International Day Of Yoga

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Today is International Day Of Yoga. There is a sense of dis-ease about this but on the whole it seems positive. But what is Yoga? Something which is spelt with a capital letter for a start, but apart from that, what?

The tired and tested answer to this question always seems to begin with the sentence “Yoga means ‘to join'”, and of course it does, in Sanskrit, cognate with the English word “yoke” and the Greek ζεῦγμα, in this case representing union between individual consciousness and the divine. This is where it starts to get complicated so I’m going to explain the way I understand it and summarise my history with it.

Yoga is a practice based on a fundamental aspect of the Cosmos and consists of a balance, appropriately enough, between the mental and the physical, or more accurately, practical. By one account there are seven limbs: Raja, Hatha, Karma, Jñana, Bhakti, Tantra and Mantra. This is not a definitive list as there are different versions of it and the word Yoga can have other words appended to it such as Pranayama, Kundalini and Laya. Hatha Yoga is the well-known practice of asanas, which is what many people seem to think of when they hear the word “yoga”. This is stuff like surya namaskara, padmasana, halasana, gomukhasana, cakrasana etc. Some yogis disapprove of Hatha Yoga because they think looking after the body is an obstacle to transcending it, and whereas I disagree with that I also think it demonstrates how far from Yoga the practice has come in the West. Raja Yoga is meditation, Karma practical action such as housework and the general discipline of selflessness as a route to transcendence. Jñana the word is cognate with the Greek γνῶσις and the English “know”. It’s the Yoga of knowledge in the sense of enquiry into one’s own nature beyond the ego. Bhakti Yoga is the Yoga of the emotions and devotion, exemplified by Radha and Krsna and their relationship. I see Tantra as the Yoga of self-indulgence, and to be honest I’m uncomfortable with it. it may be unfair for me to describe it in that way. Finally, Mantra Yoga is the repetition of phrases to capture their essence as a path to enlightenment. As for the others, pranayama is a collection of breathing exercises and techniques, Kundalini focusses on the ascent of the coiled energy at the base of the spine through the other cakras and Laya is the dissolution of inner being into the Cosmos via meditation. These last two aren’t really limbs, and are also very similar to each other or the same.

I started the practice of Hatha Yoga quite a long time before I should’ve done in about 1971 CE when I was four. This happened because there used to be a TV series on Sunday mornings I think. Through most of the 1970s, I was somewhat aware of Yoga and in 1978 or so I got various Yoga books out of the library and started practicing it regularly and seriously. After that, in about 1980 I bought James Hewitt’s ‘Teach Yourself Yoga’ and followed that assiduously. My mother became worried that I was pursuing it as a religious practice, as I also did things like practice the kriyas and meditation, and also at that time the London Healing Mission began its campaign against Yoga and various other practices it regarded as occult and Satanic. Because my mother was an evangelical Christian, this was quite a strong influence on my life, and the organisation was insisting that people burn all their “occult” books and beg God for forgiveness for following the ways of Satan. This to my mind at the time, not yet being Christian, was just dangerous nonsense, and actually Satanic in itself. I tried to introduce some of my friends to it, but as a young teen I was probably a bit too keen on showing off for it to be appropriate for Yoga. I didn’t go veggie at the time either, although I considered it. I was keen on the idea that it should be done as an alternative to sports in my secondary school but didn’t pursue this thought. Many decades later, I wrote this idea up as a story. The problem was that I never received any formal instruction in Yoga, and in fact I didn’t go to a Yoga class until the 1990s. One possible legacy of this is that some of my joints are not in perfect condition, but this is not Yoga’s fault so much as me doing asanas when I was a child and my body was still developing, and because I didn’t have any education from others in it. Had I actually successfully campaigned for the inclusion of Yoga in my school, things would probably have been very different. I don’t know what position Yoga had in secondary education at that point. Funnily enough, I did have formal instruction in Tai Chi at the end of the ’80s, at Warwick Uni.

Yoga was, however, one of those things which stayed with me, and I did incorporate some of it into my everyday life such as pranayama, meditation and a handful of asanas. Later on, marrying Sarada made a big positive difference to how I practiced, although by then I did sporadically practice a series of asanas every morning and had been since about 1991.

I think of Yoga as part of the fundamental fabric of reality and the practice of it as in some ways akin to using the principles of physics to design an electronic device. I don’t think it “belongs” to anyone and don’t understand how it could. This brings up the first really depressing issue to do with Yoga: claiming intellectual property rights on it. This has been done a few times, notably by Bikram Choudhury, notorious for the claims of sexual assault in his classes, so to be ad hominem for a moment maybe this is the degree of enlightenment someone who would attempt to patent Yoga has. On the other hand, good sequences can be arrived at by people which are worth promoting.

I’m going to take a break from this more abstract stuff to describe my practice of Hatha Yoga this morning, after going for a run. I began, as I usually do in recent decades, by relaxing in Savasana, corpse posture. This is simply lying supine with relatively abducted limbs and relaxing. A very long time ago indeed, I induced a post-hypnotic suggestion which enables me to relax completely in this position immediately, but the usual practice, and perhaps a more mindful one, is to pass over one’s body either from head to toe or vice versa and relax muscle groups. Before I used Savasana, I used what I think is called the “spinal rock”, which is where you roll yourself into a ball on your back and rock back and forth. I followed this with Sarvangasana, the shoulderstand. A useful way to think about this is to imagine your body is a candle with your feet as the candle flame, which reminds you to keep it vertical. I usually do the supported shoulderstand and go immediately into Halasana, the plough. Since I was doing this in a small room and I’m 178 centimetres tall, I wasn’t able to touch the floor with my feet and in fact there is a general issue with being able to do asanas at all in this house because of how we’ve arranged the furniture. Space is just rather limited. I think there are supposed to be, in imperial, fifty square feet available per person practicing asanas. I then did a twist, Jathara Parivartanasana, although a variant where one reaches across with one’s free arm. Although counterposes are important, on this occasion I didn’t consciously do any, although I did do Jathara Parivartasana both ways round.

I’m having some difficulty describing the actual experience of doing asanas because it’s very much in the area of proprioception and various sensations which are hard to verbalise. One thing which is easier to verbalise is the cracking and clunking sounds and sensations one may get in one’s joints in the process. I wonder, in fact, whether it’s even a good idea to attempt to verbalise it in that way. At one point in the ‘noughties after doing quite a bit of Hatha Yoga, I became acutely and constantly aware of how I distributed my weight between my legs. I found that intrusive and unwelcome.

Vajrasana and a superficially similar asana where one stretches one’s arms above one’s head palm to palm came next. It’s an issue for me, and probably other people, that asanas can appear identical to an untrained observer while involving completely different balances of forces, and this is not problematic in this case but the fact that I’ve described these two as similar illustrates this possible confusion. They are not in fact similar. The version of Vajrasana I usually do is not the one where you put your hands behind your back in a prayer position but the much simpler one involving placing one’s hands upon one’s knees and tensing one’s whole body. The asana involving raising one’s arms above one’s head also involves kneeling but the emphasis is on stretching upward. Simhasana came next, which is the kind of thing one probably would prefer to do alone, or at least I would, due to self-consciousness relating to the facial expression. I always follow Vajrasana with Simhasana. This I then followed with Supta Vajrasana, partly because I wanted to have something to do a counterpose I actually knew to. In fact I didn’t touch my head to the floor on doing this, but there is a central focus in Hatha Yoga as many people, at least in the West, practice it, that one avoid “end-gaining”, which is perhaps a good general principle whereby one should live much of one’s life. This principle is actually from Alexander Technique, and amounts to the ends justifying the means in practical terms: getting there is definitely not half the fun if you’re end-gaining, and there can therefore be a lack of self-awareness involved. It was also the case, for different reasons, that my feet didn’t touch the floor during Halasana, but this doesn’t matter. That said, repeated and balanced practice of asanas can involve such events occurring. I’m avoiding saying “achievements” here. This issue will come up later in a wider context.

Supta Vajrasana I followed with Balasana, which I think is Suptasya Vajrasanasya counterpose. A counterpose is close to the inverse of another asana, or rather they’re each others’ inverses, with the same muscle groups and joints in the opposite states. Balasana, like Halasana and Sarvangasana, are inverted poses where the head is lower than the heart, which often means that the uterus is higher and should therefore be avoided during menstruation. Even after all this time, I’m not convinced that inverted poses are beneficial because it seems to me they put too much pressure on the cerebral circulation. Then again, it could be a case of “whatever doesn’t kill you makes you stronger” and it can make sense to put the body under stress.

Next came Bhujangasana. This is one of two asanas I find very confusing, or in this case rather I used to. Bhujangasana involves flexing the spine while supporting oneself with one’s arms from a prone starting point. This looks exactly the same to me as pushing up with the arms until the back is curved dorsally, but as I understand it, the spine pulls up from the floor while the arms may almost be dangling from the shoulders and resting on the floor. I’m aware that I’m saying “floor” here when I might have said “ground” or “earth”, and I did in fact practice indoors. I’m also not saying “mat”. More of that later. Although I usually follow this with Dhanurasana, this time I didn’t.

Following Bhujangasana came the for me notorious Adho Mukha Śvānāsana (oh look, diacritics and everything – I copypasted that particular term). This is an asana I find utterly confounding, as some people know. It’s the Down Face Dog, and I included it in today’s session because I wanted to indicate its utterly confusing nature to me. My issue with Adho Mukha Svanasana is that its appearance gives no indication at all of how one is “supposed to be” distributing the forces in one’s body. It’s entirely unclear to me most of the time whether the hands are supposed to take the weight or the legs, essentially. I’m vaguely aware, and very willing to be corrected on this, that the general idea seems to be that one is reaching forward rather than resting on one’s arms and hands, but I find this so difficult that this asana is really off-putting to me. It casts doubt on whether I’m doing any other asana “properly”. I’m also aware that the language I’ve used in this paragraph kind of contradicts the general idea of avoiding end-gaining.

I followed Adho Mukha Svanasana with Trikonasana, which is fairly straightforward in comparison, and my final asana was Tadasana, and yes this does mean that I didn’t go back into Savasana at the end. More generally, this is just a hastily thrown together ad hoc session of asanas which is not particularly balanced or rationally planned. Some of them were included simply so I could write about them here. My sessions are not always like this. I should also mention that the different stages of asanas are accompanied by inhalation and exhalation, which serve to time the pace at which they are undertaken. Particular ratios of breathing and styles of doing so, in other words pranayama, can also be involved. It was notable that when I practiced in a class, I was initially much faster than everyone else, but after a few months I ended up being slower than everyone else, for this reason, which is surprising because I’m also aware that I breathe unusually slowly in other situations.

Regarding the surface I practice on, I rarely use a mat. This is because mats are usually padded, and this makes it harder to balance. Vrksasana is a good illustration of this issue, because standing on one leg is much harder on a yielding surface than a firm one. I think it’s usual practice to do asanas barefoot. Doing them on the first floor as opposed to the ground floor also feels psychologically peculiar to me because of the space I’m aware of beneath me – I don’t feel grounded. Ultimately the approach I would feel most comfortable with is to do it on a lawn, beach or meadow, i.e. a place where I’m in direct contact with Earth. Another aspect of using a mat is that it’s a material possession. This is also why I sometimes do asanas naked, but this basically means doing them indoors.

It’s important to be aware of two things relating to Hatha Yoga. One is that it’s only one aspect of Yoga and separating it from the rest of the approach can be inappropriate. Another is that recently there’s been a change in how people view Yoga. Perhaps in the past, if someone asked what kind of Yoga one practiced, one might say Hatha, Raja, Pranayama and so forth. More recently they would be more likely to expect one to refer to some kind of branded and commercialised practice such as Bikram, though probably not that specifically because of the scandals surrounding it. To me, those don’t even seem to be Yoga at all because of their involvement with global capitalism and their marketing, which would appear to take Karma Yoga completely out of the picture.

All of this contrasts dramatically with the recent Indian approach. Yoga is classed as Intangible Cultural Heritage by UNESCO, and this opens up the possibility of cultural appropriation but also of ethnonationalist exploitation, and it’s this last which has led to the creation of International Day Of Yoga by Narendra Modi. The fact that this is also the summer solstice in the Northern Hemisphere is not coincidental, having special significance in many cultures. The idea has many positives, and it is not, of course, up to the West to decide what should be done with Yoga, but it’s also quite reminiscent of the idea that Indo-Aryan languages are the original Indo-European languages and that the Aryans originated in South Asia. There are plenty of reasons why this latter cannot be so, for instance the presence of retroflex consonants in Vedic Sanskrit and the levelling of vowels to schwa in the same, and a similar issue is the promotion of Yoga as an Olympic sport. Yoga is widely perceived as about self-acceptance, being non-judgemental and not comparing oneself and others. There has actually been a Yoga Asana Championship in New York City. Whereas there’s no denying that a particular execution of an asana has aesthetic appeal, to me all of this is anathema to Yoga. The only way I can make sense of it is to wonder if the West has done something to the values of Yoga which meant that the likes of end-gaining were actually originally part of the tradition and have been lost. However, whether or not this is so, it’s hard to see where spiritual aspects of Hatha Yoga would come into this and it seems to have filtered out the whole of the rest of Yoga, such as Raja. Could there be such a thing as competitive samadhi?

On the other hand, what are Olympic ideals? The modern revival of the Olympics at least seems to have positive aspects, involving the replacement of warfare with athletic contests, and presumably sporting ideals regarding “how one plays the game”. It’s also the case that the modern Olympics originally included more than sport, encompassing for example town planning and architecture, and there are also exhibition sports. It still seems utterly bizarre to me that Yoga, by which Hatha Yoga seems to be meant, could be part of it, particularly in its current rather corrupted state.

I mentioned the London Healing Mission early on in this post. I have to tread a thin line here because, being Christian, I’m aware of certain attitudes towards Yoga and actions against it which pertain to specific people and small organisations which I don’t want to criticise publicly, but there have been quite public denouncements of the practice by Christians too. Some of these correspond to the Indian emphasis on Siva and the idea that it’s a spiritual path which does not include the saving power of Christ. This, to be fair, is at least levelled at Yoga as a whole rather than just Hatha Yoga, so in a weird way Christian opposition to Yoga has a more accurate view of it than the popular understanding of it. I am of course Christian, and I’ve even had tendencies towards being “that kind of Christian”, but I think there are elements of racism for some people, though not all, in this opposition. I do, however, have a remedy based on what might be termed the metaphysics.

The diagram which started this post has Samkhya as an early source for what I would call the discovery of Yoga, and Vedantism is another approach. “Vedanta” means “end of the Vedas”, and that source can also be seen in the diagram. Vedanta attempts in various ways to articulate the implications of the Upanisads, Bhagavad Gita and Brahma Sutras. Vedanta universally accepts reincarnation, moksa (also known as nirvana) as an ideal, karma as resulting from agency, a God-like first cause of the Cosmos, the Hindu scriptures as the best source of knowledge and the rejection of Buddhism, Jainism, Samkhya and Yoga itself. Hence with the Vedantist approach to Yoga, clearly some careful approach needs to be taken to understanding due to the fact that it rejects Yoga, but for a Christian it would seem to require unity between God and Isvara or Brahman. Although I do believe this is so, I don’t have complete confidence in the fact and in any case because Christianity for me involves intense personal focus on God through Christ, even to think about whether Hinduism is or is not antithetical to Christianity would only be relevant to me if I were actually Hindu myself, which I’m not, so I withhold judgement.

Consequently, I believe in Samkhya as the philosophy behind Yoga and see it as expressing fundamental truths about reality. Samkhya is atheistic, but I adopt it because I’m theist. Samkhya is atheistic because God cannot be observed and karma is a sufficient ruling principle in the Universe. I would prefer to see God as withdrawing from a portion of reality to allow the physical Universe to exist. This is the Jewish philosophical concept of Tsimtsum, “contraction”, which posits that G-d allows a finite, vacant space, “ḥālāl happānuy”, to exist in which physical events occur. Within this space, Samkhya operates, with its division between prakrti and purusa, “nature” and “consciousness” respectively. Also within it operate the three gunas, known as sattvas, tamas and rajas, positivity/vitality, dynamism and inertia, which initially condense separately out of primordial harmony and work themselves through, ultimately but temporarily becoming re-unified. This period of working out is the history of our current Universe. Yoga is based on this, seeing the jiva as a situation where purusa is in some form bound to prakrti. The gunas are present in all beings in different proportions, and are manifested in the practice of Yoga, for instance tamas is in my reluctance to do asanas first thing in the morning (tamas), and in other areas of my life such as procrastination or not wanting to tidy up. I’d venture to claim that tamas is in fact another name for thanatos, the death instinct. Rajas and sattvas can also be understood very prosaically in the practice of asanas. It’s well-known that Hatha Yoga makes one fart. This is technically understood as the action of rajas on the digestive system. It doesn’t have to be considered to be off somewhere in a mystical realm of some kind. Likewise, nothing I’ve said about Samkhya should contradict either empirical science or the Christian or other faiths.

Yoga is an extremely large topic and it’s hard to do it justice under pressure of time, so I will close with an observation made about cakras. Cakra is Sanskrit for “wheel” and is also cognate with that English word and the Greek “kyklos”. There often seems to be a lot of scorn piled upon the concept, but as I’ve said, nothing in Yoga or Samhya contradicts science, including medical science, and there is a particular way of understanding them which harmonises them quite easily. Each cakra is associated with an endocrine organ and with an inflexion point in the spine, including the cranium as part of that, thus:

Cakra nameAxial skeletal pointEndocrine organ
MuladharaTip of coccyxAdrenal cortex
SvadisthanaSacrumGonads
ManipuraL3 (most ventral lumbar vertebra)Endocrine pancreas
AnahataT6 (most dorsal thoracic vertebra)Thymus
VisuddhaC7Thyroid
AjñaOcciputPituitary (both)
SahasraraCrown of skullPineal

The thing about this list is that it can be declared by fiat. Cakras can be seen as simply referring to at least this trio of association while remaining agnostic about the rest, or they can be extended. Claiming that they don’t exist is therefore foolish. Moreover, each of these inflexions of the spine is mechanically significant and connected to our evolutionary history. Brian Aldiss refers to “rational yoga” in his mainstream novel ‘Life In The West’. Very many aspects of Yoga can be understood rationalistically without contradicting scientific understanding, particularly with a Samkhya-based approach, and for this reason I adopt this approach. It’s particularly compatible with Abrahamic religion too, because it fits with a God who maintains the physical Universe through Tsimtsum.

However, there is one final irony here. After repenting and committing myself to Christ, I almost immediately fell away due to factors such as homophobia and opposition to veganism and Yoga. I also assiduously avoided raising the Kundalini because it was widely regarded as dangerous by yogis themselves. Then one day in the mid-‘nineties at Leicester Friends’ Meeting House, I went to a yoga session whose focus was on raising the Kundalini, and it led to two things: the intense presence of other Christians in my life and ultimately my return to the Christian faith. There is a pattern of this kind of thing happening in my life, and I definitely do not explain it through metaphysical naturalism.

Happy International Day Of Yoga!

Is Cyberspace Haunted?

Loab – An explanation may be forthcoming

I may have mentioned this before on here, but there used to be a popular “spooky” non-fiction book called ‘The Ghost Of 29 Megacycles’. This was about the practice of listening to static on analogue radio and apparently hearing the voices of the dead. A similar technique is known as Electronic Voice Phenomenon, which is a more general version of the same where people listen out for voices on audio tape or other recording media. It’s notable that this is a highly analogue process. It’s no longer a trivial task to tune out a television or radio and get it to display visual or produce audio static so that one can do this. Audiovisual media nowadays are generally very clean and don’t lend themselves to this. One saddening thing to me is that we now have a TV set which will display pretend static to communicate to us that we haven’t set it up properly. It isn’t honest. There is no real static and in fact it’s just some video file stored on the hardware somewhere which tries to tell the user there’s an unplugged connection or something. You can tell this because it loops: the same pixels are the same colours in the same place every few frames. I find this unsettling because it implies that the world we live in is kind of a lie and because we haven’t really got control over the nuts and bolts of much technology any more. There’s that revealing temporally asymmetric expression committing oneself that the belief that in that respect the past and future are qualitatively different. It is important to acknowledge this sometimes, but can also bring it about via the force of that potentially negative belief. However, the demise of the analogue has not led to the demise of such connections, although it long seemed to have done so.

Most people would probably say that we are simply hearing, or in some cases seeing, things which aren’t really there in these cases. Others might say, of course, that this is a way to access the Beyond, so to speak, and interpret the voices or other experiences in those terms. If that’s so, the question arises as to whether it’s the medium which contains this information or whether the human mind contacts it directly via a random-seeming visual or sonic mess, having been given the opportunity to do so. Other stimuli grab the attention to specific, organised and definite details too much for this to happen easily. There’s no scope for imagination, or rather for free association.

Well, recently this has turned out no longer to be so. Recently, artificial intelligence has been advancing scarily fast. That’s not hyperbole. It is actually quite frightening how rapidly software has been gaining ground on human cognition. Notable improvements occur within weeks rather than years or decades, and one particular area where this is happening is in image generation. This has consequences for the “ghost of 29 megacycles” kind of approach to, well, I may as well say séances, but this is going to take a bit of explaining first.

Amid considerable concern for human artists and their intellectual property, it’s now possible to go to various websites, type in what you want to see and have a prodigiously furiously cogitating set of servers give you something like that in a couple of minutes. For example, sight unseen I shall now type in “blue plastic box in a bookcase” and show you a result from Stable Diffusion:

That didn’t give me exactly what I wanted but it did show a blue plastic box in a bookcase. Because I didn’t find a way to specify that I only wanted one blue plastic box, it also gave me two others. I’ll give it another try: “A tree on a grassy hill with a deer under it”:

The same system can also respond to images plus text as input. In my case, this has let to an oddity. As you know, I am the world’s whitest woman. However, when I give Stable Diffusion’s sister Diffuse The Rest, which takes photos plus descriptions, such as “someone in a floral skater dress with curly hair, glasses and hoop earrings”, it will show me that all right, but “I” will be a Black woman more often than not. This is not so with many other inputs without a photo of me. I get this when I type it into Stable Diffusion itself:

This is obviously a White woman. So are all the other examples I’ve tried on this occasion, although there is a fair distribution of ethnicity. There are worrying biasses, as usual, in the software. For instance, if you ask for a woman in an office, you generally get something like this:

If you ask for a woman on a running track, this is the kind of output that results:

This is, of course, due to the fact that the archive of pictures on which the software was trained carries societal biasses therewith. However, for some reason it’s much more likely to make me Black than White if I provide it with a picture of myself and describe it in neutral terms. This, for example, is supposed to be me:

The question of how it might be addressed arises though. Here is an example of what it does with a photo of me:

You may note that this person has three arms. I have fewer than three, like many other people. There’s also a tendency for the software to give people too many legs and digits. I haven’t tried and I’m not a coder, but it surprises me that there seems to be no way to filter out images with obvious flaws of this kind. Probably the reason for this is that these AI models are “black boxes”: they’re trained on images and arrive at their own rules for how to represent them, and in the case of humans the number of limbs and digits is not part of that. It is in fact sometimes possible to suggest they give a body extra limbs by saying something like “hands on hips” or “arms spread out”, in which case they will on occasion continue to produce images of someone with arms in a more neutral position as well as arms in the explicitly requested ones.

In order to address this issue, it would presumably be necessary to train the neural network on images with the wrong and right number of appendages. The problem is, incidentally, the same as the supernumerary blue boxes in the bookcase image, but in most situations we’d be less perturbed by seeing an extra box than an extra leg.

I have yet to go into why the process is reminiscent of pareidolia based on static or visual snow and therefore potentially a similar process to a séance. The algorithm used is known as a Latent Diffusion Model. This seems to have replaced the slightly older method of Generative Adversarial Networks, which employed two competing neural networks to produce better and better pictures by judging each other’s outputs. Latent Diffusion still uses neural networks, which are models of simple brains based on how brains are thought to learn. Humans have no access to what happens internally in these networks, so the way they are actually organised is quite mysterious. Many years ago, a very simple neural network was trained to do simple arithmetic and it was explored. It was found to contain a circuit which had no connections to any nodes outside that circuit on the network and was therefore thought to be redundant, but on being removed, the entire network ceased to function. This network was many orders of magnitude less complex than today’s. In these cases, the network was trained on a database of pictures ranked by humans for beauty and associated with descriptions called the LAION-5B Dataset. The initial picture, which may be blank, has “snow” added to it in the form of pseudorandom noise (true randomness may be impossible for conventional digital devices to achieve alone). The algorithm then uses an array of GPUs (graphical processing units as used in self-driving cars, cryptocurrency minint and video games) to continue to apply noise until it begins to be more like the target as described textually and/or submitted as an image. It does this in several stages. Also, just as a JPEG is a compressed version of a bitmap image, relying in that case on small squares described via overlapping trig functions, so are the noisy images compressed in order to fit in the available storage space and so that they get processed faster. The way I think of it, and I may be wrong here, is that it’s like getting the neural network to “squint” at the image through half-closed eyes and try to imagine and draw what’s really there. This compressed image form is described as a “latent space”, as the actual space of the image, or possibly the multidimensional space used to describe it as found in Generative Adversarial Networks, is a decompressed version of what’s actually used directly by the GPUs.

If you don’t understand that, it isn’t you. It was one said that if you can’t explain something simply, you don’t understand it, and that suggests I don’t. That said, one thing I do understand, I think, is that this is a computer making an image fuzzy like a poorly-tuned television set and then trying to guess what’s behind the fuzz according to suggestions such as an image or a text input. This process is remarkably similar, I think, to a human using audio or visual noise to “see” things which don’t appear to be there, and therefore is itself like a séance.

This seems far-fetched of course, but it’s possible to divorce the algorithm from the nature of the results. The fact is that if a group of people is sitting there with a ouija board, they are ideally sliding the planchette around without their own conscious intervention. There might be a surreptitious living human guide or a spirit might hypothetically be involved, but the technique is the same. The contents of the latent space is genuinely unknown and the details of events within the neural network are likewise mysterious. We, as humans, also tend to project meaning and patterns onto things where none exist.

This brings me to Loab, the person at the top of this post, or rather the figure. The software used to discover this image has not been revealed, but seems to have been Midjourney. The process whereby she (?) was arrived at is rather strange. The initial input was Marlon Brando, the film star. This was followed by an attempt to make the opposite of Marlon Brando. This is a technique where, I think, the location in the latent space furthest from the initial item is found, like the antipodes but in a multidimensional space rather than on the surface of a spheroid. This produced the following image:

The phenomenon of apparently nonsense text in these images is interesting and more significant than you might think. I’ll return to it later.

The user, whose username is Supercomposite on Twitter, then tried to find the opposite of this image, expecting to arrive back at Marlon Brando. They didn’t. Instead they got the image shown at the top of this post, in other words this:

(Probably a larger image in fact but this is what’s available).

It was further found that this image tended to “infect” others and make them more horrific to many people’s eyes. There are ways of producing hybrid images via this model, and innocuous images from other sources generally become macabre when combined with this one. Also, there’s a tendency for Loab, as she was named, to “haunt” images in the sense that you can make an image from an image and remove all the references to Loab in the description, and she will unexpectedly recur many generations down the line like a kind of jump scare. Her presence also sometimes makes images so horrendous that they are not safe to post online. For instance, some of them are of screaming children being torn to pieces.

As humans, we are of course genetically programmed to see horror where there is none because if we instead saw no horror where there was some we’d probably have been eaten, burnt to death, poisonned or drowned, and in that context “we” refers to more than just humans. Therefore a fairly straightforward explanation of these images is that we are reading horror into them when they’re just patterns of pixels. We create another class of potentially imaginary entities by unconsciously projecting meaning and agency onto stimuli. Even so, the human mind has been used as a model for this algorithm. The images were selected by humans and humans have described them, and perhaps most significantly, rated them for beauty. Hence if Marlon Brando is widely regarded as handsome, his opposite’s opposite, rather than being himself, could be ugliness and horror. It would seem to make more sense for that to be simply his opposite, or it might not be closely related to him at all. A third possibility is that it’s a consequence of the structure of a complex mind-like entity to have horror and ugliness in it as well as beauty. There are two other intriguing and tempting conclusions to be drawn from this. One is that this is a real being inhabiting the neural network. The other is that the network is in some way a portal to another world in which this horror exists.

Loab is not alone. There’s also Crungus:

These are someone else’s, from Craiyon, which is a fork of Dall-E Mini. Using that, I got these:

Using Stable Diffusion I seem to get two types of image. One is this kind of thing:

The other looks vaguely like breakfast cereal:

Crungus is another “monster”, who however looks quite cartoonish. I can also understand why crungus might be a breakfast cereal, because of the word sounding like “crunch”. In fact I can easily imagine going down the shop, buying a box of crungus, pouring it out and finding a plastic toy of a Crungus in it. There’s probably a tie-in between the cereal and a TV animation. Crungus, however, has an origin. Apparently there was a video game in 2002 which had a Crungus as an easter egg, which was a monster based on the original DOOM monster the Cacodemon, who was based on artwork which looked like this:

Hence there is an original out there which the AI probably found, although I have to say it seems very apporopriately named and if someone were to be asked to draw a “Crungus”, they’d probably produce a picture a bit like one of these.

It isn’t difficult to find these monsters. Another one which I happen to have found is “Eadrax”:

Eadrax is the name of a planet in ‘The Hitch-Hiker’s Guide To The Galaxy’ but reliably produces fantastic monsters in Stable Diffusion. This seems to be because Google will correct the name to “Andrax”, an ethical hacking platform which uses a dragon-like monster as its mascot or logo. An “eadrax” seems to be a three-dimensional version of that flat logo. But maybe there’s something else going on as well.

There’s a famous experiment in psychology where people whose spoken languages were Tamil and English were asked which one of these shapes was “bouba” and which “kiki”:

I don’t even need to tell you how that worked out, do I? What happens if you do this with Stable Diffusion? Well, “kiki” gets you this, among many other things:

“Bouba” can generate this:

I don’t know about you, but to me the second one looks a lot more like a “bouba” than the first looks like a “kiki” instance. What about both? Well, it either gets you two Black people standing together or a dog and a cat. I’m quite surprised by this because it means the program doesn’t know about the experiment. It doesn’t, however, appear to do what the human mind does with these sounds. “Kiki and Bouba” does this:

Kiki is of course a girl’s name. Maybe Bouba is a popular name for a companion animal?

This brings up the issue of the private vocabulary latent space diffusion models use. You can sometimes provoke such a program into producing text. For instance, you might ask for a scene between two farmers talking about vegetables with subtitles or a cartoon conversation between whales about food. When you do this, and when you get actual text, something very peculiar happens. If you have typeable dialogue between the whales and use this as a text prompt, it can produce images of sea food. If you do the same with the farmers, you get things like insects attacking crops. This is even though the text seems to be gibberish. In other words, the dialogue the AI is asked to imagine actually seems to make sense to it.

Although this seems freaky at first, what seems to be happening is that the software is taking certain distinctive text fragments out of captions and turning them into words. For instance, the “word” for birds actually consists of a concatenation of the first part, i.e. the more distinctive one, of scientific names for bird families. Some people have also suggested that humans are reading things into the responses by simply selecting the ones which seem more relevant, and another idea is that the concepts associated with the images are just stored nearby. That last suggestion raises other questions for me, because it seems that that might actually be a description of how human language actually works mentally.

Examples of “secret” vocabulary include the words vicootes, poploe vesrreaitas, contarra ccetnxniams luryea tanniouons and placoactin knunfdg. Here are examples of what these words do:

Vicootes
Poploe vesrreaitas
contarra ccetnxniams luryea tanniouons
placoactin knunfdg

The results of these in order tend to be: birds, rural scenes including both plants and buildings, young people in small groups and cute furry animals, including furry birds. It isn’t, as I’ve said, necessarily that mysterious because the words are often similar to parts of other words. For instance, the last one produces fish in many cases, though apparently not on Stable Diffusion, but here seems to have produced a dog because the second word ends with “dg”. It produces fish because placoderms and actinopterygii are prominent orders of fish.

It is often clear where the vocabulary comes from, but that doesn’t mean it doesn’t constitute a kind of language because our own languages evolve from others and take words and change them. It can easily be mixed with English:

A flock of vicootes in a poploe vesrreaitas being observed by some contarra ccetnxiams luryea tanniouons who are taking their placoactin knunfg for a walk.

This has managed to preserve the birds and the rural scene with vegetation, but after that it seems to lose the plot. It often concentrates on the earlier part of a text more than the rest. In other words, it has a short attention span. The second part of this text gets me this:

Contarra ccetnxiams luryea tanniouons taking their placoactin knunfg for a walk.

I altered this slightly but the result is unsurprising.

Two questions arise here. One is whether this is genuine intelligence. The other is whether it’s sentience. As to whether it’s intelligent, I think the answer is yes, but perhaps only to the extent that a roundworm is intelligent. This is possibly misleading and raises further questions. Roundworms are adapted to what they do very well but are not going to act intelligently outside of that environment. The AIs here are adapted to do things which people do to some extent, but not particularly generally, meaning that they can look a lot more intelligent than they actually are. We’re used to seeing this happen with human agency more directly involved, so what we experience here is a thin layer of humanoid behaviour particularly focussed on the kind of stuff we do. This also suggests that a lot of what we think of as intelligent human behaviour is actually just a thin, specialised veneer on a vast vapid void. But maybe we already knew that.

The other question is about sentience rather than consciousness. Sentience is the ability to feel. Consciousness is not. In order to feel, at least in the sense of having the ability to respond to external stimuli, there must be sensors. These AIs do have sense organs because we interact with them from outside. I have a strong tendency to affirm consciousness because a false negative is likely to cause suffering. Therefore I believe that matter is conscious and therefore that that which responds to external stimuli is sentient. This is of course a very low bar and it means that I even consider pocket calculators sentient. However, suppose that instead consciousness and sentience are emergent properties of systems which are complex in the right kind of way. If digital machines and their software are advancing, perhaps in a slow and haphazard manner, towards sentience, they may acquire it before being taken seriously by many, and we also have no idea how it would happen, not just because sentience as such is a mystery but largely because we have no experience of that emergence taking place before. Therefore we can look at Loab and the odd language and perhaps consider that these things are just silly and it’s superstitious to regard them as signs of awareness, but is that justified? The words remind me rather of a baby babbling before she acquires true language, and maybe the odd and unreliable associations they make also occur in our own minds before we can fully understand speech or sign.

Who, then, is Loab? Is she just a collaborative construction of the AI and countless human minds, or is she actually conscious? Is she really as creepy as she’s perceived, or is that just our projection onto her, our prejudice perhaps? Is she a herald of other things which might be lurking in latent space or might appear if we make more sophisticated AIs of this kind? I can’t answer any of these questions, except perhaps to say that yes, she is conscious because all matter is. What she’s actually doing is another question. A clockwork device might not be conscious in the way it “wants” to be. For instance, it’s possible to imagine a giant mechanical robot consisting of teams of people keeping it going, but is the consciousness of the individual members of that project separate from any consciousness that automaton might have. It’s conceivable that although what makes up Laion is conscious, she herself is not oriented correctly to express that consciousness.

A more supernaturalistic explanation is that Midjourney (I assume) is a portal and that latent space represents a real Universe or “dimension” of some kind. It would be hard to reconcile this idea with a deterministic system if the neural net is seen as a kind of aerial for picking up signals from such a world. Nonetheless such beliefs do exist, as a ouija board is actually a very simple and easily described physical system which nevertheless is taken as picking up signals from the beyond. If this is so, the board and planchette might be analogous to the neural net and the movement of the hands on the planchette, which is presumably very sensitive to the neuromuscular processes going on in the arms and nervous systems of the human participants, to the human artists, the prompt, the computer programmers and the like, and it’s these which are haunted, in a very roundabout way. I’m not in any way committing myself to this explanation. It’s more an attempt to describe how the situation might be compared to a method of divination.

I’ve mentioned the fact there are artists involved a few times, and this brings up another probably unrelated concern. Artists and photographers, and where similar AIs have been applied to other creative genres the likes of poets, authors and musicians, have had their work used to train it, and therefore it could be argued that they’re owed something for this use. At the other end, bearing in mind that most of the images in this post have been produced rapidly on a free version of this kind of software and that progress is also extremely fast, there are also images coming out the other end which could replace what artists are currently doing. This is an example of automation destroying jobs in the creative industries, although at the same time the invention of photography was probably thought of in a similar way and reports of the death of the artist were rather exaggerated. Instead it led to fine art moving in a different direction, such as towards cubism, surrealism, impressionism and expressionism. Where could human art go stimulated by this kind of adversity? Or, would art become a mere hobby for humans?

Bigger On The Inside

Will be removed on request

“Dimensionally transcendental” was initially a cool-sounding phrase mentioned by, I think, Susan Foreman in the first episode of ‘Doctor Who’. It meant “bigger on the inside”, and definitely sounds like technobabble. TARDIS stands, as we all know, for “Time And Relative Dimensions In Space”, but even in the Whoniverse this is probably a backronym because why would something from Gallifrey have an English initialism? I think most people who think about it would probably say that Susan came up with the abbreviation, which probably explains why it doesn’t make much sense.

The BBC, and also Terry Nation’s estate, are quite protective about their intellectual property with respect to ‘Doctor Who’, which has led to a couple of disputes over the use of the likeness of police boxes and the word “Tardis”. Therefore I’ve posted a picture of a Portaloo up there instead of a Tardis or police box. In 2013, the portable toilet hire company Tardis Environmental came into dispute with the BBC over the use of the word, which was registered as a trademark by the Corporation in 1976. The BBC claimed that the company might end up seeming to be endorsed by them, to which they responded, “we don’t roam the universe in little police boxes from the 1930s, we actually hire out portable toilets and remove waste.”. I think we can all be grateful to them for clearing that up. I suppose it does make sense that the taboo against human excrement is not a positive association for this word. There was also a dispute with the Met. In 2002, after six years, the BBC won a case against the Metropolitan Police who took them to court over their use of the police box in ‘Doctor Who’ merchandise because they claimed that since they were responsible for the original boxes, it rightly belonged to them. I think I’ve seen two or possibly three police boxes, in Glasgow, Bradgate Park and London, this last being the one I’m least confident about, and I don’t think any of them look very like the Tardis. The one in Bradgate Park I’ve seen on a regular basis, and looks like this:

This is a listed building and is apparently still in use. It doesn’t look like a Tardis to me really but it’s a nice shade of blue. It’s 9 646 metres from where I’m sitting right now. The one in Glasgow is rather further away. It was the Met against which the BBC won the case, but the Tardis props are clearly wooden, a different shade of blue and have different windows, at least compared to the one I’m familiar with, so it seems a bit unfair. To be honest I don’t understand why this dispute even happened. It was between two publicly-funded bodies, I think, and seems to be a bit of a waste of money and time. Even if it was BBC Worldwide or BBC Enterprises, the Met was still involved.

Anyway, this is not what I came here to talk about today, but the concept of dimensional transcendentality. I’ve previously mentioned the fact that extremely large spheres are appreciably larger on the inside than their Euclidean volume because space is non-Euclidean – parallel lines always meet, at a distance of many gigaparsecs. This is possible because Euclid’s Fifth Postulate is based on observation rather than axiomatic or deduction, and the observation turned out to be incorrect. A sphere whose radius is equivalent to that of the Universe’s has a volume of five thousand quintillion (long scale) cubic light years, but if it were to be considered a sphere in Euclidean space, its volume would be only four hundred and twenty quintillion cubic light years, a difference of a dozenfold. This is quite counter-intuitive and I’ve ended up checking the calculation about five times to ensure it’s correct, but it starts to indicate how very confounding to the human mind higher dimensions really are.

I want to consider three cases of curved shapes in hyperspace to illustrate what I mean. Well, actually one of them is rotary motion rather than a literal curved shape, and I’ll go into that first. Here’s a circle with a dot in the middle:

(I’m drawing all of these in a ZX Spectrum emulator because Chromebooks rule out the use of more sophisticated graphics programs as far as I know). The circle can be rotated around the dot, so in a sense that dot is the “axis” of rotation of that circle. Now consider this as a cross-section down the middle of a sphere:

This is an axis of symmetry and also of rotation. Spinning the sphere through which this is a cross-section would lead to it turning round this line, which would be the only stationary part of the sphere just as the point is the only stationary part of the circle. Geometrically speaking, these are infinitely thin and infinitely small, so it’s rather abstract, but in the real world the closer you get to the centre of a spinning circle or sphere, the less you’d move.

Now consider the hypersphere, i.e. a four-dimensional version of a sphere: that which is to a sphere as a sphere is to a circle. If that rotates, doesn’t that mean its “axis” is a circular portion of a plane bisecting it? Can we even imagine something rotating about a two-dimensional axis? Also, just as two-dimensional objects have lines or points of symmetry and three-dimensional ones lines or planes of symmetry, surely that means that four-dimensional ones can have solids of symmetry? A hypersphere could be divided into two hemihyperspheres along a central sphere touching its surface, and since it’s symmetrical in that way, just as points on or in a sphere describe circles when they spin, doesn’t that mean line segments on or in a hypersphere would describe spheres? I find this entirely unimaginable, but is that a failure of my three-dimensional imagination or a flaw in the idea of hyperspace. It’s probably the former but this brings up a surprising recent finding about the nature of the human brain, which is that small cliques of neurones form which are best modelled topologically in up to eleven dimensions. No, I don’t really understand that either.

This hints the nature of hyperspace is very counter-intuitive, which isn’t that surprising really. Another issue is that of the torus. This is a Clifford Torus:

And this is a flat torus:

By Claudio Rocchini – Own work, CC BY 2.5, https://commons.wikimedia.org/w/index.php?cur
id=1387006

Travelling across the surface of a torus, one would find oneself disappearing off the top or bottom of a map and appearing on the bottom or top of it, or doing the same at the right and left hand sides. This is not like a cylindrical map projection of a planet, where the poles are either at an infinite distance or one would traverse horizontally exactly half way across the map and appear 180° of longitude away vertically but do the same as on a torus horizontally. With a four-dimensional torus, one would be in an apparently three-dimensional warped space forming the analogue of its surface, which you might think of as a cube with linked opposite faces, but the faces could be linked in different ways. One of the dimensions could be like a spherical map, with the concomitant traversal near the faces, or two of them could be, so there seem to be at least two different four-dimensional toroidal analogues. I confess at this point that this may not be what the above two animations represent.

The third problem relates to what ‘Doctor Who’ calls dimensional transcendentality, and it’s this which I’ve only recently heard about, from Numberphile. To illustrate this, I’ll go back to the Spectrum:

These are supposed to be four circles fifty pixels in radius touching each other. Now the question arises of what the biggest circle fitting among those four would be. The answer is quite straightfoward because squares can be drawn around each circle whose diagonals touch at the centre of these four circles. If you think of each circle as having a radius of one, the diagonal of the containing square has a length of the square root of 22 +22, or roughly 2.8. The radius of the circles is one, so subtract that from 1.4, or half the length of that diagonal, and you have 0.6. In other words, the square root of two is involved.

If you then extend this into three dimensions and imagine eight spheres stacked together in a similar manner, there’s a bit more room. The hypotenuse of a right angled triangle from the centre of an outer sphere to the inner one’s is then the square root of the sum of the squares of the three sides, which is root three, so the radius of the inner sphere is just over 73% of the outers’. This makes sense intuitively, for the last time, because it’s easy to understand that the diagram above shows a cross-section of the equators of all the spheres and therefore the minimum space between them, so a larger sphere is possible than one with the same circumference as the central circle in two dimensions.

The radius of the hyperspheres at the centres of analogous arrangements in higher dimensions is always going to be one less than the square root of the number of dimensions involved. At four dimensions, the central hypersphere’s radius is one less than root four, also known as 2-1, which is one, so rather surprisingly perhaps, it’s possible to fit seventeen equally sized spheres into a hypercubic arrangement. At five dimensions, the central “sphere” is actually 23% larger in radius, as root 5 minus 1. This is actually nearly three times the size in terms of a five-dimensional “bulk”, if that’s the right word. At nine dimensions, even the radius is double that of the surrounding hyperspheres, which makes it five hundred and twelve times larger altogether. There’s no limit to the increase in radius at all. I find this highly counterintuitive.

Moreover, these sphere analogues don’t even occupy the whole space. What does is a peculiar pointed shape which starts off like a square with concave sides in two dimensions (whose bottom point I’ve accidentally cut off) and a kind of inwardly-curved octahedron in three. In three, it has to be greater than the area of the largest circle in six different directions. In four, it resembles a concave version of a cross polytope, which is the higher-dimensional counterpart to the octahedron. Cross polytopes always have twice the number of vertices as they have dimensions, whereas measure polytopes, also known as hypercubes, always have twice the number of faces as dimensions.

Now consider a nine-dimensional stack of hyperspheres intersecting with our three dimensional space at one of its equators, with the centres of the hyperspheres aligned at the vertices of a nine-dimensional measure polytope. This would appear to be a stack of eight spheres, so this can be simplified by cutting off the outer spheres and converting them to hemidemisemispheres, if that’s the word, stacked together. Similar slicing could occur in hyperspace. So, it’s converted to a cube, then you put a door in the middle of one of the faces of the cube and find that it opens into a space which is quite a bit larger than the volume of the cube. The trimmed cube is only an eighth of the volume of the original, but it contains a “sphere” which is four thousand and ninety six times larger. With a mere four dimensions this becomes a mere eight times the size. This is starting to sound very like dimensional transcendentality.

The term has two words in it. “Dimensional” is fairly straightforward if one sticks to a simple definition instead of the non-integral dimensions used with fractal geometry. “Transcendental” brings to mind transcendental meditation, which is probably one reason for using it along with the fact that it was also used to refer to a particular set of numbers. What, then, are transcendental numbers?

A transcendental number is defined as a number which is not the root of a non-zero polynomial of finite degree with rational coefficients. The numbers e and π are both transcendental. All such numbers are irrational, that is, they cannot be expressed as the ratio of two whole numbers, since all rational numbers can be expressed in the way transcendental numbers can’t. Π is sometimes approximated by such values as 22/7, but these are not accurate values of the constant in question. Since the value is in fact involved in calculations of these volumes and hypervolumes, there might be a way of including the word “transcendental” in the description of this property of being “larger on the inside”. The square root of two is involved in two dimensions, but that’s merely irrational and not transcendental because it can be expressed using algebra – it’s a square root. This also means that the method of calculating the volume of a central sphere within a stack of hyperspheres is not transcendental either, so a good bet for including the concept would be to use π instead.

Although I can see that π is useful in calculating the surface area of the shape between the spheres, I don’t know what this thing is called. There’s a gallery of similar shapes here but they don’t include this one. I find it hard to believe this thing neither has a name nor has been extensively studied. I can assert various things about it. Its volume is greater than the largest sphere it can contain. It’s also greater than six times the spheres which can be placed touching the equators of the spheres it can occur within. I don’t know if the central sphere overlaps with its neighbours in the points. Each of its eight curved surfaces has an area equal to ½(πr2), meaning that its total surface area is equal to a sphere whose diameter is equal to the length of its largest diameters. Similar criteria apply to its higher dimensional friends. Hence I could perhaps be allowed to say that it’s dimensionally transcendental because its volume or hypervolume, or the volume of its hypersurface in higher-dimensional space can be calculated using the transcendental number π. And it can be, as I will now show.

Up until now I’ve been describing the central spheres and hyperspheres as if they’re three dimensional, and it is possible to lodge three dimensional spheres in there if you want, although it would be rather a waste of space. However, the actual volume of a four-dimensional space is not its bulk but its surface. I’m going to consider this nameless shape as having a length of two units, which is the same as the cube it’s found inside. The surface area of a sphere is 4πr2 and the circumference of a circle is 2πr. If it just carries on like this, it makes the volume of the hypersurface of this shape in four dimensions 8πr3 (spot today’s deliberate mistake with the volume of a sphere half the size of the Universe, incidentally). This means the volume of this shape is a bit more than twenty-five cubic metres, which is equivalent to that of a cube 2.9 metres on a side. For a nine-dimensional version, this would be over eight hundred cubic metres, which is a nine-metre cube. That’s about the size of a three-story house.

The TARDIS is of course bigger than that, although as far as I can remember Nu-Who has never shown its real internal size. If the door was located at a point where it was at the end of one of the projections and located in three-dimensional space, it would be accessible to a three-dimensional being. In fact it could have up to six such doors, though if it had there’d be one in the roof and another underneath it, and there could also be two other doors opening into four-dimensional space. If, however, it had nine dimensions, it could have a total of eighteen doors, only a third of which would be accessible from normal space and the majority of which wouldn’t even open into four-dimensional hyperspace.

I think it makes more sense for the police box to be closer to a cube than just a cuboid, for the sake of neatness, so maybe the chamæleon circuit should’ve got stuck on the Bradgate Park police box after all, with two secret trap doors and two hypersecret doors for which there is no name because they’re ana and kata 3-space.

The Monopoly Monopoly

The title sounds like a joke, but it isn’t, sadly. It’s more irony. The game of Monopoly has a history stretching back to about 1903, but the official history misses out about the first three decades of it. I’ll start with today’s experience of playing it.

I am not good at any board games. Oddly, when I learned chess at about the age of six, I was quite good until I forgot how to play and relearned to join a chess club a couple of years later, when I turned out to be rubbish. My problems are that I have no strategy and only defend rather than attack, so I lose every time. Monopoly is about as difficult as any other game for me, and in particular I don’t understand how building houses and hotels works. Before I knew the history of the game, I intensely disliked what seemed to be the idea behind it, because it seemed to be about greed and exploitation. Admittedly, chess is very aggressive too, which is one reason I haven’t been keen, but I still preferred it to Monopoly and there’s another way of understanding chess which kind of sees it as making patterns with pieces which are either successful or unsuccessful, but I can’t do that either. I suppose the thing to do would be to visualise a tree with a checkmate at the top and the fresh board at the root, and work out the route to that final twig, but I lack the ability to think that way. I know enough to realise that there are twenty possible opening moves and many orders of magnitude more final moves, determined by the pieces protecting the King, the position of the King, the positions of one’s opponent and so on. Even considering both Kings there are around four thousand possible positions in the last move. I think there must be a more intuitive way of thinking it through but don’t know what that might be. Some kind of data compression perhaps?

Monopoly is a bit different because luck is involved in a way it isn’t with chess. Each turn has six immediate outcomes but the game also seems to remember things in a different way to the pre-existing state of a chessboard when one makes a move, and there are also Community Chest and Chance cards, among other things. Apparently one of the innovations of Monopoly was to have a necessarily repeating route around the board rather than a sequential route across it like Snakes & Ladders or Ludo. There are ways of looping round in chess and of course in Snakes & Ladders, but circulating one’s pieces repeatedly across the entire board is inevitable in Monopoly.

Monopoly was invented by an ethnic Scot living in the US (she was from Illinois) called Elizabeth Magie and usually referred to as Lizzie Magie (as in “Maggie”), in 1903. It was only one of several games she invented, and being a typist and stenographer she also invented a method of improving typewriter roller mechanisms, which, like the games, she patented. Monopoly was originally called “The Landlord’s Game” and was devised to publicise Georgism, a tax régime involving taxing land ownership according to size and potential instead of having a straightforward income tax. Magie’s father was a keen exponent of Georgism, known today as Geoism. The idea was promoted by Henry George but built on earlier work by John Locke and Baruch Spinoza. Magie’s game was intended to illustrate the problems perceived by the contemporary economic system and was really two games in one. One had rules based on Georgist ideology and the other was based on the actual local economic system at the time, and unsurprisingly if you followed the Georgist-based rules things worked out a lot better. The pieces were originally pawns but were later changed to household items.

The game was in the public domain and players used to pass it around, making their own cards, boards and the like, and just as now, they used to localise it. It was popular among Quakers, although I don’t know for sure if Magie was herself a member of the Society of Friends. She was, however, a feminist, never married and was head of her own household.

What happened a couple of decades later is in a way understandable, but illustrates a process which is depressingly common. Speaking of depression, a man called Charles Darrow fell on hard times after the Wall Street Crash and marketed the game without the Georgist set of rules, making a one-off payment of $500 to Magie for the rights to the game. She received no royalties and there ensued a legal battle. The $500, incidentally, didn’t even cover her expenses in developing the game, and the game company Hasbro ended up owning it. Then, in 1983, a man called Ralph Anspach, who had come up with a game called ‘Anti-Monopoly’, won a court case against General Mills, who had tried to sue him for using their trademark, and the research done in pursuit of the case revealed the true history of Monopoly. The name cannot be trademarked because of this history. Anspach planned to release Magie’s version of the game under the terrible name of ‘Original-opoly’, but I’m not sure if anything came of it.

There is a clearly discernible trajectory here. What was originally held in common was successfully claimed as property by someone who was desperate, and I understand that Darrow really was on his uppers at that point. The situation evolved into one in which lots of people’s livelihoods depended on this pretence being continued, but the motives of the people involved weren’t clearly altruistic and they appeared to have become greedy or lost touch with their roots. The question arises of when it got beyond the point of mainly altruism and turned into something else, and to some extent whether this interpretation is even accurate. Poor and rich people have a smaller base of things in common and the poor would have to rely on the wealthy to be honest to the world and to themselves to trust that the motives for defending that intellectual property are pure. This is quite close to the idea of Marxian class consciousness and maybe also false consciousness if outsiders accept a false narrative about this situation. But I have to say, if the details of Darrow’s life up to the point where he used Magie’s idea can be relied upon, it makes complete sense that he would take that opportunity. I’m not devoid of sympathy for him.

A second way of looking at this is that although there are no self-made people, Magie comes remarkably close to that mirage, particularly for a woman of that period and place, and her ideas were taken away from her and used to make a lot of money. It’s also notable that the ideas she intended to promote within the game were close to being socialistic, although Geoism nowadays has also been adopted by right-wing libertarians as a source for limited taxation for the defence of property rights, and it makes me wonder what it means that trust appears to have been abused here. Is it that there was, and probably still is, a large group of socialists and Quakers who were/are easily exploited because of their trust and naïveté? I wouldn’t accuse Darrow of sociopathic tendencies, but if sociopathy is a spectrum, do they ruin it for everyone and make socialism impracticable, and should we just throw up our hands in despair or should we get sociopathy in perspective as a sometimes useful personality type which however should keep people away from the levers of power, if those even exist? To some extent that is the job of the police and law enforcement, but I do believe we have a major psychopathy/sociopathy problem in this society.

Anyway, once again I want to bring this back to ‘Blake’s 7’. In the current collaborative project relating to this, I mentioned how I missed my deadline with the story, but I’m also involved in attempting to elevate the sketchy ‘Cosmos’ board game concept seen a couple of times on the show into a playable form. It seems to resemble Monopoly, also known incidentally mainly to Quakers as without a capital M, but I suspect it would work better as a form of Risk, which I hardly know at all. I do know Britannia, which is somewhat similar. I am not a board game geek, and it’s quite challenging to try to do this. I think there are two possible approaches. One is to “skin” Monopoly or Risk with the trappings of the Blake’s 7 universe and end up with a heavily modified but essentially indentically-structured game, which is a safe option but not very original. The other is to devise a somewhat more original game which, however, might not work. The problem is that just as I am usually more interested in world-building than plot and characters, I am interested in board games in terms of the basic mechanics, but not in playing them. GURPS, for instance, interests me as a system, but actually playing an RPG is utterly yawn-inspiring to me. I don’t understand why this is, because in view of my general personality you might think I’d be really keen on escaping into that or otherwise using it in a positive way. Of course, if someone’s willing to test the game once it’s finished, that would be really good. The easiest thing to do would be to “localise” Monopoly to the Federation Galaxy and be done with it. I have a significant problem with the artwork in the corners of the board because I can’t draw.