I Am a Strange Loop

Your typical human brain, being blissfully ignorant of its minute physical components and their arcanely mathematizable mode of microscopic functioning, and thriving instead at the infinitely remote level of soap operas, spring sales, super skivaganzas, SUV’s, SAT’s, SOB’s, Santa Claus, splashtacular scuba specials, snorkels, snowballs, sex scandals (and let’s not forget sleazeballs), makes up as plausible a story as it can about its own nature, in which the starring role, rather than being played by the cerebral cortex, the hippocampus, the amygdala, the cerebellum, or any other weirdly named and gooey physical structure, is played instead by an anatomically invisible, murky thing called “I”, aided and abetted by other shadowy players known as “ideas”, “thoughts”, “memories”, “beliefs”, “hopes”, “fears” “intentions”, “desires”, “love”, “hate”, “rivalry”, “jealousy”, “empathy”, “honesty”, and on and on — and in the soft, ethereal, neurology-free world of these players, your typical human brain perceives its very own “I” as a pusher and a mover, never entertaining for a moment the idea that its star player might merely be a useful shorthand standing for a myriad of infinitesimal entities and the invisible chemical transactions taking place among them, by the billions — nay, the millions of billions — every single second.

The human condition is thus profoundly analogous to the Klüdgerotic condition: neither species can see or even imagine the lower levels of a reality that is nonetheless central to its existence.

First Key Ingredient of Strangeness

Why does an “I” symbol never develop in a video feedback system, no matter how swirly or intricate or deeply nested are the shapes that appear on its screen? The answer is simple: a video system, no matter how many pixels or colors it has, develops no symbols at all, because a video system does not perceive anything. Nowhere along the cyclic pathway of a video loop are there any symbols to be triggered — no concepts, no categories, no meanings — not a tad more than in the shrill screech of an audio feedback loop. A video feedback system does not attribute to the strange emergent galactic shapes on its screen any kind of causal power to make anything happen. Indeed, it doesn’t attribute anything to anything, because, lacking all symbols, a video system can’t and doesn’t ever think about anything!

What makes a strange loop appear in a brain and not in a video feedback system, then, is an ability — the ability to think — which is, in effect, a one-syllable word standing for the possession of a sufficiently large repertoire of triggerable symbols. Just as the richness of whole numbers gave PM the power to represent phenomena of unlimited complexity and thus to twist back and engulf itself via Gödel’s construction, so our extensible repertoires of symbols give our brains the power to represent phenomena of unlimited complexity and thus to twist back and to engulf themselves via a strange loop.

Second Key Ingredient of Strangeness

But there is a flip side to all this, a second key ingredient that makes the loop in a human brain qualify as “strange”, makes an “I” come seemingly out of nowhere. This flip side is, ironically, an inability — namely, our Klüdgerotic inability to peer below the level of our symbols. It is our inability to see, feel, or sense in any way the constant, frenetic churning and roiling of micro-stuff, all the unfelt bubbling and boiling that underlies our thinking. This, our innate blindness to the world of the tiny, forces us to hallucinate a profound schism between the goal-lacking material world of balls and sticks and sounds and lights, on the one hand, and a goalpervaded abstract world of hopes and beliefs and joys and fears, on the other, in which radically different sorts of causality seem to reign.

When we symbol-possessing humans watch a video feedback system, we naturally pay attention to the eye-catching shapes on the screen and are seduced into giving them fanciful labels like “helical corridor” or “galaxy”, but still we know that ultimately they consist of nothing but pixels, and that whatever patterns appear before our eyes do so thanks solely to the local logic of pixels. This simple and clear realization strips those fancy fractalic gestalts of any apparent life or autonomy of their own. We are not tempted to attribute desires or hopes, let alone consciousness, to the screen’s swirly shapes — no more than we are tempted to perceive fluffy cotton-balls in the sky as renditions of an artist’s profile or the stoning of a martyr.