Society of Mind
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to modulate the volume, and to evaluate the overall | to modulate the volume, and to evaluate the overall | ||
performance. | performance. | ||
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| + | == Who decides which agent is active? == | ||
| + | |||
| + | First the agents themselves, each active agent activates | ||
| + | certain agents in turn, and second the critics in the | ||
| + | "jury". Minsky illustrates and describes this idea in his book | ||
| + | "The Emotion Machine", where he proposes a coarse “critic-selector” | ||
| + | model of the mind, where a number of critics evaluate situations | ||
| + | to activate certain selectors, which in turn activate or deactivate | ||
| + | clouds of agents. The modulation idea is not bad, although it is | ||
| + | not very new or original. Yet critics are a good cue: imagine for | ||
| + | example a [http://en.wikipedia.org/wiki/Cartesian_theater cartesian theater], where not a single self is sitting in | ||
| + | the audience, rather the representatives of the body, like the | ||
| + | members of a jury (the physiological counterpart maybe the limbic system | ||
| + | and the brainstem). On stage there are agents which represent the current | ||
| + | state of the world. The critics in the jury now evaluate every | ||
| + | situation, and are able to choose between thumbs up and thumbs down. | ||
| + | If they say “Yes, I want to see it again”, then the agents on the | ||
| + | stage are likely to appear again, if they say “No, I don’t want to see it”. | ||
| + | A nice picture: if a person falls in love, then the critics for love | ||
| + | always want to see the same persons on the stage. | ||
== What happens when agents disagree ? == | == What happens when agents disagree ? == | ||
