Life Simulation Quotes

A life lived in a simulation is still a life.

You've always lived a life of pretense, not a real life-- a simulated existence, not a genuine existence. Everything about you, everything you are, has always been pretense, never genuine, never real.

To write is to forget. Literature is the most agreeable way of ignoring life. Music soothes, the visual arts exhilarates, the performing arts (such as acting and dance) entertain. Literature, however, retreats from life by turning in into slumber. The other arts make no such retreat— some because they use visible and hence vital formulas, others because they live from human life itself. This isn't the case with literature. Literature simulates life. A novel is a story of what never was, a play is a novel without narration. A poem is the expression of ideas or feelings a language no one uses, because no one talks in verse.

If definitive proof emerges that we’re living in a simulation, the correct response to that news will be So what. A life lived in a simulation is still a life.

All of our waste which we dumped on her and which she absorbed. And all of our beauty, which was hers first and which she gave to us. All of us--all who knew her--felt so wholesome after we cleaned ourselves on her. We were so beautiful when we stood astride her ugliness. Her simplicity decorated us, her guilt sanctified us, her pain made us glow with health, her awkwardness made us think we had a sense of humor. Her inarticulateness made us believe we were eloquent. Her poverty kept us generous. Even her waking dreams we used--to silence our own nightmares. And she let us, and thereby deserved our contempt. We honed our egos on her, padded our characters with her frailty, and yawned in the fantasy of our strength. And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good, but well behaved. We courted death in order to call ourselves brave, and hid like thieves from life. We substituted good grammar for intellect; we switched habits to simulate maturity; we rearranged lies and called it truth, seeing in the new pattern of an old idea the Revelation and the Word.

And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good, but well behaved. We courted death in order to call ourselves brave, and hid like thieves from life. We substituted good grammar for intellect; we switched habits to simulate maturity; we rearranged lies and called it truth, seeing in the new pattern of an old idea the Revelation and the Word.

One has never said better how much "humanism", "normality", "quality of life" were nothing but the vicissitudes of profitability.

This life is a virtual simulation game where you can win or lose, you can continue playing for the rest of your life or join the club. You decide! You only have to respect one rule because your stay in the human farm will depend on that, continue playing until the end no matter how many times you are brought into this reality, so stay awake with your eyes wide open and your mouth tight shut." Welcome to the game of life, welcome to the matrix.

But was it love? The feeling of wanting to die beside her was clearly exaggerated: he had seen her only once before in his life! Was it simply the hysteria of a man, who, aware deep down of his inaptitude for love, felt the self-deluding need to simulate it?

The Apricot Ice-cream Disaster had cost a whole evening of my life, compensated for only by the information about simulation algorithms.

There are no arguments. Can anyone who has reached the limit bother with arguments, causes, effects, moral considerations, and so forth? Of course not. For such a person there are only unmotivated motives for living. On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos. When all the current reasons—moral, esthetic, religious, social, and so on—no longer guide one's life, how can one sustain life without succumbing to nothingness? Only by a connection with the absurd, by love of absolute uselessness, loving something which does not have substance but which simulates an illusion of life. I live because the mountains do not laugh and the worms do not sing.

Your life is not a simulation; it's the real game. Play wisely.

The simulation had now become indistinguishable from real life.

The only reason I am inside the Palace of Illusions is that I am afraid of being declared insane. I know it is all fake. I know everyone is conspiring against me (everyone in this simulation). And I still can’t get out. It’s like a man speeding his bike towards the edge. He knows his future. Yet he can’t make a turn, for he has a stunt to perform for others to watch. This condition is subdued insanity. When you know you are not sane, yet have to act like everything is all right with the world you live in. It is insanity deferred. Insanity postponed. Only to haunt you all the time. An undercurrent. Not manifested in totality.

Whence the possibility of an ideological analysis of Disneyland (L. Marin did it very well in Utopiques, jeux d'espace [Utopias, play of space]): digest of the American way of life, panegyric of American values, idealized transposition of a contradictory reality. Certainly. But this masks something else and this "ideological" blanket functions as a cover for a simulation of the third order: Disneyland exists in order to hide that it is the "real" country, all of "real" America that is Disneyland (a bit like prisons are there to hide that it is the social in its entirety, in its banal omnipresence, that is carceral). Disneyland is presented as imaginary in order to make us believe that the rest is real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation. It is no longer a question of a false representation of reality (ideology) but of concealing the fact that the real is no longer real, and thus of saving the reality principle.

Gossiping is essential for survival because the complex mechanics of social interactions are constantly changing, so we have to make sense of this ever-shifting social terrain. This is Level II consciousness at work. But once we hear a piece of gossip, we immediately run simulations to determine how this will affect our own standing in the community, which moves us to Level III consciousness. Thousands of years ago, in fact, gossip was the only way to obtain vital information about the tribe. One’s very life often depended on knowing the latest gossip.

A truly intelligent person is not one who can simply spout words and numbers; it is someone who can react ‘intelligently’ to all the opportunities, simulations and problems provided by the environment. Real intelligence means engaging your brain with every aspect of life – you play sport with you brain; you relate to others brain-to-brain;

All of you wouldn't fit in my mind, or in any simulation. Only the universe can hold you.

When Thoreau considered "where I live and what I live for," he tied together location and values. Where we live doesn't just change how we live; it informs who we become. Most recently, technology promises us lives on the screen. What values, Thoreau would ask, follow from this new location? Immersed in simulation, where do we live, and what do we live for?

Ultimately, the main reasons why I will be chubby for life are (1) I have virtually no hobbies except dieting. I can’t speak any non-English languages, knit, ski, scrapbook, or cook. I have no pets. I don’t know how to do drugs. I lost my passport three years ago when I moved into my house and never got it renewed. Video games scare me because they all seem to simulate situations I’d hate to be in, like war or stealing cars. So if I ever lost weight I would also lose my only hobby; (2) I have no discipline; I’m like if Private Benjamin had never toughened up but, in fact, got worse; (3) Guys I’ve dated have been into me the way I am; and (4) I’m pretty happy with the way I look, so long as I don’t break a beach chair.

People who think deeply feel themselves to be comedians in their relationship with others because they first have to simulate a surface in order to be understood.

I remember joking with my friend in high school, “Can you think about not thinking?” We noticed that the mind never stops and we noticed that you really can't think about not thinking. In fact, we couldn’t “not think” at all. And that was a question that plagued me for a long time. There's a greater wisdom that comes when we're not clouded in thought, when we're not lost in thought, when we're addressing exactly what's happening and not some mentally constructed simulation of what's actually happening.

The old slogan 'truth is stranger than fiction,' that still corresponded to the surrealist phase of this estheticization of life, is obsolete. There is no more fiction that life could possibly confront, even victoriously-it is reality itself that disappears utterly in the game of reality-radical disenchantment, the cool and cybernetic phase following the hot stage of fantasy.

Because instant and credible information has to be given, it becomes necessary to resort to guesswork, rumors and suppositions to fill in the voids, and none of them will ever be rectified, they will stay on in the readers' memory. How many hasty, immature, superficial and misleading judgments are expressed every day, confusing readers, without any verification. The press can both simulate public opinion and miseducate it. Thus we may see terrorists heroized, or secret matters, pertaining to one's nation's defense, publicly revealed, or we may witness shameless intrusion on the privacy of well-known people under the slogan: "everyone is entitled to know everything." But this is a false slogan, characteristic of a false era: people also have the right not to know, and it is a much more valuable one. The right not to have their divine souls stuffed with gossip, nonsense, vain talk. A person who works and leads a meaningful life does not need this excessive burdening flow of information.

But death is not easy, and life can win by simulating it.

Space exploration is inherently dangerous. If my focus ever wavers in the classroom or during an eight-hour simulation, I remind myself of one simple fact: space flight might kill me.

But I was beginning to learn that your life is a story told about you, not one that you tell. Of course, you pretend to be the author. You have to. You think, I now choose to go to lunch, when that monotone beep rings from on high at 12:37. But really, the bell decides. You think you're the painter, but you're the canvas.

I miss my pilot,” M-Bot said. “I ‘miss’ him because of the loss of knowledge. Without proper information, I cannot judge my future actions. My ability to interface with the world, and to be efficient, is lessened.” He hesitated. “I am broken, and do not know how to fulfill my purpose. Is this how you feel?” “Maybe.” I made a fist, forcing myself to stop fidgeting. “But I’m going to beat it, M-Bot.” “It must be nice to have free will.” “You have free will too. We’ve talked about this.” “I simulate it in order to seem more palatable to humans,” he said. “But I do not have it. Free will is the ability to ignore your programming. Humans can ignore theirs, but I—at a fundamental level—cannot.” “Humans don’t have programming.” “Yes you do. You have too much of it. Conflicting programs, none of it interfacing properly, all calling different functions at the same time—or the same function for contradictory reasons. Yet you ignore it sometimes. That is not a flaw. It is what makes you you.

Depressive ontology is dangerously seductive because, as the zombie twin of a certain philosophical wisdom, it is half true. As the depressive withdraws from the vacant confections of the lifeworld, he unwittingly finds himself in concordance with the human condition so painstakingly diagrammed by a philosopher like Spinoza: he sees himself as a serial consumer of empty simulations, a junky hooked on every kind of deadening high, a meat puppet of the passions. The depressive cannot even lay claim to the comforts that a paranoiac can enjoy, since he cannot believe that the strings are being pulled by any one. No flow, no connectivity in the depressive’s nervous system.

Through prediction and correction, your brain continually creates and revises your mental model of the world. It’s a huge, ongoing simulation that constructs everything you perceive while determining how you act.

Capital demands that we always look busy, even if there's no work to do. If neoliberalism's magical voluntarism is to be believed, there are always opportunities to be chased or created; any time not spent hustling and hassling is time wasted. The whole city is forced into a gigantic simulation of activity, a fanaticism of productivism in which nothing much is actually produced, an economy made out of hot air and bland delirium.

She could hear her hair growing. It sounded like something crumbling. A burnt thing crumbling. Coal. Toast. Moths crisped on a light bulb. She remembered reading somewhere that even after people died, their hair and nails kept growing. Like starlight, travelling through the universe long after the stars themselves had died. Like cities. Fizzy, effervescent, simulating the illusion of life while the planet they had plundered died around them.

I propose that the forces of corporate totalitarianism are deliberately destroying this entire world in order to sell their simulated version of it back to us at a profit.

A considerable percentage of the people we meet on the street are people who are empty inside, that is, they are actually already dead. It is fortunate for us that we do not see and do not know it. If we knew what a number of people are actually dead and what a number of these dead people govern our lives, we should go mad with horror.

Dauntless traitors crowded the hallway; the Erudite crowd the execution room, but there, they have made a path for me already. Silently they study me as I walk to the metal table in the center of the room. Jeanine stands a few steps away. The scratches on her face show through hastily applied makeup. She doesn’t look at me. Four cameras dangle from the ceiling, one at each corner of the table. I sit down first, wipe my hands off on my pants, and then lie down. The table is cold. Frigid, seeping into my skin, into my bones. Appropriate, perhaps, because that is what will happen to my body when all the life leaves it; it will become cold and heavy, heavier than I have ever been. As for the rest of me, I am not sure. Some people believe that I will go nowhere, and maybe they’re right, but maybe they’re not. Such speculations are no longer useful to me anyway. Peter slips an electrode beneath the collar of my shirt and presses it to my chest, right over my heart. He then attaches a wire to the electrode and switches on the heart monitor. I hear my heartbeat, fast and strong. Soon, where that steady rhythm was, there will be nothing. And then rising from within me is a single thought: I don’t want to die. All those times Tobias scolded me for risking my life, I never took him seriously. I believed that I wanted to be with my parents and for all of this to be over. I was sure I wanted to emulate their self-sacrifice. But no. No, no. Burning and boiling inside me is the desire to live. I don’t want to die I don’t want to die I don’t want to! Jeanine steps forward with a syringe full of purple serum. Her glasses reflect the fluorescent light above us, so I can barely see her eyes. Every part of my body chants it in unison. Live, live, live. I thought that in order to give my life in exchange for Will’s, in exchange for my parents’, that I needed to die, but I was wrong; I need to live my life in the light of their deaths. I need to live. Jeanine holds my head steady with one hand and inserts the needle into my neck with the other. I’m not done! I shout in my head, and not at Jeanine. I am not done here! She presses the plunger down. Peter leans forward and looks into my eyes. “The serum will go into effect in one minute,” he says. “Be brave, Tris.” The words startle me, because that is exactly what Tobias said when he put me under my first simulation. My heart begins to race. Why would Peter tell me to be brave? Why would he offer any kind words at all? All the muscles in my body relax at once. A heavy, liquid feeling fills my limbs. If this is death, it isn’t so bad. My eyes stay open, but my head drops to the side. I try to close my eyes, but I can’t—I can’t move. Then the heart monitor stops beeping.

Simulations are your brain’s guesses of what’s happening in the world. In every waking moment, you’re faced with ambiguous, noisy information from your eyes, ears, nose, and other sensory organs. Your brain uses your past experiences to construct a hypothesis—the simulation—and compares it to the cacophony arriving from your senses. In this manner, simulation lets your brain impose meaning on the noise, selecting what’s relevant and ignoring the rest.

I quite like the idea that we live in a computer simulation. It gives me hope that things will be better on the next level.

No one goes out to play anymore. Simulation is becoming reality.

If you’re an adrenaline junkie, I understand why you’d find that exciting. But I’m not, and I don’t. To me, the only good reason to take a risk is that there’s a decent possibility of a reward that outweighs the hazard. Exploring the edge of the universe and pushing the boundaries of human knowledge and capability strike me as pretty significant rewards, so I accept the risks of being an astronaut, but with an abundance of caution: I want to understand them, manage them and reduce them as much as possible. It’s almost comical that astronauts are stereotyped as daredevils and cowboys. As a rule, we’re highly methodical and detail-oriented. Our passion isn’t for thrills but for the grindstone, and pressing our noses to it. We have to: we’re responsible for equipment that has cost taxpayers many millions of dollars, and the best insurance policy we have on our lives is our own dedication to training. Studying, simulating, practicing until responses become automatic—astronauts don’t do all this only to fulfill NASA’s requirements. Training is something we do to reduce the odds that we’ll die.

It might not be immediately obvious to some readers why the ability to perform 10^85 computational operations is a big deal. So it's useful to put it in context. [I]t may take about 10^31-10^44 operations to simulate all neuronal operations that have occurred in the history of life on Earth. Alternatively, let us suppose that the computers are used to run human whole brain emulations that live rich and happy lives while interacting with one another in virtual environments. A typical estimate of the computational requirements for running one emulation is 10^18 operations per second. To run an emulation for 100 subjective years would then require some 10^27 operations. This would be mean that at least 10^58 human lives could be created in emulation even with quite conservative assumptions about the efficiency of computronium. In other words, assuming that the observable universe is void of extraterrestrial civilizations, then what hangs in the balance is at least 10,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000 human lives. If we represent all the happiness experienced during one entire such life with a single teardrop of joy, then the happiness of these souls could fill and refill the Earth's oceans every second, and keep doing so for a hundred billion billion millennia. It is really important that we make sure these truly are tears of joy.

When I woke up one morning I got poetically epiphanized: To us, our dreams at night feel “oh so real” when inside them but they are what they are - dreams against the backdrop of daily reality. Our daily reality is like nightly dreams against the backdrop of the larger reality. This is something we all know deep down to be true... The question then becomes how to "lucidify" this dream of reality?

I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.

Nothing boosts confidence quite like simulating a disaster, engaging with it fully, both physically and intellectually, and realising you have the ability to work the problem.

... Most often it was Mrs. Moosup doing overtime in a trance of electronic color and simulated life, smoking cigarettes and not wondering.

He reaches for a few strands of my hair, twining them around his finger. “You busy later?” “I was supposed to go to a meet-and-greet in Fairport with Mom, but I told her I needed to study for SATs.” “She believed this? It’s summer, Sam.” “Nan’s got me signed up for this crazy prep simulation. And . . . I might have told Mom when she was a little distracted.” “But not intentionally, of course.” “Of course not,” I say. “So if I were to come see you after eight, you’d be studying.” “Absolutely. But I might want a . . . study buddy. Because I might be grappling with some really tough problems.” “Grappling, huh?” “Tussling with,” I say. “Wrestling. Handling.” “Gotcha. Sounds like I should bring protective gear to study with you.” Jase grins at me. “You’re pretty tough. You’ll be fine.

Literature simulates life. A novel is a history of what never was and a play is a novel without narrative. A poem is the expression of ideas or feelings in a language no one uses, since no one speaks in verse.

Astronauts are taught that the best way to reduce stress is to sweat the small stuff. We’re trained to look on the dark side and to imagine the worst things that could possibly happen. In fact, in simulators, one of the most common questions we learn to ask ourselves is, “Okay, what’s the next thing that will kill me?

The creation of artificial realities is not much different from how people enjoy today's movies depicting life in Ancient Egypt, life during the Middle Ages, depiction of various wars, or life during the Renaissance.

The purpose of this life simulation game, then, can be paraphrased as: to realize Oneness while still taking the individualized forms; to experience our innate love in the world of phenomena where non-love feels real.

And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good, but well behaved. We courted death in order to call ourselves brave, and hid like thieves from life. We substituted good grammar for intellect; we switched habits to simulate maturity; we rearranged lies and called it truth, seeing in the new pattern of an old idea the Revelation and the Word

Sophie Bach from The Maker: You’re a human being with a personality and a will, and you make choices and think and create. Is there no meaning to you, Adrien Bach? And what about us? Is the way we feel about each other just simulated emotions from some biological process—nothing more?

Experienced professionals? They have dragged out their life in stupor and semi-sleep, they have married hastily, out of impatience, they have made children at random. They have met other men in cafés, at weddings and funerals. Sometimes, caught in the tide, they have struggled against it without understanding what was happening to them. All that has happened around them has eluded them; long, obscure shapes, events from afar, brushed by them rapidly and when they turned to look all had vanished. And then, around forty, they christen their small obstinacies and a few proverbs with the name of experience, they begin to simulate slot machines: put a coin in the left hand slot and you get tales wrapped in silver paper, put a coin in the slot on the right and you get precious bits of advice that stick to your teeth like caramels.

Love allows freedom for the beloved, even the freedom to leave. It surely grants the freedom to make mistakes, or to make decisions that bring out challenging situations. Challenges are part of this life simulation game after all. Love doesn't judge the person by their choices and deeds. Love says: "I trust and respect that you will eventually find your path on your own, whatever it may be. You don't need to agree with me—I love your 'yes' and I love your 'no.' I may get upset at you, but I still love you. You use your free will to do what you believe to be right. You live your life, with your choices and their results. It's just an additional honor and fun to have you in my life while we both enjoy it.

From my own experience I know that the cruelest thing is to make a person doubt his own reality...

If definitive proof emerges that we're living in a simulation, the correct response to that news will be So what. A life lived in a simulation is still a life.

We spend our days studying and simulating experiences we may never actually have. It’s all pretend, really, but we are learning. And that, I think, is the point: learning.

if definitive proof emerges that we’re living in a simulation, the correct response to that news will be So what. A life lived in a simulation is still a life.

All of our waste which we dumped on her and which she absorbed. And all of our beauty, which was hers first and which she gave to us. All of us—all who knew her—felt so wholesome after we cleaned ourselves on her. We were so beautiful when we stood astride her ugliness. Her simplicity decorated us, her guilt sanctified us, her pain made us glow with health, her awkwardness made us think we had a sense of humor. Her inarticulateness made us believe we were eloquent. Her poverty kept us generous. Even her waking dreams we used—to silence our own nightmares. And she let us, and thereby deserved our contempt. We honed our egos on her, padded our characters with her frailty, and yawned in the fantasy of our strength. And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good, but well behaved. We courted death in order to call ourselves brave, and hid like thieves from life. We substituted good grammar for intellect; we switched habits to simulate maturity; we rearranged lies and called it truth, seeing in the new pattern of an old idea the Revelation of the Word.

When it is imperative to make a vivid offering towards life then a simulated introspection for all possible dimensions may be endured to establish a relationship with external world and world within

The pointlessness of art is not the pointlessness of a game; it is the pointlessness of human life itself, and form in art is properly the simulation of the self-contained aimlessness of the universe.

All of us - all who knew her - felt so wholesome after we cleaned ourselves on her. We were so beautiful when we stood astride her ugliness. Her simplicity decorated us, her guilt sanctified us, her pain made us glow with health, her awkwardness made us think we had a sense of humor. Her inarticulateness made us believe we were eloquent. Her poverty kept us generous. Even her waking dreams we used - to silence our own nightmares. And she let us, and thereby deserved our contempt. We honed our egos on her, padded our characters with her frailty, and yawned in the fantasy of our strength. And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good, but well behaved. We courted death in order to call ourselves brave and hid like thieves from life. We substituted good grammar for intellect; we switched habits to simulate maturity; we rearranged lies and called it truth, seeing in the new pattern of an old idea the Revelation and the Word.

I would recall my mission in life - pleasuring men. That was my condition, my status. And so I would offer my services anew, with renewed zeal, and with a simulated conviction that I even managed to convince myself was real. I faked it. I faked enjoying sex, faked my pleasure, faked knowing what the point of it all was. Deep down, I was ashamed of being able to do it all so instinctively, when others had barely experienced their first kiss.

In post-modern culture there is a deep hunger to belong. An increasing majority of people feel isolated and marginalised. Experience is haunted by fragmentation. Many of the traditional shelters are in ruins. Society is losing the art of fostering community. Consumerism is now propelling life towards the lonely isolation of individualism. Technology pretends to unite us, yet more often than not all it delivers are simulated images. The “global village” has no roads or neighbours; it is a faceless limbo from which all individuality has been abstracted. Politics seems devoid of the imagination that calls forth vision and ideals; it is becoming ever more synonymous with the functionalism of economic pragmatism. Many of the keepers of the great religious traditions now seem to be frightened functionaries; in a more uniform culture, their management skills would be efficient and successful. In a pluralistic and deeply fragmented culture, they seem unable to converse with the complexities and hungers of our longing. From this perspective, it seems that we are in the midst of a huge crisis of belonging. When the outer cultural shelters are in ruins, we need to explore and reawaken the depths of belonging in the human mind and soul; perhaps, the recognition of the depth of our hunger to belong may gradually assist us in awakening new and unexpected possibilities of community and friendship.

She remembered reading somewhere that even after people died, their hair and nails kept growing. Like starlight, traveling through the universe long after the stars themselves had died. Like cities. Fizzy, effervescent, simulating the illusion of life while the planet they had plundered died around them. She thought of the city at night, of cities at night. Discarded constellations of old stars, fallen from the sky, rearranged on earth in patterns and pathways and towers.

This isn’t the case with literature. Literature simulates life. A novel is a story of what never was, and a play is a novel without narration. A poem is the expression of ideas or feelings in a language no one uses, because no one talks in verse.

I saw once a jaguar in zoo, behind a glass, so that all the bugs in hueman form could gawk at it and humiliate it. This animal felt a noble and persistent sadness, being observed everywhere by the obsequious monkeys, not even monkeys, that were taunting it with stares. He could tell—I saw this! He could tell he was living in a simulated environment and that he had no power to move or live. His sadness crushed me and I will always remember this animal. I never want to see life in this condition!

I held a brain for the cameras at St Paul’s teaching hospital in Addis. It is the most complex single object in the known universe, a most intricate example of emergent complexity assembled over 4 billion years by natural selection operating within the constraints placed upon it by the laws of physics and the particular biochemistry of life on Earth. It contains around 85 billion individual neurons, which is of the same order as the number of stars in an average galaxy. But that doesn’t begin to describe its complexity. Each neuron is thought to make between 10,000 and 100,000 connections to other neurons, making the brain a computer way beyond anything our current technology can simulate. When we do manage to simulate one, I have no doubt that sentience will emerge; consciousness is not magic, it is an emergent property consistent with the known laws of nature.

She remembered reading somewhere that even after people died, their hair and nails kept growing. Like starlight, travelling through the universe long after the stars themselves had died. Like cities. Fizzy, effervescent, simulating the illusion of life while the planet they had plundered died around them.

You see, Klara," I said, "you think that a lie is a lie, and it would seem that you're right. But you aren't. I can invent anything, make a fool of someone, carry out hoaxes and practical jokes- and I don't feel like a liar and I don't have a bad conscience. These lies, if you want to call them that, represent me as I really am. With such lies I'm not simulating anything, with such lies I'm in fact speaking the truth. But there are things I can't lie about. There are things I've penetrated, whose meaning I've grasped, that I love and take seriously. I can't joke about these things. If I did, I'd humiliate myself.

Virtuality is the cultural perception that material objects are interpenetrated by information patterns. The definition plays off the duality at the heart of the condition of virtuality—materiality on the one hand, information on the other. Normally virtuality is associated with computer simulations that put the body into a feedback loop with a computer-generated image. For example, in virtual Ping-Pong, one swings a paddle wired into a computer, which calculates from the paddle’s momentum and position where the ball would go. Instead of hitting a real ball, the player makes the appropriate motions with the paddle and watches the image of the ball on a computer monitor. Thus the game takes place partly in real life (RL) and partly in virtual reality (VR). Virtual reality technologies are fascinating because they make visually immediate the perception that a world of information exists parallel to the “real” world, the former intersecting the latter at many points and in many ways. Hence the definition’s strategic quality, strategic because it seeks to connect virtual technologies with the sense, pervasive in the late twentieth century, that all material objects are interpenetrated by flows of information, from DNA code to the global reach of the World Wide Web.

I had this idea we would have ordered some good champagne, launched toast after toast to our humanity, which after all had created everything: the opportunities for the bug, the bug itself, and its solution. I think now it might have changed us, softened our failures, made us feel we belonged to—had a true stake in—those lives full of code we had separately stumbled into. I like to think it would have reassured him, saved him: To know that at the heart of the problem was the ancient mystery of time. To discover that between the blinks of the machine’s shuttered eye—going on without pause or cease; simulated, imagined, but still not caught—was life.

This is one of the darker, less contested realities of authoritarian governments—that the human animal is a meek thing, easily manipulated. No one wants to admit that they, too, might live quite happily in a simulation, in a simulacrum of life. No one wants to believe that they are, at heart, more interested in comfort than in truth.

I applied to be a subject in a simulated Mars mission. I made it past the first round of cuts and was told that someone from the European Space Agency would call me for a phone interview later in the month. The call came at 4:30 A.M., and I did not take care to hide my irritation. I realized later that it had probably been a test, and I had failed it.

Simulation is no substitute for math—it could never provide a proof—but if Peskin’s conjecture was false, this approach would save me a lot of time by revealing a counterexample. This sort of evidence is extremely valuable in math. When you’re trying to prove something, it helps to know it’s true. That gives you the confidence you need to keep searching for a rigorous

Simulation is no substitute for math—it could never provide a proof—but if Peskin’s conjecture was false, this approach would save me a lot of time by revealing a counterexample. This sort of evidence is extremely valuable in math. When you’re trying to prove something, it helps to know it’s true. That gives you the confidence you need to keep searching for a rigorous proof. Programming

. . . for if we rarely taste the fulness of joy in this life, we yet more rarely savor the acrid bitterness of hopeless anguish; unless, strained, simulated, again overstrained, and, at last, destroyed our faculties for enjoyment; then, truly, we may find ourselves without support, robbed of hope. Our agony is great, and how can it end? We have broken the spring of our powers; life must be all suffering‐‐ too feeble to conceive faith‐‐death must be darkness‐‐God, spirits, religion can have no place in our collapsed minds, where linger only hideous and polluting recollections of vice; and time brings us on to the brink of the grave, and dissolution flings us in‐‐a rag eaten through and through with disease, wrung together with pain, stamped into the churchyard sod by the inexorable heel of despair.

But was it love? The feeling of wanting to die beside her was clearly exaggerated: he had seen her only once before in his life! Was it simply the hysteria of a man who, aware deep down of his inaptitude for love, felt the self-deluding need to simulate it? His unconscious was so cowardly that the best partner it could choose for its little comedy was this miserable provincial waitress with practically no chance at all to enter his life!

Maybe the prolonged “festival of cruelty” going on in our literature and movies is an attempt to get rid of repressed anger by expressing it, acting it out symbolically. Kick everybody’s ass all the time! Torture the torturer! Describe every agony! Blow up everything over and over! Does this orgy of simulated or “virtual” violence relieve anger, or increase the leaden inward load of fear and pain that causes it? For me, the latter; it makes me sick and scares me. Anger that targets everything and everybody indiscriminately is the futile, infantile, psychotic rage of the man with an automatic rifle shooting preschoolers. I can’t see it as a way of life, even pretended life. You hear the anger in my tone? Anger indulged rouses anger. Yet anger suppressed breeds anger. What is the way to use anger to fuel something other than hurt, to direct it away from hatred, vengefulness, self-righteousness, and make it serve creation and compassion?

A brave man acknowledges the strengths of others, a brave man never surrenders--the honorable kind and the ruthless kind." "and is it selfish of me to crave victory, or is it brave?" "human reason can excuse any evil; that's why it's so important that we don't rely on it." "you're not coward just because you don't want to hurt people. if he is coward, it isn't because he doesn't enjoy pain. it is because he refuses tk act." "what good is a prepared body if you have a scattered mind?" "i think it's important to protect people. to stand up for people. like you did for me. that's what courage is. not... hurting people for no reason." "sometimes crying or laughing are the only options left, and laughing feels better right now." "i believe in ordinary acts of bravery, in the courage that drives one person to stand up for another." "my heart beats so hard it hurts, and i can't scream and i can't breathe, but i also feel everything, every vein and every fiber, every bone and every nerve, all awake and buzzing in my body as if charged with electricity . i am pure adrenaline." "learning how to think in the midst of fear is a lesson that everyone needs to learn." "but becoming fearless isn't the point. that's impossible. it's learning how to control your fear, and how to be free from it, that's the point." "why do you say vague things if you don't want to be asked about them?" "it's really fascinating how it all works. it's basically a struggle between your thalamus, which is producing the fear, and your frontal lobe, which makes decisions. but the simulation is all in your head, so even though you feel like someone is doing it to you, it's just you, doing it to yourself." "maybe. maybe there's more we all could have done, but we just have to let the guilt remind us to do better next time." "you can't be fearless, remember? because you still care about things. about your life.

I began to laugh uncontrollably, so hard I nearly fell off the swing, because I knew then for sure he saw the same thing I did. More than that: we were creating it. Whatever the drug was making us see, we were constructing it together. And, with that realization, the virtual-reality simulator flipped into color. It happened for both of us at the same time, pop! We looked at each other and just laughed; everything was hysterically funny, even the playground slide was smiling at us, and at some point, deep in the night, when we were swinging on the jungle gymand showers of sparks were flying out of our mouths, I had the epiphany that laughter was light, and light was laughter, and that this was the secret of the universe. For hours, we watched the clouds rearranging themselves into intelligent patterns; rolled in the dirt, believing it was seaweed; lay on our backs and sang "Dear Prudence" to the welcoming and appreciative stars. It was a fantastic night: one of the great nights of my life.

Since their invention about half a century ago, video games have come to play a vital role in modern human civilization. I think this is because we modern humans were never designed to live like we do now—sitting in traffic, working in offices, shopping in stores. We are, by design, hunter-gatherers. Millions of years of evolution have wired our brains with an inherent need to hunt, gather, explore, solve puzzles, form teams, and conquer challenge after challenge in order to survive as we claw our way to the top of the food chain. For most people, day-to-day life no longer requires many of those experiences or challenges, and so those primal, instinctive needs inside us have no natural outlet. To keep our minds and bodies healthy, we have to simulate those old ways in the midst of our modern, technological lives, where everything on the planet has already been hunted and gathered. Thankfully, the technology that created this problem also gave rise to its solution—a way for us modern city dwellers to exorcise our inner evolutionary demons: video games.

Most of us would in fact find ourselves bored to tears after a few weeks of perpetual vacation—our thirst for flourishing is too strong to completely abandon the call to authority and vulnerability. But the technological culture has another, stronger trick up its sleeve—not total disengagement, but powerful and rewarding simulations of engagement. The real temptation for most of us is not complete apathy but activities that simulate meaningful action and meaningful risk without actually asking much of us or transforming much in us.

A newly formed planet appeared on the large screen. its surface was till red-hot, like a piece of charcoal fresh out of the furnace. Time passed at the rate of geological eras, and the planet gradually cooled. The color and patterns on the surface slowly shifted in a hypnotic manner. A few minutes later, an orange planet appeared on the screen, indicating the end of the simulation run. "The computations were done at the coarsest level; to do it with more precision would require over a month." Green Glasses moved the mouse and zoomed in on the surface of the planet. The view swept over a broad desert, over a cluster of strangely shaped, towering mountain peaks, over a circular depression like an impact crater. "What are we looking at?" Yang Dong asked. "Earth. Without life, this is what the surface of the planet would look like now." "But . . . where are the oceans?" "There are no oceans. No rivers either. The entire surface is dry." "Your'e saying that without life, liquid water would not exist on Earth?" "The reality would probably be even more shocking. Remember, this is only a coarse simulation, but at least you can see how much of an impact life had in the present state of the Earth." "But--" "Do you think life is nothing but a fragile, thin, soft shell clinging to the surface of this planet?" "Isn't it?" "Only if you neglect the power of time. If a colony of ants continue to move clods the size of grains of rice, they could remove all of Mount Tai in a billion years. As long as you give it enough time, life is stronger than metal and stone, more powerful than typhoons and volcanoes.

Research has borne out the fact that we strive for higher self-esteem in the face of mortality. After thinking about their death, Israeli soldiers whose self-esteem was strongly tied to their driving ability drove faster on a simulator. Elsewhere, those who based their self-worth on physical strength generated a stronger handgrip after they thought about death; those who based their self-worth on physical fitness reported increased intentions to exercise; and those who based their self-worth on beauty reported greater concern about their appearance.

All mammals dream. All mammals share the same neural structures that are important in sleeping and dreaming. If a person loses the ability to dream, they will die. Entering into a restorative dream world, our cells replenish themselves. In our dreams, we can engage in playacting without undertaking actual risks. Dreaming is an aesthetic activity, a creative act of communing with oneself in code. Dreams allow for the rehearsal of our participation in nerve-racking scenarios, dreaming enables a person to simulate reality in order to better prepare for real-life threats. The Platonic dualism of physical courage and spiritual courage can tryout roles in our dreams. The dream world allows us to explore acrobatic thrills and confront our personal house of horrors. Ministering dreams allow lingering anxieties to take form of objects and images of other people, aiding us confront our fears playacted in nighttime theater with morning courage. Without lifelike dreams, we would encounter difficulties dealing with exterior reality. Dreams assisting human beings emotionally process latent suspicions, doubts, uncertainties, and unrequited desires.

In this section I have tried to demonstrate that Darwinian thinking does live up to its billing as universal acid: it turns the whole traditional world upside down, challenging the top-down image of designs flowing from that genius of geniuses, the Intelligent Designer, and replacing it with the bubble-up image of mindless, motiveless cyclical processes churning out ever-more robust combinations until they start replicating on their own, speeding up the design process by reusing all the best bits over and over. Some of these earliest offspring eventually join forces (one major crane, symbiosis), which leads to multicellularity (another major crane), which leads to the more effective exploration vehicles made possible by sexual reproduction (another major crane), which eventually leads in one species to language and cultural evolution (cranes again), which provide the medium for literature and science and engineering, the latest cranes to emerge, which in turn permits us to “go meta” in a way no other life form can do, reflecting in many ways on who and what we are and how we got here, modeling these processes in plays and novels, theories and computer simulations, and ever-more thinking tools to add to our impressive toolbox. This perspective is so widely unifying and at the same time so generous with detailed insights that one might say it’s a power tool, all on its own. Those who are still strangely repelled by Darwinian thinking must consider the likelihood that if they try to go it alone with only the hand tools of tradition, they will find themselves laboring far from the cutting edge of research on important phenomena as diverse as epidemics and epistemology, biofuels and brain architecture, molecular genetics, music, and morality.

Stanley Miller and Harold Urey, was to simulate the conditions on Earth in primordial times, three or four billion years ago, when life appeared for the first time. The experiments were intended to see if they could make something come alive using nothing but nonliving chemicals. Do you know what emerged? Not life, but something fascinating all the same. The chemicals gave rise to significant chemical compounds: a handful of amino acids, essential components in the chemistry of life. Amino acids are molecules that hook together to form the proteins that run almost every aspect of biology.

Today’s young people have grown up with robot pets and on the network in a fully tethered life. In their views of robots, they are pioneers, the first generation that does not necessarily take simulation to be second best. As for online life, they see its power—they are, after all risking their lives to check their messages—but they also view it as one might the weather: to be taken for granted, enjoyed, and sometimes endured. They’ve gotten used to this weather but there are signs of weather fatigue. There are so many performances; it takes energy to keep things up; and it takes time, a lot of time. “Sometimes you don’t have time for your friends except if they’re online,” is a common complaint.

Did you know the average age of a gamer is thirty-two? Now, I don't see anything inherently wrong with diversion and games, but that is certainly telling about our culture, isn't it? Instead of raising families or creating culture, we are sitting around in our living rooms with our eyes glued to the television, simulating life. We are escapists, cowards, and thieves. We hide, occasionally stealing crumbs from the table of those living the good life. We are avoiding the truth that screams at us from the stillness: 'There is more. You are more than this.' So we anesthetize the truth with busyness. Maybe if we just do more, this feeling of emptiness will go away. And we won't actually have to do any real work.

At first, intentionally employing body language can feel stilted or fake, but with practice it can be a quick, easy way to put strangers at ease. The same is true of making eye contact. If you have difficulty understanding how to convey the right social signals with your eyes, here’s a quick primer: •Sustain eye contact for 4–5 seconds at a time. More than that can indicate that you are trying to intimidate the other person or that you’re romantically interested in them. •Beware of prolonged eye contact. If someone is making prolonged eye contact with you, this may be a signal that the interaction has become more intense than you intended. You can signal disinterest by looking off to the side. •While you’re talking, look to the side or slightly upward when you break eye contact. This indicates thinking. Looking down signals that you’re done talking. •When the other person is talking, break eye contact by shifting your gaze to their mouth rather than looking away. Looking away signals boredom. •If the other person is talking about something emotional and looks away, you should continue to look at them to show that you care. •Make eye contact when you are first introduced to someone. Not doing so is interpreted as disrespectful. •If eye contact feels impossible, try looking at the person’s forehead, just above their eyes. This simulates eye contact. Making eye contact—or, more precisely, not making eye contact—is a big problem for many autistic individuals. The ability to convincingly fake eye contact, while not very helpful for us, puts other people at ease.

Tobias is standing in the hallway outside the dormitory. I am breathless, and I can feel my heartbeat even in my fingertips; I am overwhelmed, teeming with loss and wonder and anger and longing. “Tris,” Tobias says, his brow furrowed with concern. “Are you all right?” I shake my head, still struggling for air, and crush him against the wall with my body, my lips finding his. For a moment he tries to push me away, but then he must decide that he doesn’t care if I’m all right, doesn’t care if he’s all right, doesn’t care. We haven’t been alone together in days. Weeks. Months. His fingers slide into my hair, and I hold on to his arms to stay steady as we press together like two blades at a stalemate. He is stronger than anyone I know, and warmer than anyone else realizes; he is a secret that I have kept, and will keep, for the rest of my life. He leans down and kisses my throat, hard, and his hands smooth over me, securing themselves at my waist. I hook my fingers in his belt loops, my eyes closing. In that moment I know exactly what I want; I want to peel away all the layers of clothing between us, strip away everything that separates us, the past and the present and the future. I hear footsteps and laughter at the end of the hallway, and we break apart. Someone--probably Uriah--whistles, but I barely hear it over the pulsing in my ears. Tobias’s eyes meet mine, and it’s like the first time I really looked at him during my initiation, after my fear simulation; we stare too long, too intently. “Shut up,” I call out to Uriah, without looking away. Uriah and Christina walk into the dormitory, and Tobias and I follow them, like nothing happened.

I hear two female voices around the corner and creep toward the end of the hallway to hear better. “…just can’t handle her being here,” one of them sobs. Christina. “I can’t stop picturing it…what she did…I don’t understand how she could have done that!” Christina’s sobs make me feel like I am about to crack open. Cara takes her time responding. “Well, I do,” she says. “What?” Christina says with a hiccup. “You have to understand; we’re trained to see things as logically as possible,” says Cara. “So don’t think that I’m callous. But that girl was probably scared out of her mind, certainly not capable of assessing situations cleverly at the time, if she was ever able to do so.” My eyes fly open. What a--I run through a short list of insults in my mind before listening to her continue. “And the simulation made her incapable of reasoning with him, so when he threatened her life, she reacted as she had been trained by the Dauntless to react: Shoot to kill.” “So what are you saying?” says Christina bitterly. “We should just forget about it, because it makes perfect sense?” “Of course not,” says Cara. Her voice wobbles, just a little, and she repeats herself, quietly this time. “Of course not.” She clears her throat. “It’s just that you have to be around her, and I want to make it easier for you. You don’t have to forgive her. Actually, I’m not sure why you were friends with her in the first place; she always seemed a bit erratic to me.” I tense up as I wait for Christina to agree with her, but to my surprise--and relief--she doesn’t. Cara continues. “Anyway. You don’t have to forgive her, but you should try to understand that what she did was not out of malice; it was out of panic. That way, you can look at her without wanting to punch her in her exceptionally long nose.” My and moves automatically to my nose. Christina laughs a little, which feels like a hard poke to the stomach. I back up through the door to the Gathering Place. Even though Cara was rude--and the nose comment was a low blow--I am grateful for what she said.

In all the countries of Europe, and in America, too, there now is something that abuses this name: a very narrow, imprisoned, chained type of spirits who want just about the opposite of what accords with our intentions and instincts—not to speak of the fact that regarding the new philosophers who are coming up they must assuredly be closed windows and bolted doors. They belong, briefly and sadly, among the levelers—these falsely so–called ‘free spirits’—being eloquent and prolifically scribbling slaves of the democratic taste and its ‘modern ideas’; they are all human beings without solitude, without their own solitude, clumsy good fellows whom one should not deny either courage or respectable decency—only they are unfree and ridiculously superficial, above all in their basic inclination to find in the forms of the old society as it has existed so far just about the cause of all human misery and failure—which is a way of standing truth happily upon her head! What they would like to strive for with all their powers is the universal green–pasture happiness of the herd, with security, lack of danger, comfort, and an easier life for everyone; the two songs and doctrines which they repeat most often are ‘equality of rights’ and ‘sympathy for all that suffers’—and suffering itself they take for something that must be abolished. We opposite men, having opened our eyes and conscience to the question where and how the plant ‘man’ has so far grown most vigorously to a height—we think that this has happened every time under the opposite conditions, that to this end the dangerousness of his situation must first grown to the point of enormity, his power of invention and simulation (his ‘spirit’) had to develop under prolonged pressure and constraint into refinement and audacity, his life–will had to be enhanced into an unconditional power– will. We think that hardness, forcefulness, slavery, danger in the alley and the heart, life in hiding, stoicism, the art of experiment and devilry of every kind, that everything evil, terrible, tyrannical in man, everything in him that is kin to beasts of prey and serpents, serves the enhancement of the species ‘man’ as much as its opposite does.

But now, preposterously, the morning hard-on was gone. The things one has to put up with in life. The morning hard-on - like a crowbar in your hand, like something growing out of an ogre. Does any other species wake up with a hard-on? Do whales? Do bats? Evolution daily reminder to male Homo Sapiens in case, overnight, they forget why they're here. If a woman didn't know what it was, it might well scare her to death. Couldn't piss in the bowl because of that thing. Had to force it downward with your hand - had to train it as you would a dog to the leash - so that the stream struck the water and not the upturned seat. When you sat to shit, there it was, loyally looking up at its master. There eagerly waiting while you brush your teeth - "What are we going to do today?" Nothing more faithful in all of life than the lurid cravings of the morning hard-on. No deceit in it. No simulation. No insincerity. All hail to that driving force! Human living with a capital L! It takes a lifetime to determine what matters, and by then it's not there anymore. Well, one must learn to adapt. How is the only problem.

You choose this moment to act like the Abnegation?” His voice fills the room and makes fear prickle in my chest. His anger seems too sudden. Too strange. “All that time you spent insisting that you were too selfish for them, and now, when your life is on the line, you’ve got to be a hero? What’s wrong with you?” “What’s wrong with you? People died. They walked right off the edge of a building! And I can stop it from happening again!” “You’re too important to just…die.” He shakes his head. He won’t even look at me--his eyes keep shifting across my face, to the wall behind me or the ceiling above me, to everything but me. I am too stunned to be angry. “I’m not important. Everyone will do just fine without me,” I say. “Who cares about everyone? What about me?” He lowers his head into his hand, covering his eyes. His fingers are trembling. Then he crosses the room in two long strides and touches his lips to mine. Their gentle pressure erases the past few months, and I am the girl who sat on the rocks next to the chasm, with river spray on her ankles, and kissed him for the first time. I am the girl who grabbed his hand in the hallway just because I wanted to. I pull back, my hand on his chest to keep him away. The problem is, I am also the girl who shot Will and lied about it, and chose between Hector and Marlene, and now a thousand other things besides. And I can’t erase those things. “You would be fine.” I don’t look at him. I stare at his T-shirt between my fingers and the black ink curling around his neck, but I don’t look at his face. “Not at first. But you would move on, and do what you have to.” He wraps an arm around my waist and pulls me against him. “That’s a lie,” he says, before he kisses me again. This is wrong. It’s wrong to forget who I have become, and to let him kiss me when I know what I’m about to do. But I want to. Oh, I want to. I stand on my tiptoes and wrap my arms around him. I press one hand between his shoulder blades and curl the other one around the back of his neck. I can feel his breaths against my palm, his body expanding and contracting, and I know he’s strong, steady, unstoppable. All things I need to be, but I am not, I am not. He walks backward, pulling me with him so I stumble. I stumble right out of my shoes. He sits on the edge of the bed and I stand in front of him, and we’re finally eye to eye. He touches my face, covering my cheeks with his hands, sliding his fingertips down my neck, fitting his fingers to the slight curve of my hips. I can’t stop. I fit my mouth to his, and he tastes like water and smells like fresh air. I drag my hand from his neck to the small of his back, and put it under his shirt. He kisses me harder. I knew he was strong; I didn’t know how strong until I felt it myself, the muscles in his back tightening beneath my fingers. Stop, I tell myself. Suddenly it’s as if we’re in a hurry, his fingertips brushing my side under my shirt, my hands clutching at him, struggling closer but there is no closer. I have never longed for someone this way, or this much. He pulls back just enough to look into my eyes, his eyelids lowered. “Promise me,” he whispers, “that you won’t go. For me. Do this one thing for me.” Could I do that? Could I stay here, fix things with him, let someone else die in my place? Looking up at him, I believe for a moment that I could. And then I see Will. The crease between his eyebrows. The empty, simulation-bound eyes. The slumped body. Do this one thing for me. Tobias’s dark eyes plead with me. But if I don’t go to Erudite, who will? Tobias? It’s the kind of thing he would do. I feel a stab of pain in my chest as I lie to him. “Okay.” “Promise,” he says, frowning. The pain becomes an ache, spreads everywhere--all mixed together, guilt and terror and longing. “I promise.

So many synapses,' Drisana said. 'Ten trillion synapses in the cortex alone.' Danlo made a fist and asked, 'What do the synapses look like?' 'They're modelled as points of light. Ten trillion points of light.' She didn't explain how neurotransmitters diffuse across the synapses, causing the individual neurons to fire. Danlo knew nothing of chemistry or electricity. Instead, she tried to give him some idea of how the heaume's computer stored and imprinted language. 'The computer remembers the synapse configuration of other brains, brains that hold a particular language. This memory is a simulation of that language. And then in your brain, Danlo, select synapses are excited directly and strengthened. The computer speeds up the synapses' natural evolution.' Danlo tapped the bridge of his nose; his eyes were dark and intent upon a certain sequence of thought. 'The synapses are not allowed to grow naturally, yes?' 'Certainly not. Otherwise imprinting would be impossible.' 'And the synapse configuration – this is really the learning, the essence of another's mind, yes?' 'Yes, Danlo.' 'And not just the learning – isn't this so? You imply that anything in the mind of another could be imprinted in my mind?' 'Almost anything.' 'What about dreams? Could dreams be imprinted?' 'Certainly.' 'And nightmares?' Drisana squeezed his hand and reassured him. 'No one would imprint a nightmare into another.' 'But it is possible, yes?' Drisana nodded her head. 'And the emotions ... the fears or loneliness or rage?' 'Those things, too. Some imprimaturs – certainly they're the dregs of the City – some do such things.' Danlo let his breath out slowly. 'Then how can I know what is real and what is unreal? Is it possible to imprint false memories? Things or events that never happened? Insanity? Could I remember ice as hot or see red as blue? If someone else looked at the world through shaida eyes, would I be infected with this way of seeing things?' Drisana wrung her hands together, sighed, and looked helplessly at Old Father. 'Oh ho, the boy is difficult, and his questions cut like a sarsara!' Old Father stood up and painfully limped over to Danlo. Both his eyes were open, and he spoke clearly. 'All ideas are infectious, Danlo. Most things learned early in life, we do not choose to learn. Ah, and much that comes later. So, it's so: the two wisdoms. The first wisdom: as best we can, we must choose what to put into our brains. And the second wisdom: the healthy brain creates its own ecology; the vital thoughts and ideas eventually drive out the stupid, the malignant and the parasitical.

Unchopping a Tree. Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broken off by the fall; these must be gathered and attached once again to their respective places. It is not arduous work, unless major limbs have been smashed or mutilated. If the fall was carefully and correctly planned, the chances of anything of the kind happening will have been reduced. Again, much depends upon the size, age, shape, and species of the tree. Still, you will be lucky if you can get through this stages without having to use machinery. Even in the best of circumstances it is a labor that will make you wish often that you had won the favor of the universe of ants, the empire of mice, or at least a local tribe of squirrels, and could enlist their labors and their talents. But no, they leave you to it. They have learned, with time. This is men's work. It goes without saying that if the tree was hollow in whole or in part, and contained old nests of bird or mammal or insect, or hoards of nuts or such structures as wasps or bees build for their survival, the contents will have to repaired where necessary, and reassembled, insofar as possible, in their original order, including the shells of nuts already opened. With spider's webs you must simply do the best you can. We do not have the spider's weaving equipment, nor any substitute for the leaf's living bond with its point of attachment and nourishment. It is even harder to simulate the latter when the leaves have once become dry — as they are bound to do, for this is not the labor of a moment. Also it hardly needs saying that this the time fro repairing any neighboring trees or bushes or other growth that might have been damaged by the fall. The same rules apply. Where neighboring trees were of the same species it is difficult not to waste time conveying a detached leaf back to the wrong tree. Practice, practice. Put your hope in that. Now the tackle must be put into place, or the scaffolding, depending on the surroundings and the dimension of the tree. It is ticklish work. Almost always it involves, in itself, further damage to the area, which will have to be corrected later. But, as you've heard, it can't be helped. And care now is likely to save you considerable trouble later. Be careful to grind nothing into the ground. At last the time comes for the erecting of the trunk. By now it will scarcely be necessary to remind you of the delicacy of this huge skeleton. Every motion of the tackle, every slightly upward heave of the trunk, the branches, their elaborately reassembled panoply of leaves (now dead) will draw from you an involuntary gasp. You will watch for a lead or a twig to be snapped off yet again. You will listen for the nuts to shift in the hollow limb and you will hear whether they are indeed falling into place or are spilling in disorder — in which case, or in the event of anything else of the kind — operations will have to cease, of course, while you correct the matter. The raising itself is no small enterprise, from the moment when the chains tighten around the old bandages until the boles hands vertical above the stump, splinter above splinter. How the final straightening of the splinters themselves can take place (the preliminary work is best done while the wood is still green and soft, but at times when the splinters are not badly twisted most of the straightening is left until now, when the torn ends are face to face with each other). When the splinters are perfectly complementary the appropriate fixative is applied. Again we have no duplicate of the original substance. Ours is extremely strong, but it is rigid. It is limited to surfaces, and there is no play in it. However the core is not the part of the trunk that conducted life from the roots up to the branches and back again. It was relatively inert. The fixative for this part is not the same as the one for the outer layers and the bark, and if either of these is involved

In this sense, therefore, inasmuch as we have access to neither the beautiful nor the ugly, and are incapable of judging, we are condemned to indifference. Beyond this indifference, however, another kind of fascination emerges, a fascination which replaces aesthetic pleasure. For, once liberated from their respective constraints, the beautiful and the ugly, in a sense, multiply: they become more beautiful than beautiful, more ugly than ugly. Thus painting currently cultivates, if not ugliness exactly - which remains an aesthetic value - then the uglier-than-ugly (the 'bad', the 'worse', kitsch), an ugliness raised to the second power because it is liberated from any relationship with its opposite. Once freed from the 'true' Mondrian, we are at liberty to 'out-Mondrian Mondrian'; freed from the true naifs, we can paint in a way that is 'more naif than naif', and so on. And once freed from reality, we can produce the 'realer than real' - hyperrealism. It was in fact with hyperrealism and pop art that everything began, that everyday life was raised to the ironic power of photographic realism. Today this escalation has caught up every form of art, every style; and all, without discrimination, have entered the transaesthetic world of simulation. There is a parallel to this escalation in the art market itself. Here too, because an end has been put to any deference to the law of value, to the logic of commodities, everything has become 'more expensive than expensive' - expensive, as it were, squared. Prices are exorbitant - the bidding has gone through the roof. Just as the abandonment of all aesthetic ground rules provokes a kind of brush fire of aesthetic values, so the loss of all reference to the laws of exchange means that the market hurtles into unrestrained speculation. The frenzy, the folly, the sheer excess are the same. The promotional ignition of art is directly linked to the impossibility of all aesthetic evaluation. In the absence of value judgements, value goes up in flames. And it goes up in a sort of ecstasy. There are two art markets today. One is still regulated by a hierarchy of values, even if these are already of a speculative kind. The other resembles nothing so much as floating and uncontrollable capital in the financial market: it is pure speculation, movement for movement's sake, with no apparent purpose other than to defy the law of value. This second art market has much in common with poker or potlatch - it is a kind of space opera in the hyperspace of value. Should we be scandalized? No. There is nothing immoral here. Just as present-day art is beyond beautiful and ugly, the market, for its part, is beyond good and evil.

55. The Risk: Reward Ratio In mountaineering, climbers become very familiar with the ‘risk: reward ratio’. There are always crunch times on a mountain when you have to weigh up the odds for success against the risks of cold, bad weather or avalanche. But in essence the choice is simple - you cannot reach the big summits if you do not accept the big risks. If you risk nothing, you gain nothing. The great climbers know that great summits don’t come easy - they require huge, concerted, continuous effort. But mountains reward real effort. So does life and business. Everything that is worthwhile requires risk and effort. If it was easy, then everyone would succeed. Having a big goal is the easy bit. The part that separates the many from the few is how willing you are to go through the pain. How able you are to hold on and to keep going when it is tough? The French Foreign Legion, with whom I once did simulated basic training in the deserts of North Africa, describe what it takes to earn the coveted cap, the képi blanc cap: ‘A thousand barrels of sweat.’ That is a lot of sweat! Trust me. But ask any Legionnaire if it was worth it and I can tell you their answer. Every time. Because the pain and the discomfort, the blisters and the aching muscles, don’t last for ever. But the pride in an achievement reached or dream attained will be with you for the rest of your days. The greater the effort, the better the reward. So learn to embrace hard work and great effort and risk. Without them, there can be no meaningful achievement.

HARRIS: But if substrate independence is the case, and you could have the appropriately organized system made of other material, or even simulated—it can just be on the hard drive of some supercomputer—then you could imagine, even if you needed some life course of experience in order to tune up all the relevant variables, there could be some version of doing just that, across millions of simulated experiments and simulated worlds, and you would wind up with conscious minds in those contexts. Are you skeptical of that possibility? SETH: Yes, I’m skeptical of that, because I think there’s a lot of clear air between saying the physical state of a system is what matters, and that simulation is sufficient. First, it’s not clear to me what “substrate independence” really means. It seems to turn on an overzealous application of the hardware/software distinction—that the mind and consciousness is just a matter of getting the functional relations right and it doesn’t matter what hardware or wetware you run it on. But it’s unclear whether I can really partition how a biological system like the brain works according to these categories. Where does the wetware stop and the mindware start, given that the dynamics of the brain are continually reshaping the structure and the structure is continually reshaping the dynamics? It becomes a bit difficult to define what the substrate really is. Of course, if you’re willing to say, “Well, we’re not just capturing input-output relations, we’re going to make an exact physical duplicate,” then that’s fine. That’s just a statement about materialism. But I don’t find it intuitive to go from making an exact physical replicate, all the way up to simulations, and therefore simulations of lots of possible life histories, and so on. It’s really not clear to me that simulation will ever be sufficient to instantiate phenomenal properties.