PySigma: Towards Enhanced Grand Unification for the Sigma Cognitive Architecture

Author(s):  
Jincheng Zhou ◽  
Volkan Ustun
2016 ◽  
Vol 7 (1) ◽  
pp. 1-103 ◽  
Author(s):  
Paul S. Rosenbloom ◽  
Abram Demski ◽  
Volkan Ustun

AbstractSigma (Σ) is a cognitive architecture and system whose development is driven by a combination of four desiderata:grand unification,generic cognition,functional elegance, andsufficient efficiency. Work towards these desiderata is guided by thegraphical architecture hypothesis, that key to progress on them is combining what has been learned from over three decades’ worth of separate work oncognitive architecturesandgraphical models. In this article, these four desiderata are motivated and explained, and then combined with the graphical architecture hypothesis to yield a rationale for the development of Sigma. The current state of the cognitive architecture is then introduced in detail, along with the graphical architecture that sits below it and implements it. Progress in extending Sigma beyond these architectures and towards a full cognitive system is then detailed in terms of both a systematic set of higher levelcognitive idiomsthat have been developed and severalvirtual humansthat are built from combinations of these idioms. Sigma as a whole is then analyzed in terms of how well the progress to date satisfies the desiderata. This article thus provides the first full motivation, presentation and analysis of Sigma, along with a diversity of more specific results that have been generated during its development.


2020 ◽  
Vol 43 ◽  
Author(s):  
Chris Fields ◽  
James F. Glazebrook

Abstract Gilead et al. propose an ontology of abstract representations based on folk-psychological conceptions of cognitive architecture. There is, however, no evidence that the experience of cognition reveals the architecture of cognition. Scale-free architectural models propose that cognition has the same computational architecture from sub-cellular to whole-organism scales. This scale-free architecture supports representations with diverse functions and levels of abstraction.


2017 ◽  
Vol 22 (2) ◽  
pp. 288-303 ◽  
Author(s):  
Joseph W. Houpt ◽  
Andrew Heathcote ◽  
Ami Eidels

2020 ◽  
Author(s):  
Jaimie Krems ◽  
Keelah Williams ◽  
Laureon Allison Watson ◽  
Douglas Kenrick ◽  
Athena Aktipis

Friendships provide material benefits, bolster health, and may help solve adaptive challenges. However, a recurrent obstacle to sustaining those friendships—and thus enjoying many friendship-mediated fitness benefits—is interference from other people. Friendship jealousy may be well-designed for helping both men and women meet the recurrent, adaptive challenge of retaining friends in the face of such third-party interference. Although we thus expect several sex similarities in the general cognitive architecture of friendship jealousy (e.g., it is attuned to friend value), there are also sex differences in friendship structures and historical functions, which might influence the inputs of friendship jealousy (e.g., the value of any one friendship). If so, we should also expect some sex differences in friendship jealousy. Findings from a reanalysis of previously-published data and a new experiment, including both U.S. student and adult community participants (N = 993), provide initial support for three predicted sex differences: women (versus men) report greater friendship jealousy at the prospective loss of best friends to others, men (versus women) report greater friendship jealousy at the prospective loss of acquaintances to others, and men’s (but not women’s) friendship jealousy is enhanced in the context of intergroup contests.


Author(s):  
Gregory Currie

There is a kind of perceptual-imaginative experience we have when we watch screen-based fictions. In such situations it is natural to think of ourselves as “watching Robin Hood” rather than as watching Errol Flynn dressed as Robin Hood. Screen-based fictions are not the only fictions that allow this kind of experience but they encourage it in ways that theatrical dramas cannot quite match, while still photographs do a poor job in this regard. This chapter offers an explanation of this kind of experience, partly by reference to features of the screen medium and partly by reference to aspects of human perceptual-cognitive architecture. The architectural story will tell us something about imagination that reflection on the phenomenology of imaginative experience fails to disclose. The resulting picture may also help us to understand certain kinds of delusions.


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