The Chinese Room vs. the Cork-Lined Room, if you will
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Tackling it now. Working my way up with the weaker version/proxy for character consciousness which i think is a character being aware that they’re in a work of fiction.
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Kind of like a metaphysical cameo. Doesn’t necessarily entail a breaking of the fourth wall.
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It’s more of the character being written in a way that makes them seem like they’re suffering from a Truman Show/monothematic delusion (a metathematic delusion?)
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Hamlet’s a particular good example because he 1.) consciously rejects playing ball with the revenge narrative set up for him and subverts it entirely 2.) directs his own plays as if he’s grappling with/investigating his condition
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Stuck on whether this just a really good aesthetic representation of consciousness, or an actual hashing/compressing of real consciousness into a static state.
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But instead of running this AI via a computer, we run it by reading/having actors “run” the character’s source code on their machine, themselves [Insert something about Keith Johnstone’s masks here]
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Like the Berkeley study that said that brains have separate clocks for “narrative” and “rhythm”. Maybe the narrative clock is the only essential one, and the other can be outsourced (to an actor or computer) without losing anything essential.
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In other words, consciousness is a film that’s projector agnostic. Like the crazy static universe idea:en.m.wikipedia.org/wiki/Static_un
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Replying to
Hmm. I don't see the connection there. The consciousness-as-film hypothesis seems to be a version of the Cartesian theater model which seems entirely wrong to me (cf. Gilbert Ryle etc). Not sure how it connects to static universe either.

