Philosopher Alva Noe comments; an excerpt:
[T]here is another origin of our impulse to concede mind to devices of our own invention, and this is what I focus on here: the tendency of some scientists to take for granted what can only be described as a wildly simplistic picture of human and animal cognitive life. They rely unchecked on one-sided, indeed, milquetoast conceptions of human activity, skill and cognitive accomplishment. The surreptitious substitution (to use a phrase of Edmund Husserl’s) of this thin gruel version of the mind at work – a substitution that I hope to convince you traces back to Alan Turing and the very origins of AI – is the decisive move in the conjuring trick.
What scientists seem to have forgotten is that the human animal is a creature of disturbance. Or as the mid-20th-century philosopher of biology Hans Jonas wrote: ‘Irritability is the germ, and as it were the atom, of having a world…’ With us there is always, so to speak, a pebble in the shoe. And this is what moves us, turns us, orients us to reorient ourselves, to do things differently, so that we might carry on. It is irritation and disorientation that is the source of our concern. In the absence of disturbance, there is nothing: no language, no games, no goals, no tasks, no world, no care, and so, yes, no consciousness….
[H]uman beings are not merely doers (eg, games players) whose actions, at least when successful, conform to rules or norms. We are doers whose activity is always (at least potentially) the site of conflict. Second-order acts of reflection and criticism belong to the first-order performance itself. These are entangled, and with the consequence that you can never factor out, from the pure exercise of the activity itself, all the ways in which the activity challenges, retards, impedes and confounds. To play piano, for example – that other keyboard technology – is to fight with the machine, to battle against it.
Let me explain: the piano is the construction and elaboration of a particular musical culture and its values. It installs a conception of what is musically legible, intelligible, permitted and possible. A contraption made of approximately 12,000 pieces of wood, steel, felt and wire, the piano is a quasi-digital system, in which tones are the work of keystrokes, and in which intervals, scales and harmonic possibilities are controlled by the machine’s design and manufacture.
The piano was invented, to be sure, but not by you or me. We encounter it. It pre-exists us and solicits our submission. To learn to play is to be altered, made to adapt one’s posture, hands, fingers, legs and feet to the piano’s mechanical requirements. Under the regime of the piano keyboard, it is demanded that we ourselves become player pianos, that is to say, extensions of the machine itself.
But we can’t. And we won’t. To learn to play, to take on the machine, for us, is to struggle. It is hard to master the instrument’s demands.
To master the piano is not just to conform to the machine’s demands. It is to push back, to say no
And this fact – the difficulty we encounter in the face of the keyboard’s insistence – is productive. We make art out of it. It stops us being player pianos, but it is exactly what is required if we are to become piano players.
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