OPEN QUESTIONS ON SHANAHAN'S WORKSPACE

P. Haikonen
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Abstract

Murray Shanahan [2010] has written a nice book about the neural underpinnings of the conscious condition. He begins with some philosophical background remarks (Chap. 1) and proceeds then to the issues of cognition and embodiment and nally to his model of consciousness, which is inspired by the Baars' global workspace model [Baars, 1997]. The objective of this book is obviously the phenomenon of consciousness, but Shanahan wisely limits his pursuit and attempts to explain the conscious/unconscious distinction. The Baars global workspace model is based on earlier black board models used in Arti cial Intelligence. In these models, the black board is a working memory containing the task at hand. A number of autonomous experts read the black board and compete for permission to write on it. At each moment, the access is granted to the expert that has the most relevant piece of information to o®er. According to Baars, the brain can be thought as a system of a number of autonomous expert modules and a global workspace. The global workspace is a working memory, which contains the contents of consciousness. Baars states that the global workspace is a kind of a theater stage, where inner speech and inner imagery take place in a serial way. Thus, the global workspace model is a theater model. Baars proposes that in the brain, the global workspace is located at the sensory projection areas of the cortex. According to Baars, the expert module processes are unconscious and the global workspace process is conscious. Shanahan's view about the global workspace is di®erent. Firstly, he wishes to distance himself from the theater model by recasting the role of the global workspace. Instead of a working memory, the global workspace should be thought as a communications infrastructure that connects the various autonomous units with each other: \Indeed, unless recast this way, the putative workspace might be mistaken for a dedicated brain region, something akin to the Cartesian theater ridiculed by Dennett." Shanahan proposes that in the brain, the global workspace consists of the International Journal of Machine Consciousness Vol. 3, No. 2 (2011) 339 341 #.c World Scienti c Publishing Company DOI: 10.1142/S179384301100073X
关于沙纳汉工作空间的开放性问题
Murray Shanahan[2010]写了一本关于意识状态的神经基础的好书。他以一些哲学背景的评论(第一章)开始,然后继续讨论认知和具体化的问题,最后是他的意识模型,该模型受到Baars的全局工作空间模型的启发[Baars, 1997]。这本书的目标显然是意识现象,但沙纳汉明智地限制了他的追求,并试图解释意识/无意识的区别。Baars的全局工作空间模型是基于人工智能中使用的早期黑板模型。在这些模型中,黑板是包含手头任务的工作记忆。许多自主专家阅读黑板,并竞争在上面写字的许可。在每个时刻,访问权都授予拥有最相关信息的专家。根据Baars的说法,大脑可以被认为是一个由许多自主专家模块和全球工作空间组成的系统。全局工作空间是一种工作记忆,它包含了意识的内容。Baars指出,全球工作空间是一种戏剧舞台,内在言语和内在意象以一种连续的方式发生。因此,全局工作空间模型是一个剧场模型。Baars提出,在大脑中,全局工作空间位于皮层的感觉投射区。根据Baars的说法,专家模块过程是无意识的,而全局工作空间过程是有意识的。沙纳汉对全球工作空间的看法则不同。首先,他希望通过重塑全球工作空间的角色来与剧院模式保持距离。而不是工作记忆,全局工作空间应该被认为是一个通信基础设施,将各种自治单元相互连接起来:“事实上,除非以这种方式重新设计,否则假定的工作空间可能会被误认为是一个专门的大脑区域,类似于丹尼特嘲笑的笛卡尔剧院。”Shanahan提出,在大脑中,全球工作空间由《国际机器意识杂志》Vol. 3, No. 2 (2011) 339 341 #.c世界科学出版公司DOI: 10.1142/S179384301100073X组成
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