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The Copycat Project: A Model of Mental Fluidity and Analogy-Making*
- Jared Russell
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1 The Copycat Project: A Model of Mental Fluidity and Analogy-Making* Douglas R. Hofstadter Melanie Mitchell 1. COPYCAT AND MENTAL FLUIDITY 1.1. Analogy Problems in the Copycat Domain Copycat is a computer program designed to be able to discover insightful analogies, and to do so in a psychologically realistic way. Copycat's architecture is neither symbolic nor connectionist, nor a hybrid of the two; rather, the program has a novel type of architecture situated somewhere in between these extremes. It is an emergent architecture, in the sense that its top-level behavior emerges as a statistical consequence of myriad small computational actions, and the concepts that it uses in creating analogies can be considered to be a realization of "statistically emergent active symbols" (Hofstadter, 1985). The use of parallel, stochastic processing mechanisms and the implementation of concepts as distributed and probabilistic entities in a network make Copycat somewhat similar in spirit to connectionist systems. However, as will be seen, there are important differences, and we claim that the middle ground in cognitive modeling occupied by Copycat is at present the most useful level at which to attempt to understand the fluidity of concepts and perception that is so clearly apparent in human analogy-making. * We thank past and present members of the Fluid Analogies Research Group, and in particular, Robert French, for contributions to the Copycat project. This research has been supported by grants from the National Science Foundation (Grant OCR ); the University of Michigan; Mitchell Kapor. Ellen Poss, and the Lotus Development Corporation; Apple Computer, Inc.; and Indiana University. The second author also thanks the Michigan Society of Fellows for its support. 31
2 32 HOFSTADTER & MITCHELL The domain in which Copycat discovers analogies is very small but surprisingly subtle. Not to beat around the bush for a moment, here is an example of a typical, rather simple analogy problem in the domain: 1. Suppose the letter-string abc were changed to abd; how would you change the letter-string yk in "the same way"? Note that the challenge is essentially "Be a copycat" that is, "Do the same thing as I did," where "same" of course is the slippery term. Almost everyone answers yl. 1 It is not hard to see why; most people feel that the natural way to describe what happened to abc is to say that the rightmost letter was replaced by its alphabetic successor; that operation can then be painlessly and naturally "exported" from the abc framework to the other framework, namely ijk, to yield the answer yl. Of course this is not the only possible answer. For instance, it is always possible to be a "smart aleck" and to answer ijd (rigidly choosing to replace the rightmost letter by d) or yk (rigidly replacing all c's by d's) or even abd (replacing the whole structure blindly by abd), but such "smart-alecky" answers are suggested rather infrequently, and when they are suggested, they seem less compelling to virtually everybody, even to the people who suggested them. Thus, yl is a fairly uncontroversial winner among the range of answers to this problem. There is much more subtlety to the domain than that problem would suggest, however. Let us consider the following closely related, but considerably more interesting analogy problem: 2. Suppose the letter-string aabc were changed to aabd; how would you change the letter-string ykk in "the same way"? Here, as in Problem 1, most people look upon the change in the first framework as the rightmost letter was replaced by its alphabetic successor. Now comes the tricky part: should this rule simply be transported rigidly to the other framework, yielding y"kl? Although rigid exportation of the rule worked in Problem 1, here it seems rather crude to most people, because it ignores the obvious fact that the k is doubled. The two k's together seem to form a natural unit, and so it is tempting to change both of them, yielding the answer y'h. Using the old rule literally will simply not give this answer; instead, under pressure, one "flexes" the old rule into a very closely related one, namely replace the rightmost group by its alphabetic successor. Here, the concept letter has "slipped," under pressure, into the related concept group of letters. Coming up with such a rule and corresponding answer is a good example of human mental 1 Though the popularity of this answer can easily be predicted by one's intuition, we have carried out many surveys, both formal and informal, of people's answers to this and other problems. The results of toe formal surveys are given in Mitchell (1993).
3 THE COPYCAT PROJECT 33 fluidity (as contrasted with the mental rigidity that gives rise to ykl). There is more to the story of Problem 2, however. Many people are perfectly satisfied with this way of exporting the rule (and the answer it furnishes), but some feel dissatisfied by the fact that the doubled a in aabc has been ignored. Once one focuses in on this consciously, it jumps to mind easily that the aa and the kk play similar roles in their respective frameworks. From there it is but a stone's throw to "equating" them (as opposed to equating the с with the kk), which leads to the question, "What then is the counterpart of the c?" Given the already-established mapping of leftmost object (aa) onto rightmost object (kk), it is but a small leap to map rightmost object (c) onto leftmost object (i). At this point, we could simply take the successor of the i, yielding the answer jjkk. However, few people who arrive at this point actually do this; given that the two crosswise mappings (aa <=> kk, с О i) are an invitation to read ijkk in reverse, which reverses the alphabetical flow in that string, most people tend to feel that the conceptual role of alphabetical successorship in abcc is now being played by that of predecessorship in ijkk. In that.case, the proper modification of the i would not be to replace it by its successor, but by its alphabetical predecessor, yielding the answer hjkk. And indeed, this is the answer most often reached by those people who consciously try to take into account both of the doubled letters. Such people under pressure, have flexed the original rule into this variant of itself: replace the leftmost letter by its alphabetic predecessor. Another way of saying this is that a very fluid transport of the original rule from its home framework to the new one has taken place; during this transport, two concepts "slipped," under pressure, into neighboring concepts: rightmost into leftmost, and successor into predecessor. Thus, being a copycat that is, "doing the same thing" has proven to be a very slippery notion, indeed Mental Fluidity: Slippages Induced by Pressures Hopefully, the pathways leading to these two answers to Problem 2 ц!1 and hjkk convey a good feeling for the term "mental fluidity." There is, however, a related notion used above that still needs some clarification, and that is the phrase "under pressure." What does it meant to say "concept A slips into concept В under pressure" 1 It might help to spell out the intended imagery behind these terms. An earthquake takes place when subterranean structures are under sufficient pressure that something suddenly slips. Without the pressure, obviously, there would be no slippage. An analogous statement holds for pressures bringing about conceptual slippage: only under specific pressures will concepts slip into related ones. For instance, in Problem 2, pressure results from the doubling of the a and the k; one could look upon the doubling as an "emphasis" device, making the left end of the first string and the right end of the second one stand out and in some sense "attract" each other. In Problem 1, on
4 34 HOFSTAOTER & MITCHELL the other hand, there is nothing to suggest mapping the a onto the k no pressure. In the absence of such pressure, it would make no sense at all to slip leftmost into rightmost and then to read ijk in reverse, which would in turn suggest a slippage of successor into predecessor, all of which would finally lead to the downright bizarre answer hjk. That would be unmotivated fluidity, which is not characteristic of human thought. Copycat is a thoroughgoing exploration of the nature of mental pressures, the nature of concepts, and their deep interrelationships, focusing particularly on how pressures can engender slippages of concepts into "neighboring" concepts. When one ponders these issues, many questions arise, such as the following: What is meant by "neighboring concepts"? How much pressure is required to make a given conceptual slippage likely? Just how big a slippage can be made that is, how far apart can two concepts be and still be potentially able to slip into each other? How can one conceptual slippage create a new pressure leading to another conceptual slippage, and then another, and so on, in a cascade? Do some concepts resist slippage more than others? Can particular pressures nonetheless bring about a slippage of such a concept while another concept, usually more "willing" to slip, remains untouched? Such are the questions at the very heart of the Copycat project. 1.3 The Intended Universality of Copycat's Microdomain This project, which sprang out of two predecessors, Seek-Whence (Meredith, 1986, 1991) and Jumbo (Hofstadter, 1983), has been under development since 1983 (see Hofstadter, 1984a, for the first detailed description of the project). A casual glance at the project might give the impression that since it was specifically designed to handle analogies in a particular tiny domain, its mechanisms are not general. However, this would be a serious misconception. All the features of the Copycat architecture were in fact designed with an eye to great generality. A major purpose of this article is to demonstrate this generality by describing the features of Copycat in very broad terms, and to show how they transcend not just the specific microdomain, but even the very task of analogymaking itself. That is, the Copycat project is not about simulating analogymaking per se, but about simulating the very crux of human cognition: fluid concepts. The reason the project focuses upon analogy-making is that analogymaking is perhaps the quintessential mental activity where fluidity of concepts is called for, and the reason the project restricts its modeling of analogy-making to a specific and very small domain is that doing so allows the general issues to be brought out in a very clear way far more clearly than in a "real-world" domain, despite what one might think at first. Copycat's microdomain was designed to bring out very general issues issues that transcend any specific conceptual domain. In that sense, the microdomain was designed to "stand for" other domains. Thus, one is intended
5 THE COPYCAT PROJECT 35 to conceive of, say, the successor (or predecessor) relation as an idealized version of any nonidentity relationship in a real-world domain, such as "parent of," "neighbor of," "friend of," "employed by," "close to," etc. A successor group (e.g., abc) then plays the role of any conceptual chunk based on such a relationship, such as "family," "neighborhood," "community," "workplace," "region," etc. Of course, inclusion of the notion of sameness needs no defense; sameness is obviously a universal concept, much as is opposite. Although any real-world domain clearly contains many more than two basic types of relationship, two already suffice to make an inexhaustible variety of structures of arbitrary complexity. Aside from the idealized repertoire of concepts in the domain, there are also the structures, such as ijkk, out of which problems are made. In particular, allowed structures are linear strings made from any number usually a small number of instances of letters of the alphabet. Thus, one immediately runs into the type/token distinction, a key issue in understanding cognition. The alphabet can be thought of as a very simple "Platonic heaven" in which exactly 26 letter types permanently float in a fixed order; in contrast to this, there is a very rudimentary "physical world" in which any number of letter tokens can temporarily coexist in an arbitrary one-dimensional juxtaposition. In this extremely simple model of physical space, there are such physical relationships and entities as left neighbor, leftmost edge, group of adjacent letters, and so on (as contrasted with such relationships and entities in the Platonic alphabet as predecessor, alphabetic starting-point, alphabetic segment, etc.). Both the Platonic heaven and the physical world of Copycat are very simple on their own; however, the psychological processes of perception and abstraction bring them into intimate interaction, and can cause extremely complex and subtle mental representations of situations to come about. Copycat's alphabetic microworld is meant to be a tool for exploring general issues of cognition rather than issues specific to the domain of letters and strings, or domains restricted to linear structures with precise distances in them. Thus, certain aspects specific to people's knowledge of letter strings such as shapes, sounds or connotations, or words that strings of letters might happen to form have not been included in this microworld. Moreover, problems should not depend on arithmetical facts about letters, such as the fact that t comes exactly 11 letters after i, or that m and η flank the midpoint of the alphabet. Arithmetical facts, while they are universal truths, are not common enough in analogy-making to be worthwhile modeling. This may seem to eliminate almost everything about the alphabet, but as Problems 1 and 2 show (and further problems will show even better), there is still plenty left to play with. Reference to the alphabet's local structure is fine; for example, it is perfectly legitimate to exploit the fact that u comes immediately after t. It is also legitimate to exploit the fact that the Platonic alphabet has two distinguished members namely, a and z, its starting and ending points. Likewise, inside a string such as hagizk,
6 36 HOFSTADTER & MITCHELL local relationships such as "the g is the right neighbor of the a," can be noticed, but long-distance observations, such as "the a is four letters to the left of the k," are considered out of bounds. Although arithmetical operations such as addition and multiplication play no role in the Copycat domain, numbers themselves small whole numbers, that is are included in the domain. Thus, Copycat is capable of recognizing not only that the structure fgh is a successor group," but also that it consists of three letters. Just as the program knows the immediate neighbors of every letter in the alphabet, it also knows the successors and predecessors of small integers. Under the appropriate pressures, Copycat can even treat small integers as it does letters it can notice relationships between numbers, group numbers together, map them onto each other, and so on. However, generally speaking, Copycat tends to resist bringing numbers into the picture, unless there seems to be some compelling reason to do so and large numbers, such as five, are resisted even more strongly. The idea behind this is to reflect the relative ease humans have of recognizing pairs and perhaps trios of objects, but the relative insensitivity to such things as quintuples, let alone septuples and so on. Finally, while humans tend to scan strings of roman letters from left to right, are much better at recognizing forwards alphabetical order than backwards alphabetical order, and have somewhat greater familiarity with the beginning of the alphabet than its middle or end, the Copycat program is completely free of these biases. This should not be regarded as a defect of the program, but a strength, because it keeps the project's focus away from domain-specific and nongeneralizable details A Perception-Based, Emergent Architecture for Mental Fluidity When one describes the Copycat architecture in very abstract terms, the focus is not only on how it discovers mappings between situations, but also on how it perceives and makes sense of the miniature and idealized situations which with it is presented. The present characterization will therefore read very much like a description of a computer model of perception. This is not a coincidence; one of the main ideas of the project is that even the most abstract and sophisticated mental acts deeply resemble perception. In fact, the inspiration for the architecture comes in part from a computer model of low-level and high-level auditory perception: the Hearsay II speech-understanding project (Erman, Hayes-Roth, Lesser, & Reddy, 1980). The essence of high-level perception is the awakening from dormancy of a relatively small number of prior concepts precisely the relevant ones. The essence of understanding a situation is very similar; it is the awakening from dormancy of a relatively small number of prior concepts again, precisely the relevant ones and applying them judiciously so as to identify the key entities, roles, and relationships in the situation. Creative human thinkers manifest an
7 THE COPYCAT PROJECT 37 exquisite selectivity of this sort when they are faced with a novel situation, what bubbles up from their unconscious and pops to mind is typically a small set of concepts that "fit like a glove," without a host of extraneous and irrelevant concepts being consciously activated or considered. To get a computer model of thought to exhibit this kind of behavior is a great challenge. The remainder of this chapter is structured as follows. Section 2 is a description of the three main components of the architecture and their interactions. Section 3 deals with the notion of conceptual fluidity and shows how this architecture implements a model, albeit rudimentary, thereof. Section 4 tackles the seeming paradox of randomness as an essential ingredient of mental fluidity and intelligence. Section 5 views the Copycat program at a distance, summarizing thousands of runs on a few key problems in the letter-string microworld. Section 6 affords a close-up view of Copycat's workings, describing in detail the pathways followed by Copycat as it comes up with subtle answers to two particularly challenging analogy problems. Section 7 compares Copycat with selected other computer models of analogy-making, and discusses Copycat's position along the symbolic/subsymbolic spectrum. Section 8 concludes the article with a discussion of the generality of Copycat's mechanisms. 2. THE THREE MAJOR COMPONENTS OF THE COPYCAT ARCHITECTURE There are three major components to architecture: the Slipnet, the Workspace, and the Coderack. In very quick strokes, they can be described as follows: 1. The Slipnet is the site of all permanent Platonic concepts. It can be thought of, roughly, as Copycat's long-term memory. As such, it contains only concepts types, and no instances of them. The distances between concepts in the Slipnet can change over the course of a run, and it is these distances that determine, at any given moment, what slippages are likely and unlikely. 2. The Workspace is the locus of perceptual activity. As such, it contains instances of various concepts from the Slipnet, combined into temporary perceptual structures. It can be thought of, roughly, as Copycat's short-term memory or working memory, or, to borrow a term from Hearsay II, itsj "blackboard." 3. Finally, the Coderack can be thought of a "stochastic waiting room," in which small agents who wish to carry out tasks in the Workspace wait to be called. It has no close counterpart in other architectures, but one can liken it somewhat to an agenda (a queue containing tasks to be executed in a specific order). The critical difference is that agents are selected stochastically from the Coderack, rather than in a determinate order. The reasons for this initially puzzling feature will be spelled out and analzyed in detail below. They turn out to be at the crux of mental fluidity.
8 38 HOFSTADTER & MITCHELL We now shall go through each of the three components once again, this time in more detail. (The finest level of detail complete lists of algebraic formulas, numerical parameters, and their exact values is not given here, but can be found in Mitchell, 1993.) 2.1. The Slipnet Copycat's Network of Platonic Concepts The basic image for the Slipnet is that of a network of interrelated concepts, each concept being represented by a node (caveat: what a concept is, in this model, is actually a bit subtler than just a pointlike node, as will be explained shortly), and each conceptual relationship by a link having a numerical length, representing the "conceptual distance" between the two nodes involved. The shorter the distance between two concepts is, the more easily pressures can induce a slippage between them. The Slipnet is not static; it dynamically responds to the situation at hand as follows. Nodes acquire varying levels of activation (which can be thought of as a measure of relevance to the situation at hand), spread varying amounts of activation to neighbors, and over time lose activation by decay. In sum, the perceived relevance of each concept is a sensitive, time-varying function of the way the program currently understands the situation it is facing. In addition, conceptual links in the Slipnet adjust their lengths dynamically. Thus, conceptual distances gradually change under the influence of the evolving perception (or conception) of the situation at hand, which of course means that the current perception of the situation enhances the chance of certain slippages taking place, while rendering that of others more remote. Each node in the Slipnet has one very important static feature called its conceptual depth. This is a number intended to capture the generality and abstractness of the concept. For example, the concept opposite is deeper than the concept successor, which is in turn deeper than the concept a. It could be said roughly that the depth of a concept is how far that concept is from being directly perceivable in.situations. For example, in Problem 2, the presence of instances of a is trivially perceived; recognizing the presence of successorship takes a little bit of work; and recognition of the presence of the notion opposite is a subtle act of abstract perception. The further away a given aspect of a situation is from direct perception, the more likely it is to be involved in what people consider to be the essence of the situation. Therefore, once aspects of greater depth are perceived, they should have more influence on the ongoing perception of the situation than aspects of lesser depth. Assignment of conceptual depths amounts to an a priori ranking of "bestbet" concepts. The idea is that a deep concept (such as opposite} is normally relatively hidden from the surface and cannot easily be brought into the perception of a situation, but that once it is perceived, it should be regarded as highly significant. There is, of course, no guarantee that deep concepts will be
9 THE COPYCAT PROJECT 39 relevant in any particular situation, but history has demonstrated that such concepts crop up over and over again across many different types of situations, and that the best insights come when deep concepts "fit" naturally. There is thus built into the architecture a strong drive, if a deep aspect of a situation is perceived, to try to use this aspect in constructing an overall understanding of the situation. Note that the hierarchy defined by different conceptual-depth values is quite distinct from abstraction hierarchies such as poodle=> dog =>mammal =>animal => living thing=> thing. These terms are all potential descriptions of a particular object at different levels of abstraction. By contrast, the terms a, successor, and opposite are not descriptions of one particular object in Problem 2, but of different aspects of that situation, at different levels of abstraction. Likewise, conceptual depth is not the same as Centner's notion of "abstractness" (Centner, 1983). In Centner's theory, attributes (e.g., "the leftmost letter has value a") are invariably less abstract than relations (e.g., "the next-toleftmost letter is the successor of the leftmost letter"), which are in turn invariably less abstract than relations between relations (e.g., "successor is the opposite of predecessor"). This heuristic, based on syntactic structure, often agrees with our conceptual-depth hierarchy, but in Copycat certain "attributes" are considered to be conceptually deeper than certain "relations" for example, alphabetically first has a greater depth than successor because we consider the former to be less directly perceivable than the latter. For further comparisons with Centner's work, see Section 7. Conceptual depth has a second important aspect namely, the deeper a concept is, the more resistant it is (all other things being equal) to slipping into another concept. In other words, there is a built-in propensity in the program to prefer slipping shallow concepts rather than deep concepts, when slippages have to be made. The idea of course is that insightful analogies tend to link situations that share a deep essence, allowing shallower features to slip if necessary. This basic idea can be summarized in a motto: "Deep stuff doesn't slip in good analogies." There are, however, interesting situations in which specific constellations of pressures arise that cause this basic tendency to be overriden. Some details about the flow of activation include: (a) each node spreads activation to its neighbors according to their distance from it, with near neighbors getting more, distant neighbors less; and (b) each node's conceptualdepth value sets its decay rate, in such a way that deep concepts always decay slowly and shallow concepts decay quickly. This means that, once a concept has been perceived as relevant, then, the deeper it is, the longer it will remain relevant, and thus the more profound an influence it will exert on the system's developing view of the situation as indeed befits an abstract and general concept likely to be close to the essence of the situation.
10 40 HOFSTADTER & MITCHELL Some details about the Slipnet's dynamical properties include: (a) there are a variety of link types, and for each given type, all links of that type share the same label; (b) each label is itself a concept in the network; and (c) every link constantly adjusts its length according to the activation level of its label, with high activation giving rise to short, links, low activation to long ones. Stated another way: If concepts A and Β have a link of type L between them, then as concept L's relevance goes up (or down), concepts A and Β become conceptually closer (or further apart). Since this is happening all the time all throughout the network, the Slipnet is constantly altering its "shape" in attempting to mold itself increasingly accurately to fit the situation at hand. An example of a label is the node opposite, which labels the link between nodes right and left, the link between nodes successor and predecessor, and several other links. If the node opposite gets activated, these links will all shrink in concert, rendering the potential slippages they represent more probable. The length of a link between two nodes represents the conceptual proximity or degree of association between the nodes: the shorter the link, the greater the degree of association, and thus the easier it is to effect a slippage between them. There is an implicit probabilistic "cloud" surrounding any node, which represents the likelihood of slippage to other nodes; the cloud's density is highest for near-neighbor nodes and rapidly tapers off for distant nodes. Neighboring nodes can be seen as being included in a given concept probabilistically, as a function of their proximity to the central node of the concept. This brings us back to the caveat mentioned above. Although it is tempting to equate a concept with a pointlike node, a concept is better identified with this probabilistic "cloud" or halo centered on a node and extending outwards from it with increasing diffuseness. As links shrink and grow, nodes move into and out of each other's halos (to the extent that one can speak of a node as being "inside" or "outside" a halo). This image suggests conceiving of the Slipnet not so much as a hard-edged network of points and lines, but rather as a space in which many diffuse clouds overlap each other in an intricate, time-varying way. Conceptual proximity in the Slipnet is thus context-dependent. For example, in Problem 1, no pressures arise that bring the nodes successor and predecessor into close proximity, so that a slippage from one to the other is highly unlikely; by contrast, in Problem 2, there is a good chance that pressures will activate the concept opposite, which will then cause the link between successor and predecessor to shrink, thus bringing each more into the other's halo, and enhancing the probability of a slippage between them. Because of this type of context-dependence, concepts in the Slipnet are emergent, rather than explicitly defined. The existence of an explicit core to each concept is a crucial element of the architecture. Specifically, slippability depends critically on the discrete jump from one core to another. Diffuse regions having no cores would not permit such discrete jumps, as there would be no specific starting or ending point. Even an
11 THE COPYCAT PROJECT 41 explicit name attached to a coreless diffuse region could serve as a substitute for a core it would permit a discrete jump. In any case, however, slippage requires each concept to be attached to some identifiable "place" or entity. One might liken the core of a concept to the official city limits of a large city, and the halo to the much vaguer metropolitan region surrounding the city proper, stretching out in all directions, and clearly far more subjective and context-dependent than the core. It may be useful to briefly compare Copycat's Slipnet with connectionist networks. In localist networks, a concept is equated with a node rather than with a diffuse region centered on a node. In other words, concepts in localist networks lack halos. This lack of halos implies that there is no counterpart to slippability in localist networks. In distributed systems, on the other hand, there would seem to be halos, since a concept is equated with a diffuse region, but this is somewhat misleading. The diffuse region representing a concept is not explicitly centered on any node, so there is no explicit core to a concept, and in that sense no halo. But since slippability depends on the existence of discrete cores, there is no counterpart to slippability even in distributed connectionist models. The lack of any explicit center to a concept would probably be found to be quite accurate if one could examine concepts on the neural level. However, Copycat was not designed to be a neural model; it aims at modeling cognitivelevel behavior by simulating processes at a subcognitive but superneural level. We believe that there is a subcognitive, superneural level at which it is realistic to conceive of a concept as having an explicit core surrounded by an implicit, emergent halo. Another temptation might be to liken Copycat's context-dependent link lengths to the changing of internode weights as a connectionist net adapts to training stimuli. One might even liken the effect of a label node in Copycat to a multiplicative connection (where some node's activation is used as a multiplicative factor in calculating the new weight of a link). To be sure, there is a mathematical analogy here, but conceptually there is a significant difference. As connectionist networks adapt and "learn" by changing their weights, there is no sense of departing from a norm and no tendency to return to an earlier state. By contrast, in Copycat, any changing of link lengths takes place in response to a temporary context, and when that context is removed, the Slipnet tends to revert to its "normal" state. The Slipnet is thus "rubbery" or "elastic" in this sense; it responds to context but has a built-in tendency to "snap back" to its original state. We know of no corresponding tendency in connectionist networks. Note that whereas the Slipnet changes over the course of a single run of Copycat, it does not retain changes from run to run, or create new permanent concepts. This program starts out in the same initial state on every run. Thus Copycat does not model learning in the usual sense. However, this project does concern learning if that term is taken to include the notion of adaptation of one's concepts to novel contexts.
12 42 HOFSTADTER & MITCHEL Although the Slipnet responds sensitively to events in the Workspace (described in a moment) by constantly changing both its "shape" and the activations of its nodes, its fundamental topology remains invariant. That is, no new structure is ever built, or old structure destroyed, in the Slipnet. The next subsection discusses a component of the architecture that provides a strong contrast to this type of topological invariance The Workspace Copycat's Locus of Perceptual Activity The basic image for the Workspace is that of a busy construction site in which structures of many sizes and at many locations are being worked on simultaneously by independent crews, some occasionally being torn down to make way for new, hopefully better ones. (This image comes essentially from the biological cell; the Workspace corresponds roughly to the cytoplasm of a cell, in which enzymes carrying out diverse tasks all throughout the cell's cytoplasm are the construction crews, and the structures built up are all sorts of hierarchically structured biomolecules.) At the start of a run, the Workspace is a collection of unconnected raw data representing the situation with which the program is faced. Each item in the Workspace initially carries only bare-bones information. That is, for each letter token, just its alphabetic type is provided, as well as for those letters at the very edges of their strjngs the descriptor leftmost or rightmost. Other than that, all objects are absolutely barren. Over time, through the actions of many small agents "scouting" for features of various sorts (these agents, called "codelets," are described in the next subsection), items in the Workspace gradually acquire various descriptions, and are linked together by various perceptual structures, all of which are built entirely from concepts in the Slipnet. Objects in the Workspace do not by any means all receive equal amounts of attention from codelets the probability than an object will attract a prospective codelet's attention is determined by the object's salience, which is a function of the set of descriptions it currently has. There are two factors that contribute to salience. An object is important to the extent that its descriptions are built out of highly activated concepts in the Slipnet. The more descriptions an object has and the more activated the nodes involved, the more attention that object would seem to deserve. However, there is a second factor, unhappiness, that modulates this tendency. Unhappiness is a measure of how integrated the object is with other objects. An unhappy object is one that has few or no connections to the rest of the objects in the Workspace, and thus seems to cry out for more attention. Salience is a dynamic quantity that takes into account both an object's importance and its unhappiness, and it determines how attractive that object will appear to codelets. Note that salience depends intimately on both the state of Workspace and the state of the Slipnet.
13 THE COPYCAT PROJECT 43 A constant feature of the processing is that pairs of neighboring objects (inside a single framework i.e., letter-string) are probabilistically selected (with a bias favoring pairs that include salient objects) and scanned for similarities or relationships, of which the most promising are likely to get "reified" (i.e., realized in the Workspace) as inter-object bonds. For instance, the two k's in ykk in Problem 2 are likely to get bonded to each other rather quickly by a sameness bond. Similarly, the i and the j are likely to get bonded to each other, although not as fast, by a succesorship bond or a predecessorship bond. The existence of differential rates of speed of bond-making is meant to reflect realities of human perception. In particular, people are clearly quicker to recognize two neighboring objects as identical than as being related in some abstract way. Thus, the architecture has an intrinsic speed-bias toward sameness bonds: it tends to construct them more quickly than it constructs bonds representing other kinds of relationships. (How the speeds of rival processes are dynamically controlled will be dealt with in more detail in the next subsection.) Any bond, once made, has a dynamically varying strength, reflecting not only the activation and conceptual depth of the concept representing it in the Slipnet (in the case of kk, the concept sameness, and in the case of ц, either successor or predecessor) but also the prevalence of similar bonds in its immediate neighborhood. The idea of bonds is of course to start weaving unattached objects together into a coherent mental structure. A set of objects in the Workspace bonded together by a uniform "fabric" (i.e., bond type) is a candidate to be "chunked" into a higher-level kind of object called a group. A simple example of a sameness group is ii, as in Problem 2. Another simple group is abc, as in Problem 1. This one, however, is a little ambiguous; depending on which direction its bonds are considered to go in, either it is perceived as having a left-to-right successorship fabric and is thus seen as a left-to-right successor group, or it is perceived as having a right-to-left predecessorship fabric and is thus seen as a right-to-left predecessor group. (It cannot be seen as both at once, although the program can switch from one vision to the other relatively easily.) The more salient a potential group's component objects and the stronger its fabric, the more likely it is to be reified. Groups, just like more basic types of objects, acquire their own descriptions and salience values, and are themselves candidates for similarity-scanning, bonding to other objects, and possibly becoming parts of yet higher-level groups. As a consequence, hierarchical perceptual structures get built up over time, under the guidance of biases emanating from the Slipnet. A simple example would be the successor (or predecessor) group ykk in Problem 2, made up of three elements, the i, the j, and the short sameness group kk. Another constant feature of the processing is that pairs of objects in different frameworks (i.e., strings) are probabilistically selected (again with a bias favoring salient objects) and scanned for similarities, of which the most
14 44 HOFSTADTER & MITCHELL promising are likely to get reified as bridges (or correspondences) in the Workspace. Effectively, a bridge establishes that its two end-objects are considered each other's counterparts meaning either that they are intrinsically similar objects or that they play similar roles in their respective frameworks (or hopefully both). Consider, for instance, the aa and kk in Problem 2. What makes one tempted to equate them? One factor is their intrinsic similarity both are doubled letters (sameness groups of length two). Another factor is that they fill similar roles, one sitting at the left end of its string, the other at the right end of its string. If and when a bridge gets built between them, concretely reifying this mental correspondence, it will be explicitly based on both these facts. The fact that a and k are unrelated letters of the alphabet is simply ignored by most people. Copycat is constructed to behave similarly. Thus, the fact that aa and kk are both sameness groups will be embodied in an identity mapping (here, sameness <=> sameness); the fact that one is leftmost while the other is rightmost will be embodied in a conceptual slippage (here, leftmost О rightmost); the fact that nodes a and k are far apart in the Slipnet is simply ignored. Whereas identity mappings are always welcome in a bridge, conceptual slippages always have to overcome a certain degree of resistance, the precise amount of which depends on the proposed slippage itself and on the circumstances. The most favored slippages are those whose component concepts not only are shallow but also have a high degree of overlap (i.e., are very close in the Slipnet). Slippages between highly overlapping deep concepts are more difficult to build, but pressures can certainly bring them about. Once any bridge is built, it has a strength, reflecting the ease of the slippages it entails, the number of identity mappings helping to underpin it, and its resemblance to other bridges already built. The idea of bridges is of course to build up a coherent mapping between the two frameworks. As the Workspace evolves in complexity, there is increasing pressure on new structures to be consistent, in a certain sense, with preexistent structures, especially with ones in the same framework. For two structures to be consistent sometimes means that they are instances of the very same Slipnet concept, sometimes that they are instances of very close Slipnet concepts, and sometimes it is a little more complex. In any case, the Workspace is not just a hodge-podge of diverse structures that happen to have been built up by totally independent codelets; rather, it represents a coherent vision built up piece by piece by many agents all indirectly influencing each other. Such a vision will henceforth be called a viewpoint. A useful image is that of highly coherent macroscopic structures (e.g., physical bridges) built by a colony of thousands of myopic ants or termites working semi-independently but nonetheless cooperatively. (The "ants" of Copycat namely, codelets will be described in the next subsection.) There is constant competition, both on a local and a global level, among
15 THE COPYCAT PROJECT 45 structures vying to be built. A structure's likelihood of beating out its rivals is determined by its strength, which has two facets: a context-independent facet (a contributing factor would be, for instance, the depth of the concept of which it is an instance) and a context-dependent facet (how well it fits in with the rest of the structures in the Workspace, particularly the ones that would be its neighbors). Out of the rough-and-tumble of many, many small decisions about which new structures to build, which to leave intact, and which to destroy comes a particular global viewpoint. Even viewpoints, however, are vulnerable; it takes a very powerful rival to topple an entire viewpoint, but this occasionally happens. Sometimes these "revolutions" are, in fact, the most creative decisions that the system as a whole can carry out. As was mentioned briefly above, the Slipnet responds to events in the Workspace by selectively activating certain nodes. The way activation comes about is that any discovery made in the Workspace creation of a bond of some specific type, a group of some specific type, etc. sends a substantial jolt of activation to the corresponding concept in the Slipnet. The amount of time the effect of such a jolt will last depends on the concept's decay rate, which depends in turn on its depth. Thus, a deep discovery in the Workplace will have longlasting effects on the activation pattern and "shape" of the Slipnet; a shallow discovery will have but transient effects. In Problem 2, {pr example, if a bridge is built between the groups aa and kk, it will very likely involve an opposite slippage (leftmost <=> rightmost). This discovery will reveal the hitherto unsuspected relevance of the very deep concept opposite, which is a key insight into the problem. Because opposite is a deep concept, once it is activated, it will. remain active for a long time and therefore exert powerful effects on subsequent! processing. It is clear from all this that the Workspace affects the Slipnet no less than the Slipnet affects the Workspace; indeed, their influences are so reciprocal and' tangled that it is hard to tell the chicken from the egg The Coderack Source of Emergent Pressures in Copycat All acts of describing, scanning, bonding, grouping, bridge-building, destruction, and so forth in the Workspace are carried out by small, simple agents called codelets. (As was mentioned earlier, a codelet can be likened to an enzyme in a biological cell or an ant in an ant colony.) The action of a single codelet is always but a tiny part of a run, and whether any particular codelet runs or not is not of much consequence. What matters is the collective effect of many codelets. There are two types of codelets: scout codelets and effector codelets. A scout merely looks at a potential action and tries to estimate its promise; the only kind of effect it can have is to create one or more codelets either scouts or effectors to follow up on its findings. By contrast, an effector codelet actually creates (or destroys) some structure in the Workspace.
16 46 HOFSTADTER & MITCHELL Each codelet, when created, is placed in the Coderack, which is a pool of codelets waiting to run, and is assigned an urgency value a number that will determine its probability of being selected from that pool as the next codelet to run. The urgency is a function of the estimated importance of that codelet's potential action, which in turn reflects the biases embodied in the current state of the Slipnet and the Workspace. Thus, for example, a codelet whose purpose is to seek instances of some lightly activated Slipnet concept will be assigned a low urgency and will therefore most probably have to wait a long time, after being created, to get run. By contrast, a codelet likely to further a Workspace viewpoint that is currently strong will be assigned a high urgency and will therefore have a good chance of getting run soon after being created. It is useful to draw a distinction between bottom-up and top-down codelets. Bottom-up codelets (or "noticers") look around in an unfocused manner, open to what they find, whereas top-down codelets (or "seekers") are on the lookout for a particular kind of phenomenon, such as successor relations or sameness groups. Codelets can be viewed as proxies for the pressures in a given problem. Bottom-up codelets represent pressures present in all situations (the desire to make descriptions, to find relationships, to find correspondences, and so on). Top-down codelets represent specific pressures evoked by the specific situation at hand (e.g., the desire, in Problems 1 & 2, to look for more successor relations, once some have already been discovered). Top-down codelets can infiltrate the Coderack only when triggered' from "on high" i.e., from the Slipnet. In particular, activated nodes are given the chance to "spawn" top-down scout codelets, with a node's degree of activation determining the codelet's urgency. The mission of such a codelet is to scan the Workspace in search of instances of its spawning concept. It is very important to note that the calculation of a codelet's urgency takes into account (directly or indirectly) numerous factors, which may include the activations of several Slipnet nodes as well as the strength or salience of one or more objects in the Workspace; it would thus be an oversimplification to picture a top-down codelet as simply a proxy for the particular concept that spawned it. More precisely, a top-down codelet is a proxy for one or more pressures evoked by the situation. These include workspace pressures, which attempt to maintain and extend a coherent viewpoint in the Workspace, and conceptual pressures, which attempt to realize instances of activated concepts. It is critical to understand that pressures, while they are very real, are not represented explicitly anywhere in the architecture; each pressure is spread out among urgencies of codelets, activations, and link-lengths in the Slipnet, and strengths and saliences of objects in the Workspace. Pressures, in short, are implicit, emergent consequences of the deeply intertwined events in the Slipnet, Workspace, and Coderack. Any run starts with a standard initial population of bottom-up codelets (with preset urgencies) on the Coderack. At each time step, one codelet is chosen to
17 THE COPYCAT PROJECT 47 run and is removed from the current population on the Coderack. As was said before, the choice is probabilistic, biased by relative urgencies in the current population. Copycat thus differs from an "agenda" system such as Hearsay II, which, at each step, executes the waiting action with the highest estimated priority. The urgency of a codelet should not be conceived of as representing an estimated priority; rather, it represents the estimated relative speed at which the pressures represented by this codelet should be attended to. If the highesturgency codelet were always chosen to run, then lower-urgency codelets would never be allowed to run, even though the pressures they represent have been judged to deserve some amount of attention. (More is said on this in Section 4.) Since any single codelet plays but a small role in helping to further a given pressure, it never makes a crucial difference that a particular codelet be selected; what really matters is that each pressure move ahead at roughly the proper speed over time. Stochastic selection of codelets allows this to happen, even when judgments about the intensity of various pressures change over time. Thus, allocation of resources is an emergent statistical result rather than a preprogrammed deterministic one. The proper allocation of resources could not be programmed ahead of time, since it depends on what pressures emerge as a given situation is perceived. The Coderack would obviously dwindle rapidly to zero if codelets, once run and removed from it, were not replaced. However, replenishment of the Coderack takes place constantly, and this happens in three ways. Firstly, bottom-up codelets are continually being added by Coderack. Secondly, codelets that run can, among other things, add one or ток follow-up codelets to the Coderack before being removed. Thirdly, active nodes in the Slipnet can add top-down codelets. Each new codelet's urgency is assigned by its creator as a function of the estimated promise of the task it is to carry out. Thus, the urgency of a followup codelet is a function of the amount of progress made by the codelet that posted it, as gauged by that codelet itself, while the urgency of a top-down codelet is a function of the activation of the node that posted it. (The urgency of bottom-up codelets is context-independent.) Thus, as the run proceeds, the population of the Coderack adjusts itself dynamically in response to the system's needs as judged by previously run codelets and by activation patterns in the Slipnet, which themselves depend on the current structures in the Workspace. The shifting population of the Coderack bears a close resemblance to the shifting enzyme population of a cell, which evolves in a sensitive way in response to the ever-changing makeup of the cell's cytoplasm. Just as the cytoplasmic products of certain enzymatic processes trigger the production of new types of enzymes to act further on those products, structures built in the Workspace by a given set of codelets cause new types of codelets to be brought in to work on them. And just as, at any moment, certain genes in the cell's DNA are allowed to be expressed (at varying rates) through enzyme proxies, while other genes remain essentially repressed (dormant), certain Slipnet nodes get "ex-
18 50 HOFSTAOTER & MITCHELL Much the same could be said for Copycat: an outside observer is free, after a run is over, to "parse" the run in terms of specific, discrete processes, and to attempt to impose such a vocabulary on the system's behavior; however, that parsing and labeling is not intrinsic to the system, and such interpretations are in no way unique or absolute, any more than in a basketball game. In other words, a long sequence of codelet actions can add up to what could be perceived a posteriori and by an outsider, as a single coherent drive towards a particular goal, but that is the outsider's subjective interpretation The Parallel Terraced Scan One of the most important consequences of the commingling of conceptual pressures is the parallel terraced scan. The basic image is that of many "fingers of exploration" simultaneously feeling out various potential pathways at different speeds, thanks to the coexistence of pressures of different strengths. These "fingers of exploration" are tentative probes made by scout codelets, rather than actual events realized by effector codelets. In the Workspace, there is one actual viewpoint, at any given time. However, in the background, a host of nearby variants of the actual viewpoint virtual viewpoints are constantly flickering probabilistically. If any virtual viewpoint is found sufficiently promising by scouts, then they create effector codelets that, when run, will attempt to realize that alternative viewpoint in the Workspace. This entails a "fight" between the incumbent structure and the upstart; the outcome is decided probabilistically, with the weights being'determined by the strength of the current structure as opposed to the promise of the rival. This is how the system's actual viewpoint develops with time. There is always a probabilistic "halo" of many potential directions being explored; the most attractive of these tend to be the actual directions chosen. Incidentally, this aspect of Copycat reflects the psychologically important fact that conscious experience is essentially unitary, although it is of course an outcome of many parallel unconscious processes. A metaphor for the parallel terraced scan is provided by the image of a vast column of ants marching through a forest, with hordes of small scouts at the head of the column making small random forays in all directions (although exploring some directions more eagerly and deeply than others) and then returning to report; the collective effect of these many "feelers" will then determine the direction to be followed by the column as a whole. This is going on at all moments, of course, so that the column is constantly adjusting its pathway in slight ways. The term "parallel terraced scan" comes from the fact that scouting expeditions are structured in a terraced way; that is, they are carried out in stages, each stage contingent upon the success of the preceding one, and probing a little more deeply than the preceding one. The first stage is computationally cheap, so the system can afford to have many first-stage scouts probing in all
19 THE COPYCAT PROJECT 51 sorts of directions, including quite unlikely directions. Succeeding stages are less and less cheap; consequently the system can afford fewer and fewer of them, which means it has to be increasingly selective about the directions it devotes resources to looking in. Only after a pathway has been deeply explored and found to be very promising are effector codelets created, which then will try to actually swerve the whole system down that pathway. The constellation of conceptual (i.e., top-down) pressures at any given time controls the biases in the system's exploratory behavior, and also plays a major role in determining the actual direction the system will move in; ultimately, however, top-down pressures, no matter how strong, must bow to the reality of the situation itself, in the sense that prejudices alone cannot force inappropriate concepts to fit to reality. Conceptual pressures must adapt when the pathways they have urged turn out to fail. The model is made explicitly to allow this kind of intermingling of top-down and bottom-up processing Time-Evolving Biases At the very start of a run, the Coderack contains exclusively bottom-up similarity-scanners, which represent no situation-specific pressures. In fact, it is their job to make small discoveries that will then start generating such pressures. As these early codelets run, the Workspace starts to fill up with bonds and small groups and, in response to these discoveries, certain nodes in the Slipnet are activated. In this way, situation-specific pressures are generated and cause topdown codelets to be spawned by concepts in the Slipnet. Thus, top-down codelets gradually come to dominate the Coderack. At the outset of a run, the Slipnet is "neutral" (i.e., in a standard configuration with a fixed set of concepts of low depth activated), meaning that there are no situation-specific pressures. At this early stage, all observations niade in the Workspace are very local and superficial. Over the course of a run, the Slipnet moves away from its initial neutrality and becomes more and more biased toward certain organizing concepts themes (highly activated deep concepts, or constellations of several such concepts). Themes then guide processing in many pervasive ways, such as determining the saliences of objects, the strengths of bonds, the likelihood of various types of groups to be made, and iri general, the urgencies of all types of codelets. It should not be imagined, incidentally, that a "neutral" Slipnet embodies no biases whatsoever; it certainly does (think of the permanent inequality of various nodes' conceptual depths, for instance). The fact that at the outset, a sameness group is likely to be spotted and reified faster than a successor group of the same length, for instance, represents an initial bias favoring sameness over successorship. The important thing is that at the outset of a run, the system is more open than at any other time to any possible organizing theme (or set of themes); as processing takes place and perceptual discoveries of all sorts are made, the system loses this naive, open-minded quality, as indeed it ought to, and usually
20 52 HOFSTADTER & MITCHELL ends up being "closed-minded" that is, strongly biased towards the pursuit of some initially unsuspected avenue. In the early stages of a run, almost all discoveries are on a very small, local scale: a primitive object acquires a description, a bond is built, and so on. Gradually, the scale of actions increases: small groups begin to appear, acquire their own descriptions, and so on. In the later stages of a run, actions take place on an even larger scale, often involving complex, hierarchically structured objects. Thus, over time there is a clear progression, in processing, from locality to globality Temperature as a Regulator of Open-Mindedness At the start of a run, the system is open-minded, and for good reason: it knows nothing about the situation it is facing. It does not matter all that much which codelets run, since one wants many different directions to be explored; hence decision making can be fairly capricious. However, as swarms of scout codelets and local effector codelets carry out their jobs, that status gradually changes; in particular, as the system acquires more and more information, it starts creating a coherent viewpoint and focusing in on organizing themes. The more informed the system is, the more important it is that top-level decisions not be capriciously made. For this reason, there is a variable that monitors the stage of processing, and helps to convert the system from its initial largely bottom-up, open-minded mode to a largely top-down, closed-minded one. This variable is given the name temperature. What controls the temperature is the degree of perceived order in the Workspace. If, as at the beginning of every run, no structures have been built, then the system sees essentially no order, which translates into a need for broad, open-minded exploration; if, on the other hand, there is a highly coherent viewpoint in the Workspace, then the last thing one wants is a lot of voices clamoring for irrelevant actions in the Workspace. Thus, temperature is essentially an inverse measure of the quality of structure in the Workspace: the more structures there are, and the stronger (and thus more coherent) they are, the lower the temperature. Note that although the overall trend is for temperature to wind up low at the end of a run, a monotonic drop in temperature is not typical; often, the system's temperature goes up and down several times during a run, reflecting the system's uncertain advances and retreats as it builds and destroys structures in its attempts to home in on the best way to look at a situation. What the temperature itself controls is the degree of randomness used in decision making. Decisions of all sorts are affected by the temperature. Consider a codelet, for instance, trying to decide where to devote its attention. Suppose that Workspace object A is exactly twice as salient as object B. The codelet will thus tend to be more attracted to A than to B. However, the precise discrepancy in attractive power between A and B will depend on the temperature. At some
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text:
Website gallery: www.vintagephotonaarden.nl
Some fotopeintures on Saatchi
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View from my house and gallery.
My personal archive contains images from 1956 untill now.
From these images I make gicléeprints in a circulation of up to 10 pieces per size. Images from A3 + up to 100x150 cm.
There are also analog vintage prints available.
Interested parties are welcome by appointment.
Pim Westerweel.
firstname.lastname@example.com - phone: +31(0)654303031

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text:
1. Where is the beach located where Myron is relaxing at the beginning of the book?
The Caribbean.
2. What is the name of the woman Myron is with?
Terese Collins.
3. What does the woman who is with Myron do for a living?
4. About how long has Myron been at the beach?
Three weeks.
5. Who did Myron tell he was taking off on a vacation?
No one.
6. Why are Myron and the woman at the beach?
To escape something.
7. What pulls up in the water near the couple?
A yacht.
8. What does the woman ask Myron?
If he told anyone where they were.
(read all 180 Short Answer Questions and Answers)
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text:
Sterling Sulieman, 'The New Normal'
Where you've seen him before: As escaped tomb vampire Harper on "The Vampire Diaries" Season 1, or Maya's not-really-cousin Nate St. Germain on ABC Family's "Pretty Little Liars." Where you saw him again: As Clint, the Republican brother of Nene Leakes' character Rocky on NBC's new comedy "The New Normal."
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HAVE YOU HAD AN ET, ALIEN, MILABS OR PARANORMAL EXPERIENCE? Betty Andreasson and Bob Lucas have, repeatedly.
They share their experiences on the free internet radio show you can hear when you click the link below.
Check Out Education Podcasts at Blog Talk Radio with Aquarian Radio on BlogTalkRadio
email janet about sharing your own experience: firstname.lastname@example.com


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I Care 4 U
Deborah Cox
Deborah Cox (born July 13, 1974 in Toronto) is a Canadian Pop/House/R&B/Soul singer-songwriter and actress. Her 1998 song "Nobody's Supposed to Be Here" held the record for longest-running number one single on Billboard's Hot R&B/Hip-Hop Singles & Tracks chart (14 weeks) for nearly eight years. She has achieved 12 number-one hits on Billboard's Hot Dance Club Songs chart. Deborah Cox is often cited as Canada's top R&B artist.Read More
She began singing for TV commercials at age 12, and entered various talent shows with the help of her mother. She performed in nightclubs, and began to write music around the same time. Cox entered the music industry in the early 1990s, performing as a backup vocalist for Celine Dion for six months.
In 1995, label executive Clive Davis signed Cox to Arista Records, and she released her self-titled debut album the same year.
After middling success, Cox released a non-album single for the soundtrack to the 1997 movie "Money Talks", titled "Things Just Ain't The Same". A dance mix of that song topped the U.S. dance charts and was included on her second album, "One Wish" in 1998. The first single from that album, "Nobody's Supposed to Be Here", spent 14 weeks at #1 on the Hot R&B charts in the USA, as well as eight consecutive weeks at #2 on the Billboard Hot 100. The album went platinum, becoming Cox's biggest-selling album to date. Cox then recorded a new song, "Absolutely Not", for the soundtrack to Dr. Dolittle 2. Remixes of the song repeated the success of One Wish's singles on the dance charts, and the Chanel mix of "Absolutely Not" was included on her third album.
Cox's third album "The Morning After" was released in November 2002 on J Records.
On February 17, 2004, she made her Broadway debut in the Elton John-Tim Rice musical Aida, returning to recording only to release a dance remix of "Easy As Life" as a single.
Cox also has been involved in a number of movies and soundtracks. In 2000, she played Niko Rosen in Love Come Down. In 2001, her hit song "Absolutely Not" was featured in Dr. Dolittle 2. In 2005, in the movie Blood of a Champion she played the role of Sharon, and again in 2005, her voice was featured in the movie Hotel Rwanda in the song "Nobody Cares".
She released a dance single titled "House Is Not a Home" on Nervous Records in January 2006. Later in the year, the song "Definition of Love" was used in the movie Akeelah and the Bee, but was not released as a single.
Between 2005 and 2006 Deborah recorded her fourth album, called "Destination Moon". It is a tribute to jazz singer Dinah Washington and was released on June 19, 2007.
Cox contributed the song "This Gift" to the soundtrack of the 2008 movie "Meet the Browns" and was part of Cyndi Lauper's True Colors Tour 2008.
She has also starred in "A Good Man is Hard to Find" along side Golden Brooks and Darius McCrary.
In early 2008, Cox and Stephens created the Deco Recording Group, her very own independent label, which is distributed through Image Entertainment.
Her fifth R&B studio album, "The Promise", was released on November 11, 2008. The first single "Did You Ever Love Me" was released to radio on August 26, 2008 and peaked at #69 on the Hot R&B/Hip-Hop Songs Chart. The song "Beautiful U R" has been released digitally to iTunes and Amazon.com on September 16, 2008. It has recently reached #3 on the Canadian Radio Chart becoming her most successful single in nearly ten years. It also peaked at #3 on the Canadian Hot AC Chart (January, 2009 Chart) and hit #1 on the US Dance chart becoming her tenth song to do it.
The song was certified gold for digital downloads in January, 2009. "Saying Goodbye" was sent to Urban/AC radios in February, while "The Promise" is scheduled to be released as a single in July. Cox joined forces with Kenny Lattimore for the "Timeless Promise Tour" in July 2009.
In April 2009, she was featured on the single "Leave The World Behind". The house track was produced by four DJs — Axwell, Steve Angello, Sebastian Ingrosso and Laidback Luke. It peaked at #40 on the US Dance chart.
In September 2009 it was announced she would be joining Kelly Price and Tamia to form the super group The Queen Project. In a February 2012 interview with Seattle Gay News, Cox confirmed that those plans were on hold, due to scheduling issues. "Each of us has moved on and we are all doing our own projects now." She also noted that she is currently working on a dance album. "My fans have been hounding me about another 'remixed' album."
In December 2011 Deborah achieved her 11th number 1 with "If It Wasn't For Love".
On September 7, 2012 Cox gave her inaugural performance as Lucy the female lead in a revival of the musical Jekyll & Hyde starring Constantine Maroulis: after premiering in La Mirada CA this production toured North American for twenty-five weeks playing at twenty locales, then began previews for its Broadway run April 5, 2013 officially opening its planned limited engagement Broadway run of thirteen weeks on April 18, 2013. Despite Cox herself receiving good reviews, the production did not enjoy strong Broadway box-office and subsequent to its non-showing in the 2013 Tony Awards list of nominees announced April 30, 2013 Jekyll & Hyde was announced to be playing its final show May 12, 2013. Cox had a new track "Higher" issued in the autumn of 2012, and in May 2013 stated she was planning to record a dance version of the Jekyll & Hyde number "Someone Like You". Also, in April 2013 Cox stated that a projected Broadway musical in which she'd play Josephine Baker, which had been workshopped in 2011, was still planned, the production being dependent on an available venue.
In 2014, she was one of the performers at the opening ceremonies of WorldPride in Toronto, alongside Melissa Etheridge, Tom Robinson and Steve Grand.
Cox provided vocals for the 2015 Whitney Houston biopic, Whitney, directed by Angela Basset.
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Vintage, Art, Motherhood, Home Decor & Everything in between!
That photo is beautiful! I love turquoise and gold too. Such a pretty combo :]
I love that gold!
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