The Ghost in the Machine: Structural Metaphors in the ‘Golden Age’ of Artificial Intelligence Research, 1956-1976

I’m back at U of T working on a doctorate in Linguistic & Semiotic Anthropology. I recently earned my Masters degree, and for my thesis wrote about how metaphors were used in artificial intelligence. Here’s the Abstract:

“This research project analyzes the language used in a corpus of academic papers from 1956- 1976 generally considered to be the foundational documents of the field of artificial intelligence. Thirty-one papers were assembled and examined for evidence of the use of structural metaphors (Lakoff & Johnson, 1980), first manually with an adapted version of the Metaphor Identification Procedure (Pragglejaz, 2007), and then through key-word-in-context searches (Deignan, 2008) with online corpus analysis tool Sketch Engine. Concordance data shows that the scientists frequently used metaphors to make sense of their work. Some structural metaphors used imagery from the same source domain, suggesting underlying root metaphors (Pepper, 1972), evidence of particular perspectives that comes to constitute the academic field. Root metaphors such as A MACHINE IS A BRAIN or RESEARCH IS A JOURNEY were extremely successful in communicating non- observable phenomena between scientists. Other structural metaphors appeared briefly in the literature but soon disappeared from discourse.”

Oliver Selfridge’s “Pandemonium” (1959) metaphor (inspired by Milton’s vision of hell in Paradise Lost) was created as a model for Artificial Intelligence research. It didn’t stick. The depiction above is from Human Information Processing, 2nd edition by Peter Lindsay and Donald Norman, 1977, Academic Press, Inc., New York (via David Bozak)

 

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You can read the whole thing here: The Ghost in the Machine: Structural Metaphors in the ‘Golden Age’ of Artificial Intelligence Research, 1956-1976.

Speaking on Radio-Canada Winnipeg

After reading this piece I wrote for CBC Parents about raising Francophone kids in an Anglophone city, the producers for 6 à 9 at Radio-Canada Winnipeg invited me to speak with host Louis Philippe Leblanc about our experiences. Here I am speaking, en Français, in very short sentences.


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My New Column for CBC

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Business Model Design at U of T’s School of Continuing Studies

I’m glad to be back in the classroom teaching Business Model Design as part of the Entrepreneurship Certificate at University of Toronto’s School of Continuing Studies.


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The course usually runs twice a year. Join us and get some practical tips on how to test components of your business model.

The Use of Games in Museums and Science Centers

The white paper The Use of Games in Museums and Science Centers was released in October of 2016.

It’s actually a game. Click here to read…err, play.

One of the most useful metaphors to use when thinking about games comes from historian Johan Huizinga in his seminal work Homo Ludens: A Study of the Play Element in Culture. Huizinga defines the ‘magic circle’ as the agreed upon space (either physical or temporal) within which a game occurs. Inside the magic circle there is a tacit agreement amongst the players that the challenge posed inside the game is separate from real life. This is what Samuel Taylor Coleridge called the “willing suspension of disbelief” in context of the theatre.

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Without these boundaries, a game would be indistinguishable from real-life. Think of the physical boundaries of a playground or a soccer pitch. Or the well-defined play spaces of Chess or Monopoly. Video games usually have the entirety of the game world enclosed within a computer monitor or phone screen (although these boundaries are blurring with the prevalence of so-called ‘pervasive games’ such as Pokémon GO). When players compete in a game, they are also cooperating in extending the illusion of the magic circle’s artifice. The root of the word compete comes from the latin competere meaning “to come together” or “to strive in common.”

Museums and science centres understand this metaphor well: when visitors cross their thresholds, they are primed to accept a new and different experience that is distinguishable from their everyday life. The museum itself is a sort of magic circle to explore new ideas and objects.

 

The Learning Model Canvas for Edtech Entrepreneurs

Using Osterwalder’s Business Model Canvas as inspiration, we have developed the Learning Model Canvas as a way for education startups to map out the logic of their learning models. It can take years and millions of dollars of randomized control trials to show true cause and effect for an educational product. But entrepreneurs can use tools like the learning canvas to organize their thoughts and identify leading indicators that learning improvements might be taking place.

Full article on EdSurge: https://www.edsurge.com/news/2015-06-02-how-savvy-edtech-entrepreneurs-can-co-opt-the-business-canvas-model 

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