He thought he was living in ‘The Matrix’ and killed his parents

sContemplation theory holds that reality cannot actually be real, but instead may be an illusion of which we are unaware, and from which we might possibly wake up, and this is an idea that is investigated by Plato ( With “cave”). Descartes (with) Meditation on first sight), Most recently, Philip K. Dick and Mold. It is a fantasy of both exodus and slavery, liberation and manipulation, and one that loses our own experiences in the imaginary world of cinema as it grows between consciousness and unconscious states. Like, this is just the ideal subject for the documentary Rodney Esquer, who is on the heels Room 237 (about Shining As versatile puzzle box) And Nightmare (About sleep paralysis) venture once more into surrealistic territory A mess in the matrix, A hypnotic look at the possibility that we are taking all incarnations in a game that we cannot understand.

Dick’s 1977 speech in Metz, France, “If you find this world bad, you should see others,” A mess in the matrix (Premiered in the Midnight section of the Sundance Film Festival on 31 January, followed by a VOD debut on 4 February). In this, the famous writer A scanner dark, The man in the high castle, minority Report, Do Androids Dream of Electric SheepThe (basis for blade Runner), And We can remember it wholesale for you (basis for total Recall) Acknowledges that a 1974 dose of sodium pentothal for affected wisdom teeth allowed him to be an “intense flash” of “recovered memory” about a world, and life, that was not his own. Dick wrote in detail about this posthumous experience (known as “2-3-74”) Philip K. Dick’s banishment, And it also revealed their fictional production, most of which struggled with the ineffective and volatile nature of the future, imagining the prophetic and poignant fashion of future societies.

Dick was the modern godfather of simulation theory, and A mess in the matrix Spends a lot of time with people who have worked with Lana and Lily Wachowski, along with their seminal writing Mold, In itself is heartily indebted to the heart. In a Skype interview with Asper, these individuals appear disguised as digital avatars, including a red-faced armored lion, a Meghagodzilla-ish dragon in a tuxedo, a puffy alien suit, a puffy alien suit, and digital eyes. And a helmet warrior with a mouth. . He has his own beliefs in defying the reality (and identities) of his appearance, which also stems from Elon Musk’s publicly stated belief that we can live in artificial simulations run by advanced creatures, as well as Oxford University A 2003 academic paper as professor at Nick Boschrome (“Are you living in a computer simulation?”) That advances the hypothesis that we can pawn in a hyper-advanced program that either already Reconstructing the bane past (called “ancestor simulation”) or the complete new alternate timeline.

The assumptions these speakers have put forward hinges on speculation about the details of our simulations — abusive — and highly specific — from arguments about their own breakdown events, coincidences, probability, and synchronism with reality. . Suffice it to say, it is not at all reassuring. However, it is amusing about mankind’s constant desire to explain grand mysteries through spiritual concepts about alien mysteries, puppet-ish high powers, and technological exploitation.

To his credit, an interviewer (Paul Gude aka “The Lion”) believes that simulation theory is perhaps the easiest tool by which his brain chooses to deal with the complexity of human existence. And in an earlier view, he acknowledged that his VR-based theory could be a byproduct of the fact that people always try to explain reality through the most advanced technology available at the moment. Explaining film clips from others, the Wizard of Oz, the Truman Show, A Nightmare on Elm Street, Vertigo, Thirteenth floor, The Adjustment Bureau, They live, Defending Your Life and of course, Mold, A mess in the matrix Suggests that films are a major vehicle for creating and disseminating these ideas, often rooted in feelings of loneliness, isolation, and despair, and thus may have particularly frightening consequences.

As Cook’s story illustrates, the danger of simulation theory is that, if anything and no one is authentic, there are hopelessly inferior, compared to moral concerns about society, and your fellow man. There may be potential chaos.

This is most harshly expressed by an extended sequence in which Joshua Cook explains (via audio interview, complemented by CGI Entertainment) how fascination with him Mold, With his abusive domestic life and unsolicited mental illness, fired him for killing his adoptive parents in an attempt to understand if he was, in fact, living inside the Matrix (his conclusion: “It makes me very Felt bad because it wasn’t ‘nothing like what i saw Mold. How horrific was real life. It bothers me a lot ”).

Cook was 19 when he killed his adoptive parents in Virginia with a 12-gauge shotgun, and later pleaded guilty and was sentenced to 40 years in prison. This is known as “The Matrix Case” and as Cook’s story illustrates, the danger of simulation theory is that, if nothing and nobody is authentic, than moral concerns about society , And your fellow man, are hopelessly inferior, leading to possible chaos. Unexpectedly, the connections between video games and simulation theory are numerous – Jesse Orion (ie alien astronaut) states that he spent years doing more than just playing games — and A mess in the matrix Taps computer-animated graphics of all subjects (including Google Earth and Minecraft) in that regard to imagine the bases of their themes. Bright and entertaining, the film’s playful digital form captures and illustrates the truth about its content.

Set Jonathan Snape’s electronic score to menus, and also the way déjà vu and “Mandela Effect” relate to its central theme, A mess in the matrix Asher’s non-fictional study of communal long stories, scientific hypothesis and art analysis continues. Offering a chorus of voices trying to understand the riddles of the universe and the atom through imaginary perspectives on the mind, body, and reality, his film is an eye-opening and cleverly critical investigation of our emergence of who we are. In perceptions, our deep personal connection to big-screen dreams, and our persistent search for knowledge about things we don’t (yet) understand. It is a treatise on religious and scientific yearning, and human impulses and aspirations, which double as a picture of rift conspiracy theories and mass delusions.


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