself.
STEVEN PINKER is the Johnstone Family Professor in the Department of Psychology at Harvard University. He is the author of ten books, including The Language Instinct, How the Mind Works, The Better Angels of Our Nature, and The Sense of Style (September). Steven Pinker's Edge Bio page