Multiverse Theory

Mark Haddon’s Polar Bears (2010) and Nick Payne’s Constellations (2012) are two recent plays of the British stage exploring the minds of women suffering from a psychological or neurological disorder: in Haddon’s play, Kay, an artist, is bipolar; in Payne’s play, Marianne, a scientist, has a brain tumour. Both pieces question the protagonists’ freedom of self-determination and highlight our sense of reality as a construct, using poetic structures which break with the traditional dramatic linearity of the conventional play. Indeed, instead of providing a chronological succession of scenes, they allow the drama to emerge from a random alternation of parallel scenarios to be read as probabilities. The contradictory, disordered fragments that make up the plays thus invite the reader-spectator, in a suggestive way, to imagine the dramatic possibilities of a story which is never set or decided, instead of merely registering a given narrative. As a result, in providing structural metaphors for the female characters’ pathological states, these plays not only reflect on the tentative process of their own writing, they also encourage us to question our perception of reality as a unique object – a view contradicted by the paradigm shift of quantum physics. While Marianne explains the scientific theory that "In the quantum universe, every choice, every decision you’ve ever and never made exists in an unimaginable vast ensemble of parallel universes", Kay seems to experience Everett’s many-worlds interpretation from a first-person perspective, exclaiming, "We think there’s only one world. […] But there are so many worlds, aren’t there, one laid over the other. […] It’s so beautiful it makes me want to cry." This study aims to look at how these two plays, as instances of a “Theatre of Possibilities”, to use Jean-Pierre Sarrazac’s expression, explore mind and brain disorders to open a dramatic space which allows for a subversive form of realism to develop, based on the quantum principle of uncertainty. They resort to tropes – quantum principles and phenomena used as thematic and structural metaphors – as a means to portray our cognitive processes and, more specifically, to conjure up the hidden reality of pathological subjective experience, paralleled by the most mind-blowing theories of modern science. I argue that in Payne’s and Haddon’s plays, the dramatic space becomes a place where quantum descriptions of reality and psychopathological distortions of reality tend to converge to form a consistent landscape/mindscape, making room for theatrical realism to be reinvented from the very matter of what should intuitively appear as the most delusional imaginings.

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Polar Bears de Mark Haddon (2010) et Constellations de Nick Payne (2012) sont deux pièces britanniques récentes qui explorent la psyché de personnages féminins souffrant soit d’un trouble psychiatrique soit d’une maladie neurologique : dans la pièce de Haddon, Kay, une artiste, est bipolaire ; dans la pièce de Payne, Marianne, une scientifique, déclare une tumeur cérébrale. En faisant dialoguer santé mentale, fonctionnement cognitif et mécanique quantique, les deux pièces interrogent la liberté et la capacité des protagonistes à s’autodéterminer malgré la maladie et, à travers la mise à mal des fonctions cognitives, mettent en lumière notre perception de la réalité comme construction subjective en utilisant des structures poétiques qui rompent avec la linéarité traditionnelle du drame conventionnel. En effet, au lieu de proposer un enchaînement chronologique de scènes déterminantes dont le déroulé crée progressivement l’univers de la fiction sur le mode indicatif, Polar Bears et Constellations se tissent toutes deux autour d’une alternance aléatoire de scénarios parallèles qui s’appréhendent sur un mode conditionnel comme autant de probabilités décrochées de la flèche du temps. Les fragments contradictoires et désordonnés qui les constituent invitent ainsi le lecteur-spectateur, par touches suggestives et non successives, à imaginer les possibilités d’une histoire sans résolution, qui n’est jamais fixée ou déterminée, au lieu d’enregistrer simplement les avancées d’un récit donné. Cet article vise à montrer que les hésitations et oscillations qui s’élaborent autour des états pathologiques des personnages féminins (et dont elles sont le résultat et le symptôme) mettent non seulement en abyme le processus même d’écriture (dimension métadramatique), elles nous encouragent également à interroger notre rapport au réel (dimension philosophique) non pas tant comme objet unique et extérieur au sujet qui l’observe, mais comme onde de probabilités ou écosystème d’états superposés dans lequel l’observateur lui-même joue un rôle déterminant. Ce changement de paradigme introduit par la physique quantique rencontre ainsi l’instabilité ou l’indécidabilité psychologique. Tandis que, dans Constellations, Marianne explique la théorie scientifique selon laquelle « dans l’univers quantique, chaque choix que l’on fait, chaque décision que l’on prend existe dans un ensemble infiniment vaste d’univers parallèles », dans Polar Bears Kay semble faire l’expérience directe, à la première personne, de la théorie des mondes multiples d’Everett (many-worlds interpretation) lorsqu’elle s’exclame, en proie à une phase maniaque : « On croit qu’il n’existe qu’un seul monde. […] Mais il existe tellement de mondes (so many worlds), n’est-ce pas, empilés les uns sur les autres. […] C’est si beau que ça me donne envie de pleurer. » Ce travail s’intéresse à la manière dont ces deux pièces illustrent ce que l’on pourrait appeler, avec Jean-Pierre Sarrazac, un « Théâtre des Possibilités » et explorent les maladies de l’esprit et du cerveau pour ouvrir un espace dramatique dans lequel se développe une forme subversive de réalisme postdramatique fondé sur le principe quantique d’incertitude (Heisenberg). Les tropes qui s’y déploient – principes et phénomènes quantiques utilisés comme métaphores thématiques et structurelles – permettent de rendre compte de nos processus cognitifs et, plus précisément, de la réalité cachée de l’expérience intime de la maladie, tout en mettant ces expériences en relation avec les théories les plus révolutionnaires de la science moderne. Chez Payne comme chez Haddon, l’espace dramatique devient le lieu où les descriptions quantiques et les distorsions psychopathologiques de la réalité tendent à converger pour former un paysage étonnamment cohérent dans sa relativité et permettre au réalisme théâtral de se refonder à partir de cela-même qui s’apparente intuitivement aux délires d’une imagination malade et à des dysfonctionnements cognitifs, pour finalement poser la question essentielle de notre libre-arbitre.

In recent years, science has become a popular topic in British drama. Biology and physics are a source of new themes and metaphors, but also stimulate formal experimentation: this paper analyses Nick Payne’s Constellations (2012) as an attempt to derive new dramatic form from the hypotheses of quantum physics. Constellations draws on the Many Worlds Interpretation, in which an infinite amount of divergent universes are superposed but do not communicate: rather than a linear plot, the plays presents us with a series of variations on encounters between two lovers, corresponding to coexisting possibilities in the divergent universes. With an emphasis on paradigmatic superposition, the resulting dramatic syntax allows Payne to examine the themes of mortality and euthanasia from a fresh perspective, as the play enacts alternative conceptions of time and questions their consequences for the viewer.

In this paper (part II), we analyze the possible mathematical connections between various equations concerning the Bubbles Multiverse Models, the Balls in partial differential equations, several parameters of Ramanujan mathematics and some sectors of String Theory.



Below the link of other papers linked to the topic deal in this work



https://www.academia.edu/71608612/
https://www.academia.edu/70503983/
https://www.academia.edu/69742348/

The research in question has documentary-bibliographical and descriptive content, since it is proposed to lift concepts, ideas and values related to the frequent use of the field of narrative, considering its notional complexity, its socio-cultural and epistemological content as well as the transformation process use to encompass other pressing objectives, such as those defined by life-writings. As a main theoretical reference, Brazilian and foreign authors are used to study the variable conceptualization of narratives, especially Cremilda Medina, Sinval Medina, Marie-Laure Ryan and Henry Jenkins. Other authors complete the explanatory notes for the closing of questions concerning the current stage of development of life-writings with the use of actual high-technological devices of distance information and communication. From a contemporary point of view, the narratives have been transformed over several expressive media such as orality, writing and digital. These some different ways have also been enriched the broad sense in order to tell historic reports or imaginary stories. Many narratological perspectives have been disseminated to understand the dynamics of the narratives in the modern world, from the profusion of high-technological communication and expression media, which revitalized and transfigured them in forms of genres increasingly elastic and complex. Transmediality, possible world theories and multiverse environments, among other terms, have been described as transdisciplinary approaches in order to understand the strategies of used speeches and languages. The life-writings, particularly, have emerged as not only a creation with the aim of entertaining, but with the proposal for encouraging the critical, humanizing, libertarian and solidary thinking.

Keywords: Narratives, Life-Writings, Transmediality, Multiverses, Possible World Theory

Fiction exploring the themes of Artificial Intelligence, Simulation Hypothesis, Multiverse, Religion, Neural networks, Google, Robotics and Transhumanism.

Bob is no ordinary Minecraft villager. Programmed with a Google AI algorithm, he is getting smarter but still cannot be convinced he is inside a game. When he learns the truth he starts on a journey that only 'friendly AI' can travel.

The intended title was “Universe Oriented Ontology” or “Multiverse Oriented Ontology”, or “Universe or Multiverse Metaphysics”.
I mention this as it gives an idea about the meaning and intention of the title and the work as well as the titles I considered and why I moved away from them to the present one.
The sub-title provides a further hint towards the intentions of the work, namely: ” Beyond Earth- and Human-centricity’. I opted for ‘transcending’ rather than beyond, as I am still in the process of describing the process of transcending and many of the ideas I am obliged to use from our conceptual system and practices are still earth- and anthropo-centered, And, they have not yet gone to a state beyond those two -isms.
I say something about universe-centeredness, then about planet earth as point and frame of reference and anthropo-centricity.
The socio-cultural practice of philosophy and the doing of philosophy is merely one of many human, social and cultural practices. I post different notions of philosophy by a number of writers, some of them philosophers. These notions are about their perceptions of what philosophy is. Few of them go into detail about the subject-matter of philosophy. No one really deal with the aims, purposes and objectives of the discipline and none deal with the nature of the doing of philosophy or philosophizing. Activities that I suggest resemble certain features of the processes of theorizing.
I end with explorations of possible characteristics of original- and creative thinkers. I do this by mentioning a number of themes of meta-philosophy listed and described by Peter Suber. I make a number of comments in them and highlight aspects relevant to these type of thinkers.
One find them of course in all disciplines and socio-cultural [racticesand disciplines be they the arts,humanities, sciences, etc. I am of course specifically concerned with original andcreative thinkers inthe Western tradition of philosophy.
As I am a radical and absolute sceptic, I end with an article on this theme.
It is said by everyone, for example Hume, Russell and Pascal, that such a radical position is psychologically impossible and that it cannot be lived 24/7. Pascal for example opted for believe or faith and he and a number of writers suggest that that  is the only way out and the final position of radical sceptics. I disagree with him.

Gravity is geometrical in nature and implies elasticity/plasticity, which infers a break- ing point to our universal fabric. The assertion of the author is that when a mass reaches its Schwarzschild radius, it has reached the breaking point of our universe and as a consequence, may puncture it. This may in turn expose our universe to the "Abso- lute Gravity" (g=c in all directions) of infinite space outside our universe (this does not take into account any other universe that may exist). Out of this process, a black hole forms from the point of singularity/puncture until the original point of the Schwarz- schild radius. We will discuss some of the possible consequences of this theory as well as its possible effects on universal expansion and its multiverse implications.

Fine-tuning arguments are a type of design argument that try to persuade non-theists that there is a supernatural designer of the Universe. After mentioning a problem with the derivation of the tiny probabilities sometimes invoked in such arguments, I consider the meaning of the term “Anthropic Principle”. This prepares the ground for a more radical critique concerning thought experiments, possible worlds and multiverses. I conclude by suggesting that fine-tuning arguments carry too much naturalistic baggage to be effective tools in an apologetic for monotheistic faith.

Intorno al IV secolo a.C. alcune colonie greche dell'Asia Minore presentarono le condizioni ideali per lo sviluppo scientifico, tecnico, culturale, ma soprattutto filosofico. Fu proprio nell'antica città di Mileto, fiorente centro economico e culturale, che nacque la cosiddetta Scuola di Mileto, primo cuore pulsante del pensiero filosofico occidentale. Detti anche "fisici ionici", gli esponenti della suddetta Scuola, nonché fondatori e co-fondatori, sono: Talete, Anassimandro e Anassimene, i quali incarnano i primordi di quella tendenza filosofica che abbraccerà tutte le scuole "presocratiche": la cosmologia o periodo cosmologico, i cui rappresentanti si sono impegnati nella speculazione mitico-filosofica sull'origine del Cosmo, e di quale fosse il Principio ordinatore di quest'ultimo.

This article explores new forms of serial structure found in transmedia story worlds, with particular attention to the innovations of amateur transmedia works.  Although the term transmedia has most often been associated only with corporate media at the center, taking amateur works as the paradigmatic example produces new insights into the affordances of digital technology, beyond the industry’s limitations, namely how transmedia creativity can function in the absence of the need to remain marketable, to maintain a coherent brand, and to work within a corporate family of conglomerated media companies.  This study thereby focuses on fan fiction, art, and “vids”, a form of remix video collage, to demonstrate how contemporary amateur production interacts with professional content, but also produces its own type of complex narration through unique forms, aesthetics, and story structures, likewise encouraging alternate reception practices as a result.  This article identifies at least three types of transmedial seriality elucidated by studying amateur fan media.  First, fan works emphasize the increasingly complex nature of seriality in all transmedia and the way in which serial effects do not vanish, but increasingly depend upon the viewer’s choices. Secondly, fan works create their own kind of flexible and multiple serial effects wherein meaning does not depend on consuming a specific sequence of narratives, but instead upon reading any collection of narratives within larger cycles or tropes to assemble a sense of flowing norms, genres, and preferences. Finally, fan works also uniquely analyze and reconfigure the serial effects of tropes found not only across the transmedia components of individual stories, but also across the breadth of popular culture. By remixing and reimagining repeated structures of representation, fan works often call attention to latent forms of seriality within popular culture as a collective whole.

This article is conceived as an intellectual patchwork of visions and notions, which are considered focal to the development of a posthuman cosmo-ontology. It wishes to experiment in its form, as well as in its contents, in line with the post-dualistic attitude of the posthuman: the “how” is the “what”. It is inspired by Nietzsche's Thus Spoke Zarathustra (1883-85), as well as by lived practice and quantum physics. It focalizes on the significance of the eternal recurrence in relation to the reiteration of patterns of existence and to the hypothetical memory of spacetime. It is a work in progress, aiming to spark original connections and a different set of hermeneutical possibilities. Like pieces of a philosophical puzzle, each subchapter makes full sense after reading the complete article. It is advised to approach this text with scientific joy and existential curiosity.

Many people think that a person's life ceases by his death; however, this is not the case in Islam. This paper addresses death in an Islamic context; it highlights the stages of death in Islam in relation to modern science, where some of these stages correspond to a number of recent scientific studies. One of these beliefs is that the dead have awareness post-mortem, and can still hear and see. Another Islamic view is that the dead lead another life beyond a barrier, and know about their relatives' occurrences and activities, which are unfolded in dreams. Accordingly, the study compares between Islamic, Freudian, and Jungian theories of dreams. Moreover, the paper examines chosen westerners' and Muslims' dreams, along with historical dreams, cited in traditional Islamic books. Finally, the paper alludes to the theory of parallel worlds, Multiverses, and physical dimensions, links them to Islamic texts, and proposes that the souls of the dead live in an unknown dimension or level, in one of the seven heavens. Consequently, this research attempts to reveal that death isn't the end of human bonds; rather the relationship continues in the form of dreams which give signals that show to be realistic in some cases.

A review of Dan Barker's tome, godless, how an evangelical pastor abandoned fundamentalist faith and embraced so-called New Atheism. Mr. Barker is now codirector of Freedom From Religion Foundation. Barker's justifiable excoriation of his evangelical easy believism seems trite on the surface, but for him it was critical, life changing. How religious experience is not reliable and there is even in the most sincere theist experience a vacuum for something bigger than a movement, a belief, a faith even in the resurrected Christ. I read and reviewed this during my own period of agnostic experience, weary from the divisions in Christianity. From whence I rose, returned, and re-embraced "the Church of the firstborn... the pillar and foundation of the truth." I found my doubts embraced by love. In my own experience, as many Evangelicals who have not experienced Christian orthodoxy in its historic expression, we have only our experience from which to judge something entirely mysterious as the Church revealed from God who gives the Bible its authority. Bible fundamentalism was not enough to keep Barker and it almost lost me to skeptical agnosticism. Individual liberty from religion may be the epitome of Barker's New Atheism, while for me Orthodox Christianity is the epitome of life in Christ.

The status and justification of the quantum equilibrium hypothesis (QEH) in Bohmian mechanics is "a rather delicate matter". In this paper, I present a new analysis of this hypothesis. It is argued that the QEH should be regarded not as a mere initial condition but more appropriately as one part of the law of motion. Moreover, it is more reasonable and simpler to assume that the QEH holds true consistently at all time. The resulting theory is a many-worlds theory of random discontinuous motion of particles in three-dimensional space. This new theory agrees with experiments, and it is arguably the simplest realist version of quantum mechanics.

MANKIND’S MOST IMPORTANT TECHNOLOGY!! --→
SKIP DIRECTLY TO MIND OVER MATTER. 
BECOME THE GOD THAT YOU ARE!!!

EUPHORIA, TELEPATHIC MOMENTS, HOMAGE BY NATURE, WEATHER CONTROL AND ALCHEMY / MANIFESTATION ARE NORMAL NOW AND WE'VE ONLY JUST BEGUN.

Secondo Stephen Hawking, esistono innumerevoli copie di noi stessi in innumerevoli altri universi dove la nostra vita è solo leggermente, o magari completamente diversa da quella che conosciamo. Ma potrebbero esserci anche universi dove la vita non esiste affatto, perché le leggi della fisica possiedono valori che non la rendono possibili. Negli ultimi trentanni gli scienziati hanno accumulato indizi a favore della congettura del “multiverso”, secondo cui esisterebbe un numero enorme, se non infinito, di universi. Una volta dominio della fantascienza, questa congettura potrebbe oggi spiegare tante stranezze della scienza, come i particolari valori delle costanti fondamentali, il Big Bang, le bizzarrie della fisica quantistica, la natura ultima della realtà. Ma sarà mai possibile riuscire a dimostrare l’esistenza di altri universi, lì fuori?

The journeys of the protagonist of Philip K. Dick’s novel Valis across different personalities, points in time, and realities become a penetrating exploration of the very fabric of the real through his heteromorphic cosmogony that can serve as a paradigm to understanding Dick’s literary-philosophical matrix. Whether a diagnosis or a profound insight into other realities, both insanity and schizophrenia in Valis develop into a means to diagnose the nature of reality by projecting the microcosm of an individual to the macrocosm of the entire universe and vice versa. Dick’s earlier major works of fiction are reflected in Valis as is Valis reflected in them in a way that shows the line between insanity and reason, and reality and hallucinations, is not only thin but often non-existent. Unlike many who consider themselves normal, Dick never recoiled from an opportunity to embark on an exploration of other realities, both in life and in his fiction, as is evident from the close and intimate connections among them.

I attempted to explore a number of things.
Some of them might be relevant to philosophy.
Everything could be treated as if they are relevant to philosophy, in an essential or primary manner, secondary, tertiary, etc or merely accidentally.
A few of the philosophical dimensions or aspects that might be touched on by my explorations are -
methods, techniques, tools, etc in philosophy or the doing of philosophizing.
dimensions and aspects dealt with by these tools include, reasoning, argumentation, assumptions, pre-suppositions, biases, fallacies,
objectives, aims, purposes, rationale, functions of philosophy and philosophizing
the different pre-suppositions of philosophizing,
the nature of the processes of doing philosophy,
the different stages in the processes of doing philosophy,
different levels of these processes,
different  dimensions of these processes and in these levels,
different contexts,
assumptions, pre-suppositions, biases, attitudes, beliefs, opinions, implications, institutionalized and internalized ideas concerning these things
I summarize the above as philosophizing resembles or is a certain kind of theorizing
this idea identifies, points to, conceptualizes and explores a number of  aspects of philosophy and philosophizing.
The above, including the
tradition of philosophy,
the discipline of philosophy,
the intersubjectivity of philosophy,
the intersubjectivities of different  domains of philosophy,
of different subject-matter,
different schools,
and movements,
the institutionalization of philosophy, its institutions,
norms, values, objectives,
the professionalization of philosophy,  different aspects of it
Individuals involved in philosophy, from academics,
teachers, students, researchers, publishers, readers, media, critics, original and creative thinkers involved in philosophy,
their styles, motives, concerns, aims, reasons, etc.
The context,
the points of view or perspective,

the emphasis,
the ‘reality’ or assumed reality and life world of the above  is -
the multiverse or universe,
the notion of (a biological, biologically based or nature of) consciousness (whatever this might mean in different contexts, theories, etc) that is universal, universe or multiverse.
In other words, not subject centered,
not human, anthropo-centered,
not earth restricted.

IS THAT HUMANS ARE THE CENTER OF AND MANIFEST THE ENTIRE MULTIVERSE

YA GOTTA LAUGH – HERE WE HAVE THE CREATOR GODS OF THE ENTIRE MULTIVERSE, WHO EVEN COLLECTIVELY ARE DUMBER THAN A BOX OF ROCKS.
OR
PHENOMENALLY CHIVALROUS – WELL IT’S BOTH.

This is an excerpt from the Pictorial Compendium of The Secret Doctrine
Volume IV, The Nature of Everything.

From Newton's mechanical calculations to Einstein's general and special relativity to the baffling indeterminacy of quantum mechanics, the discipline of physics has become increasingly arcane and complex, and less and less governed by orderly laws. This presents a problem for the layperson, who struggles to understand how Newtonian physics, with its predictable observations of physical forces, relates to the parallax and paradox of later discoveries. " If you don't already know physics, " says physicist Dominic Walliman, it's difficult sometimes to see how all of these different subjects are related to each other. " So Walliman has provided a helpful visual aid: an animated video map showing the connections between classical physics, quantum physics, and relativity.

We then delve into the Physics of NOE at a high-level.

The Quran has used the term ‘sama’ for space or heaven. It has used both the singular (sama’) and the plural (samawaat) form of it. In one of the verse it states that there are seven heavens and each one has its own earth. The objective of this paper was to explore what these two terms mean scientifically.

The analysis of the Quranic verses suggest that the Quranic term as-sama’-ad-dunya stands for the scientific term the observable universe. It is the innermost heaven (sama), which includes all the zodiacal signs/constellations (brooj), tracks (hobook), stars (kawakib), lamp (masabeeh), meteorites (shohoba) and etc. we observe or could observe in the future. On top of this heaven (samat) are staked six more heavens (samawat).  These could have been partitioned based on the horizons or dimensions.

The first horizon (sama) is called the event horizon. It is a conceptual boundary between particles that are moving slower and those that are moving faster than the speed of light. Since the light from the particles which are beyond it will never reach us, we would never be able to observe them. The particles that are within the event horizon belong to the observable universe (as-Sama-ad-Dunya). Beyond this horizon, there could be six more horizons (samawat).  In each of these the speed of the moving particles is faster than the speed of light. However, the speed in each of the successive horizons (samawat) could be faster than the speed in the previous horizon (sama). The speed of the moving particles within the seventh horizon (sama) could be the fastest. These horizons were probably partitioned after the universe  began to expand at a faster rate about four billion years ago.

Alternatively, the universe could have been partitioned in terms of dimensions. Just as our heaven has three dimensions, other heavens (samawat) could have four, five, six, seven, eight, and nine dimensions. Since we the humans cannot perceive dimensions higher than three, these heavens (samawat) with higher dimension will never be accessible to us.

THEY ARE A REFLECTION OF OUR HEART CHAKRA.  OUR GENIE’S ROLE IN THE BUBBLE IS TO BE OF SERVICE VIA EUPHORIA, LIKE OUR HEARTS DO – EH? 

SO OUR HEART GENIE IS LEADING US TO EUPHORIA AND PROVIDING US THE POWER OF MANIFESTATION - WOW!!!  MANIFESTATION VIA THE BUBBLE GENIE IS IMAGINEERING.  LEADING TO THIS BIT OF INESCAPABLE LOGIC – SINCE WE CAN ALTER MATTER USING OUR IMAGINATION / INTENTIONS THEN IT IS OUR IMAGINATION THAT MAKES THE MATTER IN THE FIRST PLACE!!!! = GODS WE ALL ARE.

This work is a critical introduction to Alfred Schutz’s sociology of the multiple reality and an enterprise that seeks to reassess and reconstruct the Schutzian project. In the first part of the study, I inquire into Schutz’s biographical con- text that surrounds the germination of this conception and I analyse the main texts of Schutz where he has dealt directly with ‘finite provinces of meaning.’ On the basis of this analysis, I suggest and discuss, in Part II, several solutions to the shortcomings of the theoretical system that Schutz drew upon the sociological problem of multiple reality. Specifically, I discuss problems related to the struc- ture, the dynamics, and the interrelationing of finite provinces of meaning as well as the way they relate to the questions of narrativity, experience, space, time, and identity.

IT'S HERE NOW!!! 
IT’S GOING TO BE REAL STRANGE.  PEOPLE MUST NOT BE AFRAID, IN FACT, ALL PEOPLE NEED TO BE REAL HAPPY ABOUT THIS EVENT AND BE READY TO GET OUTSIDE. GROUNDED.  THIS IS MEANT TO CLEAN ALL OF THE POLLUTION AND PROBABLY EVEN THE RADIATION FROM THE PLANET.

SOLID EVIDENCE OF THE INCOMING WAVE

THE U.S. MILITARY FUTURE VIEWING PROJECT LOOKING GLASS SUMMARY IS THAT WE ARE INEXTRICABLY HEADED TOWARD AN ASCENSION EVENT!!!!  AND THAT RESULT WILL BE: 

WE WILL HAVE A 5 TO 10 YEAR OLD MENTALITY, WHEN THE TIME LINES COLLAPSE THERE ARE NO MEMORIES – DUH?  YAHOO, WITH NOTHING BUT EUPHORIC FEELINGS ABOUT THE CURRENT AND NEXT MOMENT IN THE NOW.  SIMILAR TO THE NATURE SPIRITS – WE ARE HAVING FUN IN THE NOW AND DO NOT GIVE A SHIT ABOUT WHAT HAS HAPPENED, EVER!!!  WHATEVER IT WAS, WAS EUPHORIC.

(
Spanish abstract: ´El Gran Diseño´, libro de Stephen Hawking y Leonard Mlodinow (Bantam, 2010) se propone responder científicamente a algunas cuestiones que en tiempos pasados se explicaban mediante mitos de creación: por qué existe el universo, y por qué es como es. Nos centramos aquí en una de sus propuestas más controvertidas, la teoría del multiverso y de la realidad multitemporal, una noción favorita en ciencia ficción antes de pasar a algunos negociados de la cosmología actual. (A retropost from 2011).

English abstract: 'The Great Design', a book by Stephen Hawking and Leonard Mlodinow (Bantam, 2010) tries to provide a scientific answer to som questions which in the past used to be explained through creation myths: why does the universe exist, and why it is the way it is. Here we focus on one of the book's most controversial proposals, the theory of the multiverse and of multitemporal reality, a notion which has ben a favourite in science fiction before it was adopted in some departments of contemporary cosmology. (A retropost from 2011).

Keywords: Stephen Hawking, Physics, Cosmology, Universe, Multiverse, Science fiction, Time,

Text World Theory provides a framework for considering how we conceptualise video game worlds. Text World Theory uses the ‘worlds’ metaphor to describe how we visualise discourse in our minds.

This dissertation explores the ways players build text worlds from the discourse of the game BioShock Infinite. It also uses Gerrig’s metaphor of transportation when considering the conceptualisation of text worlds in the game, which is closely related to the idea of immersion.  This dissertation will explore the relationship between building text worlds and the feeling of immersion.

Firstly, it will use stylistic analysis to identify features within the game discourse that point towards world-building properties as stated by the Text World Theory framework. Here, it identifies that hypothetical text worlds are built by deictic language, but non-hypothetical text worlds are aided considerably by multimodal features of the game, such as visual information. It also identifies problems in determining the accessibility of the game, i.e. the significance of the protagonist as a first person narrator versus our access to visual information, which could impact the way we build text worlds. The dissertation then uses ethnographic data of gaming reviews and articles as a resource of player response, using a corpus linguistic method and subsequent stylistic analysis to determine the significance of those responses.

Seeking evidence of immersion and engagement with language relevant to Text World Theory, it will conclude that players regularly describe immersive experiences in their response to BioShock Infinite. Their use of the words ‘world’, ‘story’ and ‘lost’ particularly support the stylistic analysis which identified the creation of hypothetical text worlds, and ultimately support that players describe an immersive experience through a metaphor of transportation.

Overall, this dissertation shows that video game worlds raise new questions for the conceptualisation of fictional worlds, opening a door to further research.

“THE GALAXY DISTRIBUTION IS IN CONCENTRIC CIRCLES AROUND THE EARTH.  A SITUATION THAT DOES NOT OCCUR AROUND ANY OTHER POINT IN THE UNIVERSE.”  IS RATHER OBVIOUS.  ALSO THE ONLY TWO ANOMALIES IN THE UNIFORM BACKGROUND RADIATION FORM AN X MARKS THE SPOT RIGHT ON EARTH!!!!  THUS, WE ARE THE CENTER OF THIS UNIVERSE & THUS, THE MULTIVERSE.

Privileged-perspective realism (PPR) is a version of metaphysical realism that takes certain irreducibly perspectival facts to be partly constitutive of reality. PPR asserts that there is a single metaphysically privileged standpoint from which these perspectival facts obtain. This chapter discusses several views that fall under the category of privileged-perspective realism. These include presentism, which is PPR about tensed facts, and non-multiverse interpretations of quantum mechanics, which the chapter argues, constitute PPR about world-indexed facts. Using the framework of the bird perspective and the frog perspective, it argues that PPR views methodologically treat the frog perspective as metaphysically primary. This chapter considers case studies of metaphysical interpretations of special relativity and quantum mechanics in order to demonstrate that such motivations for PPR are non-naturalistic. Further, it considers psychological factors that motivate the appeal of PPR views and offers naturalistic explanations of why we should not expect them to produce an adequate metaphysics of science.

WE DO NOT WANT US TO KNOW THAT WE ARE GODS

ALL HUMANS ARE GODS IF EVERYTHING OUTSIDE OF OUR MINDS IS A HOAX (ILLUSION) AND IT IS THEN US TALKING HUMANS CREATE IT EVERY MICROSECOND, AND WE DO. WE PLANTED THE HOAX SO THAT WE WILL WAKE UP THIS TIME DUE TO THE INTERNET