- can we explore games as allegories for the world we live in?
- can there be a critical theory of games?
Stuber is a 2019 American buddy action comedy film directed by Michael Dowse and written by Tripper Clancy. It stars Kumail Nanjiani, Dave Bautista, Iko Uwais, Natalie Morales, Betty Gilpin, Jimmy Tatro, Mira Sorvino, and Karen Gillan. The film follows a “detective who commandeers an unsuspecting Uber driver named Stu”. (wiki)
timespace coordinates: AD 2019 Neo-Tokyo (31 years after ww3)
Akira (Japanese: アキラ Hepburn: Akira) is a 1988 Japanese animated post-apocalyptic cyberpunk film directed by Katsuhiro Otomo, based on Otomo’s 1982 manga of the same name. The film had a production budget of ¥1.1 billion ($9 million), making it the most expensive anime film of its time.
Set in a dystopian 2019, Akira tells the story of Shōtarō Kaneda, a leader of a local biker gang whose childhood friend, Tetsuo Shima, acquires incredible telekinetic abilities after a motorcycle accident, eventually threatening an entire military complex amidst chaos and rebellion in the sprawling futuristic metropolis of Neo-Tokyo. While most of the character designs and settings were adapted from the manga, the plot differs considerably, and does not include much of the last half of the manga. The soundtrack, which draws heavily from traditional Indonesian gamelan as well as Japanese noh music, was composed by Shōji Yamashiro and performed by Geinoh Yamashirogumi.
Akira premiered in Japan on July 16, 1988 by Toho, but was initially unable to recoup its budget. It was released the following year in the United States by pioneering animation distributor Streamline Pictures. It garnered an international cult following after various theatrical and VHS releases, eventually earning over $80 million worldwide from home video sales. It is widely regarded by critics as one of the greatest animated and science fiction films ever made, as well as a landmark in Japanese animation. It is also a landmark film in the cyberpunk genre, particularly the Japanese cyberpunk subgenre, as well as adult animation. The film had a significant impact on popular culture worldwide, paving the way for the growth of anime and Japanese popular culture in the Western world as well as influencing numerous works in animation, comics, film, music, television and video games. (wiki)
(…) What do we think of when we hear the word “meaning ether?” Probably not nearly enough — myself included! — for it is difficult to grasp what the term “meaning” signifies here. With respect to the chemical ether we had to refer to the numerical laws and to the Harmony of the Spheres. To the meaning ether, however, belongs the general and great harmony of the universe (as Kepler has expressed it). It can help us yet further if we consider a word which was used by the profound translator of many works of Chinese literature, Richard Wilhelm. He has chosen to translate the word “tao,” as used in the “Tao te Ching,” (“Tao” is translated into English as “way.”) with the German word “Sinn” (sense, or meaning). He points out that it had something of the same meaning as did the Greek word “logos” at the turning point of time, the beginning of the Christian era. If you consult a Greek dictionary, you will find a long list of meanings for the term “logos” — word, speech, computation, relationship, reason, etc. The mathematicians of 400 B.C. used the word “logos” when they stated a ratio, as 3:4. And when in the time of Plato it was established that there was no “logos,” or integral proportionality, between the diagonal and the side of a square, that was called an “a-logon,” or something without logos. Translated into Latin, logos became “ratio,” and something without “ratio” (or proportion) was something “irrational.” The discovery of the irrational in the time of Plato consisted in the proof that “irrationality” exists in the world of measure. That gives a faint indication of the paradox inherent in the deepest “sense of the word ‘sense’.”
But now you must understand that the negative mirror image of a mastery of the world of meaning, of the logos, must appear in our time, and where this negative image appears it is today called “information.” The “Science of Information” can only measure the quantitative aspect of information, and not that which is its true meaning.
by Georg Unger, 1978 (online)
“Large temptations will emanate from these machine-animals, produced by people themselves, and it will be the task of a spiritual science that explores the cosmos to ensure all these temptations do not exert any damaging influence on human beings.” —Rudolf Steiner
In an increasingly digitized world, where both work and play are more and more taking place online and via screens, Rudolf Steiner’s dramatic statements from 1917 appear prophetic. Speaking of “intelligent machines” that would appear in the future, Steiner presents a broad context that illustrates the multitude of challenges human beings will face. If humanity and the Earth are to continue to evolve together with the cosmos, and not be cut off from it entirely, we will need to work consciously and spiritually to create a counterweight to such phenomena.
In the lectures gathered here, edited with commentary and notes by Andreas Neider, Rudolf Steiner addresses a topic that he was never to speak of again–the secret of the geographical, or ahrimanic, Doppelganger. The human nervous system houses an entity that does not belong to its constitution, he states. This is an ahrimanic being that enters the body shortly before birth and leaves at death, providing the basis for all electrical currents needed to process and coordinate sensory perceptions and react to them.
Based on his spiritual research, Steiner discusses this Doppelganger, or double, in the wider context of historic occult events relating to spirits of darkness. Specific brotherhoods seek to keep such knowledge to themselves to exert power and spread materialism. But this knowledge is critical, says Steiner, if the geographical Doppelganger and its challenges are to be understood.