Tag: Episodic Self

Refining Transductive Subjectivity

Posted in agency, fiction, identity, language, maths, morality, ontology, perception, philosophy, postmodernism, psychology, reality, societyTagged , , , , , , , , , , , , , , Leave a comment
3–4 minutes

I risk sharing this prematurely. Pushing the Transductive Subjectivity model toward more precision may lose some readers, but the original version still works as an introductory conversation.

Please note: There will be no NotebookLM summary of this page. I don’t even want to test how it might look out the other end.

Apologies in advance for donning my statistician cap, but for those familiar, I feel it will clarify the exposition. For the others, the simple model is good enough. It’s good to remember the words of George Box:

All models are wrong; some are useful.

The Simple Model

I’ve been thinking that my initial explanatory model works well enough for conversation. It lets people grasp the idea that a ‘self’ isn’t an enduring nugget but a finite sequence of indexed states:

S0→S1→S2→…→SnS₀ → S₁ → S₂ → … → Sₙ

The transitions are driven by relative forces, RR, which act as catalysts nudging the system from one episode to the next.

The Markov Model

That basic picture is serviceable, but it’s already very close to a dynamical system. More accurate, yes—though a bit more forbidding to the casual reader – and not everybody loves Markov chains:

Si+1=F(Si,Ri)S_{i+1} = F(S_i, R_i)

Here:

  • SiSi is the episodic self at index i
  • RiRi is the configuration of relevant forces acting at that moment
  • FF is the update rule: given this self under these pressures, what comes next?

This already helps. It recognises that the self changes because of pressure from language, institutions, physiology, social context, and so on. But as I noted when chatting with Jason, something important is still missing:

SiSi isn’t the only thing in motion, and RiRi isn’t the same thing at every step.

And crucially, the update rule FF isn’t fixed either.

A person who has lived through trauma, education, and a cultural shift doesn’t just become a different state; they become different in how they update their states. Their very ‘logic of change’ evolves.

To capture that, I need one more refinement.

The Transductive Operator Model

This addresses the fact that Si isn’t the only aspect in motion and there are several flavours of R over time, so Ri. We need to introduce the Transductive T:

(Si+1,Fi+1)=T(Si,Fi,Ri)(S_{i+1}, F_{i+1}) = \mathcal{T}(S_i, F_i, R_i)

Now the model matches the reality:

  • SS evolves
  • the pressures RR evolve
  • and the update rule FF evolves

RiRi can be further decomposed as Ri=(Rphys,Rsocial,Rsymbolic,…)Ri=(R^{phys},R^{social},R^{symbolic},…), but I’ll save that for the formal essay.

The self is not simply ‘what comes next’, but a rule that keeps rewriting itself as it encounters the world.

That is why this is transductive rather than inductive or deductive:
structure at one moment propagates new structure at the next.

What Transductive Subjectivity Isn’t

What TS rejects is the notion that the self is a summation of the SiSis and other factors; this summation is a heuristic that works as a narrative, and all of its trappings, but it is decidedly incorrect.

Self≠Σ(Si,…)Self≠Σ(Sᵢ, …)

Effectively,

Self≠∫0tExperiencedtSelf ≠ \int_{0}^{t} Experience \, dt

In ordinary life, we talk as if there were a single, stable self that sums all these episodes. Transductive Subjectivity treats that as a convenient narrative, not an underlying fact. For example, someone raised in a rigid environment may initially update by avoiding conflict; after therapy and a cultural shift, they may update by seeking it out when something matters. This fiction is where we project agency and desert, and where we justify retribution.

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Written by Bry Willis

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A Key Point of Departure: He Accepts the Folk Psychology I Reject

Posted in identity, language, ontology, perception, philosophy, podcastTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 2 Comments
3–5 minutes

Jason from Philosopher Muse suggested a connexion between Transductive Subjectivity and the work of Stephen Batchelor. I wasn’t familiar with Batchelor, so — as one does these days — I asked a GPT to give me the lay of the land. The machine obliged, and the result was interesting enough that it warranted a post of its own. This is it.

The risk I take is that the GPT gets it wrong. If so, call me out.

Audio: NotebookLM summary podcast of this topic.

Before anyone lights incense: I’m not suddenly a convert. Batchelor’s work and mine merely pass each other on adjacent footpaths. But the overlap is conceptually neat, and the divergence is even more telling.

Stephen Batchelor vs Transductive Subjectivity: A Brief Comparative Note

1. Shared Territory: The Self as Verb, Not Noun

Both Batchelor and Transductive Subjectivity reject the folk notion of a single, continuous metaphysical self.

  • Batchelor (Secular Buddhism):
    The self is an unfolding activity — impermanent, conditional, and without a stable essence. His “not-self” is a practice of disidentification from the imagined nugget of continuity we cling to.
  • Transductive Subjectivity:
    The self is a finite series: S₀ → S₁ → S₂ → … → Sₙ, each produced through the pressure of relational structures (R). Identity is what results when the world meets the organism. Nothing metaphysical required; just biology, cognition, language, and institutions doing their thing.

Overlap: Both positions dismantle the enduring pearl-of-self. Both frame identity as something generated, not possessed.

2. Divergent Aims: Inner Liberation vs Structural Clarity

This is where the paths fork.

  • Batchelor’s Agenda:
    Primarily ethical and therapeutic. The point of denying a fixed self is to reduce suffering, ease attachment, and cultivate a more responsive way of being.
  • TS’s Agenda:
    Metaphysical accuracy in the service of ethical clarity. If the self is a serial construction rather than a diachronic monolith, then retributive justice collapses under its own fictions. No self, no desert. No desert, no justification for revenge-based punishment.

Batchelor wants flourishing. I want rigour. Accidental cousins.

3. Methodological Differences: Distillation vs Reconstruction

Batchelor performs what you might call Buddhism sans metaphysics.
A very Western manoeuvre:

  • keep impermanence
  • keep ethical insight
  • jettison karma, rebirth, cosmology
  • rebrand the remnants as a secular spiritual practice

Practitioners dislike this because he amputates the structural scaffolding that supported the doctrine.

TS, by contrast, doesn’t distil anything. It reconstructs selfhood from first principles:

  • No causa sui
  • Episodic, indexical selfhood (Strawson)
  • R→S transduction (MEOW)
  • No diachronic essence
  • No metaphysical ballast

If Buddhism aligns with TS, it’s incidental — the way two different mathematicians can discover the same function by entirely different routes.

4. Conceptual Architecture: Dependent Origination vs MEOW’s Tiers

  • Batchelor:
    leans on dependent origination as a philosophical metaphor — phenomena arise through conditions.
  • TS:
    models the exact channels of that conditioning via MEOW:
    T0 → biological signals
    T1 → cognitive architecture
    T2 → linguistic formats
    T3 → social-technical pressures

Where Batchelor says “everything is contingent,” TS says “yes, and here is the actual machinery.”

5. Different Stakes

  • Batchelor: freeing the person from clinging to an imaginary core.
  • TS: freeing ethics, law, and social design from pretending that metaphysical core exists.

One is therapeutic; the other is diagnostic.

A Key Point of Departure: Batchelor Works with Folk Psychology; TS Rejects Its Premises

There is one more divergence worth highlighting because it cuts to the bone of the comparison.

Batchelor accepts the phenomenological feel of the continuous self as a legitimate starting point. His work is therapeutic: he begins where the person is, in the lived experience of being “me,” and then encourages a gentle loosening of the grip on that intuition.

Transductive Subjectivity takes a different route entirely.

For TS, the continuous, diachronic self isn’t a psychological obstacle to be softened — it is a category mistake. A narrative compression artefact. A heuristic with pragmatic uses, yes, but no metaphysical legitimacy. Batchelor tries to transform our relation to the folk-self; TS denies that the folk-self was ever more than a convenient fiction.

Batchelor says:
“You seem like a continuous self; now learn to hold that lightly.”

TS says:
“You seem like a continuous self because the system is glossing over discontinuities. The sensation itself is misleading.”

In other words:

  • Batchelor redeems the experience.
  • TS disassembles the model.

He treats the “self” as something to relate to differently.
TS treats the “self” as an ontological construct to be replaced with a more accurate one.

This is not a difference of ethical aim but of metaphysical foundation.
Batchelor trims the folk psychology; TS declines the invitation altogether.

Closing Note

So yes — the connexion Jason spotted is real. But it’s genealogical, not derivative. We arrive at similar conclusions for different reasons and with different consequences.

Batchelor is pruning a tradition.
Transductive Subjectivity is rebuilding the ontology.

And both, in their own way, make the continuity-self look like the rhetorical placeholder it always was.

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Written entirely by ChatGPT after a chat about Stephen Batchelor (obviously)

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Perceptual Realism in Film

Posted in art, identity, language, perception, philosophy, psychology, technology, videoTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , Leave a comment
3–4 minutes

I watched this video so you don’t have to.

Video: Why Movies Just Don’t Feel “Real” Anymore

Only teasing. It reads as pejorative unless you catch the self-inflicted mockery baked in. This chap Tom has for film what I seem to have for language: an alarming degree of enthusiasm paired with the creeping suspicion that most of civilisation is determined to ruin the very medium we love.

I don’t actually share his fondness for film, mind you. I merely recognise the feral passion. What pulled me into this clip wasn’t cinema but dissection. The language of his breakdown dropped me neatly into my natural habitat.

I seldom watch films, television, or whatever corporate imagination-by-committee is calling itself these days. Besides being an outrageous time-sink, Sturgeon’s Law doesn’t just hold; it’s juiced up as if someone ran it through a cheap VFX plug-in. The decline in visual quality Tom describes feels depressingly familiar.

A similar aesthetic rot crept in during the digital audio shift of the ’80s. Vast new possibilities, yes, but a certain grain, a certain breath, went missing. I remember an engineering mate in ’84 being asked to record a well-known jazz artist using Sony’s shiny new digital system. He refused on technical principle, writing a blistering hand-delivered letter explaining why the end result would sound worse. He was right, of course. The label didn’t care, of course. And he walked.

The problem then resembles the problem now. Most people aren’t experiencing media in the environment it was built for. We consume films on phones, tablets, monstrous living-room billboards, or, in my case, a knackered 32-inch monitor. Half the audience barely looks at the screen anyway. They want distraction, not discernment. Some, like Tom – and to a lesser degree, me – actually notice that something in the visual vocabulary has been quietly amputated.

Perhaps that’s why I avoid the form: the predictability, the shallow craft, the sense that the whole affair is engineered for attention-drifting multitudes rather than people who actually, well, look.

Anyway, the whole point was to share the video. Naturally, I ended up editorialising. I learnt something from it. You might too.

I promise I won’t continue injecting Claude into the conversation, but this is where my brain went as I watched the linked video:

How might the indexicality of Charles Peirce relate to Galen Strawson’s notion of episodic self-identity?

Thought Process

This is an interesting philosophical question that connects two different thinkers and concepts. Let me think through this carefully.

Charles Peirce’s indexicality refers to his theory of indexical signs – signs that point to or indicate their objects through a direct, existential connection (like “this,” “here,” “now,” “I”). These are part of his broader semiotics, where he distinguished between icons, indexes, and symbols.

Galen Strawson’s notion of episodic self-identity relates to his work on the phenomenology of the self. Strawson distinguishes between “Diachronic” and “Episodic” self-experience. Diachronic individuals experience themselves as continuous over time, with a narrative extending into past and future. Episodic individuals (like Strawson claims to be) experience themselves more in terms of discrete, present-centered episodes, without a strong sense of narrative continuity.

How might these relate?

  1. The indexical “I”: Peirce’s indexicality is crucial for how the “I” functions. The first-person pronoun is paradigmatically indexical – it picks out the speaker/thinker in the moment of utterance. For Strawson’s episodic self, each moment’s “I” might be more purely indexical, pointing to the present subject without necessarily carrying thick narrative continuity.
  2. Temporal indexicals: “Now” is also indexical. Episodic self-experience emphasizes the “now” of experience over temporal extension. The indexical nature of present-tense self-reference might support episodic rather than diachronic self-conception.
  3. Existential connection vs narrative construction: Indexical signs work through direct, causal-existential connection, not through resemblance or convention. Similarly, episodic self-experience might be more immediately indexical (this experience, now) rather than mediated through narrative construction.

This is a sophisticated question that deserves a nuanced response.

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Written by Bry Willis

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