sábado, 11 de junho de 2016

Quais destes livros foram proibidos pela Igreja Católica? 


https://www.nexojornal.com.br/interativo/2016/06/07/Quais-destes-livros-foram-proibidos-pela-Igreja-Cat%C3%B3lica?utm_campaign=a_nexo_20160608&

Há 50 anos, mais precisamente no dia 14 de junho de 1966, a Igreja Católica aboliu formalmente sua lista de obras proibidas aos cristãos, o temido Index Librorum Prohibitorum (índice de livros proibidos). A contar de quando teve sua primeira lista publicada, em 1559, o o índice vigorou – nos países ocidentais que adotavam a lista – durante 457 anos.
Apesar da existência de outros índices – como os das inquisições espanhola e lusitana, que tinham suas próprias relações de livros –, a lista romana (a maior de todas) contou com cerca de 5.200 obras de um total de 3.000 autores. Muitos deles tiveram todo o seu trabalho proibido, como Stendhal, escritor francês autor do romance “O Vermelho e o Negro”; ou então o filósofo inglês Thomas Hobbes, famoso pelo seu “O Leviatã”.
Edição do Index Librorum Prohibitorum, publicado em 1758
Edição do Index Librorum Prohibitorum, publicado em 1758
 Inaugurada no século 16 ao lado da Inquisição católica (movimento de perseguição e condenação de hereges), a censura católica (formada por um grupo de sacerdotes responsáveis pela análise de obras e elaboração do Index) tinha como principal objetivo conter o avanço dos reformistas, que questionavam a doutrina em vigor e acabaram por dividir a religião comandada pelo Vaticano, dando origem ao protestantismo.
Mas os censores foram além e passaram a incluir romancistas, cientistas e filósofos. Para fazer parte da lista, os critérios gerais eram anticlericalismo (posicionamento contrário à Igreja e demais instituições religiosas), blasfêmia (um insulto ou ataque às figuras sagradas, como Deus ou os santos) e heresia (ideias destoantes da doutrina católica).
Apesar disso, a censura não funcionava como uma ciência exata e, segundo o historiador alemão Hubert Wolf (autor de “Índice. O Vaticano e os livros proibidos”, de 2006), a decisão sobre a proibição de um livro ou de outro poderia variar de acordo com a equipe de censores em exercício.
De acordo com o professor de história das ciências na USP, Thomás Haddad, as regras poderiam enquadrar obras que causassem “escândalo” por serem “indecentes”. “Há livros de anatomia, por exemplo, que tiveram partes ‘expurgadas’, por terem a imagem de uma pessoa nua. Livros que falam sobre reprodução humana… Enfim, é um universo de regras muito cheio de detalhes que variam conforme a época, a região e sobretudo a equipe que estava fazendo a censura.”
Quer se aventurar e tentar adivinhar quais das obras fizeram parte ou não do Index católico? Faça o teste:

Qual desses livros foi proibido pela Igreja Católica?


Simone de Beauvoir
O Segundo Sexo (1949)

Sigmund Freud
Além do Princípio do Prazer (1920)

Alexandre Dumas
Os Três Mosqueteiros (1844)

J.D. Salinger
O Apanhador no Campo de Centeio (1951)

Jack Kerouac
On the Road (1957)

Voltaire
Cândido, ou O Otimismo (1759)

Adolf Hitler
Minha Luta (1925)

Montesquieu
O Espírito das Leis (1748)

Jean-Paul Sartre
A Náusea (1938)

Friedrich Nietzsche
Além do Bem e do Mal (1886)

Charles Darwin
A Origem das Espécies (1859)

Jean Jacques Rousseau
Do Contrato Social (1762)

René Descartes
As Paixões da Alma (1649)

Lewis Carroll
Alice no País das Maravilhas (1865)

D.H. Lawrence
O Amante de Lady Chatterley (1928)

Gustave Flaubert
Madame Bovary (1856)

John Stuart Mill
Princípios de Economia Política (1848)

Karl Marx
Manifesto do Partido Comunista (1848)

Allan Kardec
O Livro dos Espíritos (1857)

Aldous Huxley
Admirável Mundo Novo (1932)

Diderot e d'Alembert
Enciclopédia, ou Dicionário razoado das ciências, das artes e dos ofícios (1751-72)

Franz Kafka
A Metamorfose (1915)

Vladimir Nabokov
Lolita (1955)

Marquês de Sade
Justine ou os Infortúnios da Virtude (1791)
RESULTADO
Você ainda precisa responder 12 perguntas para terminar o quiz
ESTAVA ERRADO: A versão original deste quiz afirmava que Franz Kafka era alemão. O escritor, original de Praga, é tcheco. O texto foi corrigido às 15h22 do dia 7 de junho de 2016.

‘Magnolia’ Behind-the-Scenes Doc: Watch PTA’s Magnum Opus Come to Life


‘Magnolia’ Behind-the-Scenes Doc: Watch PTA’s Magnum Opus Come to Life

http://www.indiewire.com/2016/06/magnolia-documentary-paul-thomas-anderson-1201684939/

From the Indiewire Vault: "Final cut. Scary thing to give to a guy like me."

"Magnolia"
“Magnolia”
In 2003, Paul Thomas Anderson said to The Guardian that his 1999 drama “Magnolia” would be “the best movie [he’d] ever make.” In a January 2015 interview on “WTF with Marc Maron,” when asked if he would change anything about the film today, Anderson said: “Oh, I’d slice that thing down. It’s way too f**king long. It’s unmerciful, how long it is.”
Today’s look back at the past is the 72-minute documentary “That Moment,” Mark Rance’s behind-the-scenes odyssey through the making of “Magnolia” from pre-production through publicity tour. We get to see Anderson at the tender age 28, just a year after “Boogie Nights” made him one of the hottest directors working in Hollywood, embark on what could seem like the filmmaking equivalent of war: A three-hour drama with nine sprawling narratives, grandiose themes and frogs raining from the sky.
READ MORE: Retrospective: The Films of Paul Thomas Anderson
PTA first addresses the camera in October 1998, discussing fears about his upcoming project: “I can feel the precarious balancing of scenes and how long they are. I’m very nervous as a director.” During pre-production, he shows his production team Paddy Chayefsky’s “Network,” which Anderson argues a good model for “old classic TV guys losing a grip on their shit.”
Rance titles this section of the doc “Shipbuilding,” still an understatement of what it looks like for Anderson to convince his collaborators of what his massively ambitious story had to look like. When one of his production designers asks if anybody had demanded a rewrite from Anderson, he shakes his head. “Nope. You know why? Final cut. [Laughs.] Scary thing to give to a guy like me.”
READ MORE: Watch: The Inherent Vice in Paul Thomas Anderson’s Films: A Video Essay
From there, “That Moment” highlights interviews with William H. Macy, Julianne Moore, Philip Baker Hall, Jason Robards,and various crew members. “There aren’t many people who have the desire or the bravery you need to be that emotional,” says Moore early in production. “Paul does that. He really goes there.” We watch snippets of the director teaching Julianne Moore Aimee Mann’s “Wise Up,” joyfully imitating Philip Seymour Hoffman’s character walk, and improvising with his crew at Hall’s quiz show podium on self-effacing “Magnolia” trivia.
“How long is this motion picture going to be? 88 minutes for the prologue… how much money will it make? A dollar.”
Perhaps the greatest joy in the doc is watching Anderson and his crew tackle the age-old question in filmmaking: How to rig frogs to shoot at moving cars and explode on target. We see b-roll of the various sequences of frogs raining over the San Fernando Valley, often running long enough to hear the crew pausing to laugh at the sight of hundreds of bloody frogs (referred to as “Steve Johnson frogs” by the crew) hitting a windshield.
Watch the full 72-minute documentary below:

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Someone is writing a mysterious, dystopian novel of the future in Reddit comments

Someone is writing a mysterious, dystopian novel of the future in Reddit comments

It all began in April, when Reddit user _9MOTHER9HORSE9EYES9 posted a bizarre comment on a thread on Reddit about the cover of George Orwell’s 1984. The comment described a botched CIA program, called the MKUltra experiments, where subjects were fed a steady stream of LSD and other psychoactive drugs.
While MKUltra was a real CIA project, the “flesh interfaces” described are clearly not. The infamous first post ended with the foreboding line: “The entire thing had to be eliminated, but the technology it created has been revolutionary.”
The cryptic Reddit user continued to post seemingly random, snippets of texts under a number of different posts. These extracts weaved real historical incidents, more commonly discussed on conspiracy sites, with an eerie, sci-fi universe featuring weird fleshy portals that allow entry to unknown parts of the universe—with devastating consequences.
Just a month ago, users interested in reading replies on how older Redditors coped with the loss of family and friends as they aged and passed were suddenly met with the following comment:
Lying in the hold, listening to the bombardment, there is no sleep. The booming of the guns travels through the shivering metal of the ship. Hour after hour, without end, the arsenal of democracy rains down on the tiny island.
What could it be like for the Japs huddled in their bunkers? Surrounded. Doomed. Do they know they have no hope? Do they expect death? Do they wish for it?
Within two months, readers began to see a pattern between these posts as the elaborate backdrop to a remarkable story, which features the Holocaust and the Vietnam War, and names well-known characters, such as Elizabeth Bathory, the Manson family, and Michael Jackson.
Many people believe that Michael Jackson died due to propofol.
Not so.
He was murdered.
The story—now known as “The Interface Series”—has thousands of enthusiastic followers. The story has spawned its own subreddit, where fans debate theories as they closely watch the narrative unfold, whilst posting to fan-made audiobooks and ebooks.
But who is the mysterious _9MOTHER9HORSE9EYES9? In a now deleted manifesto, the writer describes himself as a “30-something American male without the benefit of a college education or a stable job.” He admits his posts have a number of historical error, spelling and grammar mistakes, with “laughably overwrought prose.”
In an interview with the BBC, _9MOTHER9HORSE9EYES9 admits to once being a heavy LSD user. While he’s unsure as to where the story is going, he insists Reddit is the best platform for his story. “I realized that on the Internet, and especially on Reddit, it is possible to intrude on people’s realities in a very unexpected way,” he explains. “If you have a bit of a knack for storytelling, you can redirect the thread of a conversation in any direction.”
_9MOTHER9HORSE9EYES9 has on a number of occasions described his story as a warning to humanity, as technological advances raise ethical questions. He explains that he’s “writing about what has never been, and what must never be.”
Those interested in reading entire story so far can do so here, where another Reddit user has put the comments in chronological order.

This Refugee Documentary Series is Unlike Anything You've Seen

This Refugee Documentary Series is Unlike Anything You've Seen

If you do one thing this weekend, binge-watch this series.
To my mind, there are two kinds of empathy in movies. The first, endemic to narrative fiction films, involves experiencing characters as real people. Their lives transcend the screen; after the scene ends, they're still there, sitting on the bed, left with the thunderous silence of their thoughts. These characters matter to us because we feel like we know them. We see bits of ourselves in themwarts and all.
Then, there's the breed of empathy that's specific to the living, breathing people found in documentary. A great doc will chip away at your subjectivity; you'll find yourself immersed in a life. Your emotional bandwidth will stretch to accommodate different wavelengths of the human experience.
Matthew Cassel's The Journey to Europe belongs to this immersive second type of empathy. While watching the six-part series chronicling a refugee and his family's escape from Syria, I began replacing Aboud Shalhoub's family, friends, and loved ones' faces with those from my own life. Forced to flee a war-torn country, leave his family behind, and make life-threatening journeys seeking asylum in Europe, this Syrian jeweler's experiences greatly differ from my own. But Cassel helped me bridge the gap.
The Journey's immersive empathy stems from the access—and resulting intimacy—that Cassel was able to achieve by embedding himself in Aboud's journey. Aboud had been away from his family for two years when he and Cassel met; Cassel followed him for the next eight months. The two risked their lives traveling by foot, bicycle, and sea from Turkey to Greece to Macedonia, where they spent 17 days walking across the Balkans to the holy grail of the European Union.
"I didn't get a crew together; I didn't have any money; I just did all this on my own.​"
No Film School spoke to the filmmaker just as he was preparing to move from Istanbul to Athens. "The situation here in Turkey is kind of tough for freelancers," he said. "Athens is a bit more comfortable; we don't have to worry about getting kicked out of the country." 
Binge-watch the entire six-part series, starting with the first episode, on YouTube (below) or via the New Yorker's website.
No Film School: How did you meet Aboud?
Cassel: I've been reporting in the Middle East, I speak Arabic, and I live in Istanbul. I'm connected to the Syrian community here. I actually knew a lot of them before the war started. They all came to Istanbul. I met Aboud through them.
NFS: When did you decide to follow his journey?
Cassel: He approached me because he wanted some practical information. When they went by land from Turkey to Greece, they wanted to know if I, as an international journalist, had contacts at the UN so they could call them when they got to Greece to prevent them from being arrested and sent back. That actually happened, but I wasn't there to film it. You can see in Part One how they get caught and returned. That was Aboud's fourth attempt to get to Europe. 
 "I didn't know the entire time what would happen one day to the next."
[After meeting Aboud], I was amazed by the stories he was telling me. In the middle of winter, he tried to walk through Bulgaria in the snow. And then he told me that he didn't even want to go to Europe. The only reason he was going through this difficult, humiliating, tiring journey was because it was the only way to be with his wife and two kids. I didn't have any plan to make a film. I was just amazed and inspired by this father who was so motivated to be with this family.
I went to his house as he was preparing to go on this Greece trip. I happened to have my camera with me. They were wrapping their legs in plastic wrap, and I was like, "What the hell are you doing?" They said they needed to do that to cross the river. I asked if I could start filming. One thing led to another and I just decided to follow this guy and see where it goes. I didn't know the entire time what would happen one day to the next. I didn't know he was going to eventually make it to Greece. He could have been stuck in Turkey or Greece for years. I just got stuck in this story. I was amazed by his courage and motivation to be with this family. 
Credit: Matthew Cassel
NFS: Throughout the seven months of the journey, were you living with him and experiencing everything together?
Cassel: On the trip, yes, I was. I did 98% of the same trip he did, except for a couple parts where we had to split up. When he got to Amsterdam, he went to an asylum center, so obviously I wasn't with him at that point. We were together almost all of the time.
NFS: Did you ever feel like your own life was in jeopardy?
Cassel: At the end of the day, I knew that I had something very valuable—and very unjust—in my pocket: my American passport. I knew it would protect me, especially in European countries, in ways that it wouldn't protect the Syrians, Afghans, Iraqis, and Yemenis. Knowing what they were risking, I felt that my risks were very minimal comparatively. I was willing to take risks to be able to be with them and witness what they were going through.
"There were so many shots to get, and I just wish I could have set up a tripod and focused more on the aesthetics."
NFS: What were your biggest concerns for the project itself?
Cassel: Once I started filming, there was a risk of thieves and police because we were traveling in remote areas with roads known to be dangerous. I was constantly worried about losing my gear; even more than that, I was worried about losing the footage that I'd filmed.
But the biggest concern was definitely the safety and well-being of the people I was traveling with. Aboud and his friends were mostly young, and they were pretty fit and in shape, but once we got those two girls, which you see in Part Two, we all took on a different mentality. We didn't want anything bad to happen to them. In the bigger group, there were also elderly people, sick people, and people with disabilities. 
Credit: Matthew Cassel
NFS: What were you carrying around, gear-wise?
Cassel: I wish I had had more money and had planned it better. I did have a Canon C100 Mark II, which is a fantastic camera, but it was big. I took a small lighting kit but I couldn't use it once throughout the trip because I would have risked exposing the location of the group and getting them in trouble with the police or thieves. Sometimes I couldn't take the camera out of the bag because I didn't want to appear to be a journalist when we were in sticky situations, so I had to use my iPhone to film. I also had a little Sony Action Cam that I used for a couple shots.
NFS: Was your priority getting the shot, or did you ever have a chance to think about aesthetics?
Cassel: There's so much beauty in Macedonia. That's the country we had to experience intimately because we walked through it for days. We slept in the farmlands, bathed in the rivers, and cycled through it. There were so many shots to get, and I just wish I could have set up a tripod and focused more on the aesthetics. That was really impossible because I was part of the group. Their concerns were also my concerns. I basically just had to bust out the camera and film whenever possible. It was also hard because we were exhausted, walking all day in the baking hot sun, we didn't have water, and then I had to film. The shots aren't quite as steady or beautiful as I would have liked to have made them. It was more just about taking the camera and pointing it at something that was happening. 
"Syrians will always tell me, 'I didn't want this. This was something that happened to us that was outside our control. This could really happen to anyone.'"
I was also worrying about media; I didn't have a computer, so I couldn't media manage. Also, batteries were a problem. I would turn the camera on, film for ten seconds, and turn it off right away just to conserve juice. I didn't get to charge for the first three or four days. 
NFS: How much footage did you have in the end?
Cassel: I'm embarrassed to say, but I never properly logged all of it. I don't know how many hours. But a lot. I shot over thirteen months. 
Credit: Matthew Cassel
NFS: The editing was particularly stunning. The pacing was lively; even through all the waiting and uncertainty, it kept me on my toes. How was collaborating with the editor, Olivia Dehez
Cassel: We know each other. We've worked together in the past. We both do everything: shoot, produce, edit. She gets it. She was really invaluable to the process. I was so intimate with the story, so close to everything that was happening, that she really added so much. She was able to look at the footage from a different perspective.
NFS: You were also coordinating with Simon Safieh in Damascus, who was able to film Aboud's wife, Christine, with their children. How did you engineer this partnership?
Cassel: He shot for a few days in Damascus. Actually, he shot one of the most important scenes in the movie, when Christine was leaving home and saying goodbye to her family, in Part 5. He was a friend of friend. Filming in Syria is very tough. Damascus is under government control, so it would have been hard for me to get a visa, and I was worried about bringing attention to the family. 
NFS: At a recent screening, Laura Poitras said you cold-called her Field of Vision team. What happened, exactly?
Cassel: There was an article in the LA Times about six months ago and a friend of mine suggested emailing Laura Poitras. Field of Vision has been absolutely great. Their notes have helped shape the narrative. I can't speak highly enough about the collaboration between us. They all had different perspectives, whether as filmmakers or industry people. 
Credit: Matthew Cassel
NFS: Was there a specific piece of feedback that changed the course of the film?
Cassel: The thing we struggled with most was Part 1. I didn't start filming, like I said, with a documentary in mind. I didn't get a crew together; I didn't have any money; I just did all this on my own. It was really hard to build up the drama in the first episode because the footage we had was so thin. They really helped. Parts 2, 3, 4, and 5, we're really on a journey, so that easier. In any film, the hardest part is the beginning. 
NFS: Was there anything you experienced or learned about the daily life of refugees that you wish everyone in Western society would know?
Cassel: So much. I made the trip early on—I was the first journalist to make the entire trip through the Balkans. I had finished the trip back in June, and July was when it started getting a lot of attention globally. Seeing the way that these people's stories—refugees, asylum seekers—were being told or not being told disappointed me and really upset me. I hate having to say this, because it should be so fundamental to our understanding, but these are people just like any of us. Syrians will always tell me, "I didn't want this. This was something that happened to us that was outside our control. This could really happen to anyone."
That's so true. My own family has a story of being refugees. My great-grandfather fled Eastern Europe by foot in the anti-Jewish pogroms of 100 years ago. My mom and her family members were watching Aboud's story unfold and they could really feel their family history. That kind of empathy for the people who are forced to make this trip is really crucial. 
I'm glad I was given such trust to make this film. Thanks to them feeling comfortable with me, the film does humanize them. We understand who these people are. They want basically the same things that any of us want: security, life, and dignity.      

Elon Musk basically thinks we're living in 'The Sims.' Here's why that's wrong — and dangerous

Elon Musk basically thinks we're living in 'The Sims.' Here's why that's wrong — and dangerous

Https%3a%2f%2fblueprint-api-production.s3.amazonaws.com%2fuploads%2fcard%2fimage%2f104580%2fscreenshot_2016-06-02_at_11.54.35_am
Musk believes our reality is almost certainly a simulation, like EA's 'The Sims' but many times more advanced.
Image: MASHABLE COMPOSITE: EA, MIKE WINDLE/GETTY
In the beginning was the AI.
And the AI created lots of little people who were also AIs, sort of. Or maybe they were brains in jars, or they were actual people who didn't know they were actually living in tanks of milky fluid so they could power batteries for the AI's machines, even though human beings barely give off enough energy to power a light bulb, especially not when they're lying in tanks of milky fluid.
Maybe the AI set up the whole Matrix thing just to distract itself from doing math like that.
But anyway! Whatever their purpose, the AI's dupes spent their time running around inside a simulation thinking they were living at the turn of the 21st century, back when most people thought A.I. was just a so-so Steven Spielberg movie.
The AI made sure that this simulation replicated every single mundane detail of their fakey-fake lives, like going to the bathroom and brushing their teeth, in perfect HD resolution, because the AI had played an old copy of 'The Sims' one time, and saw that it was good.
That, or something very close to it, is the gospel according to Elon Musk.
Answering questions at the Recode conference Wednesday, Musk, the Tesla and SpaceX superhero, revealed the surprising extent of his devotion to an old maxim: The world may not be as it appears, and you can't prove otherwise. In Musk's eyes, we're billions of times more likely to be in a simulation of reality on powerful future computers than we are to be in the real thing.
Unimpeachable, unproven and rooted in the power of technology and exponential curves, this kind of thinking is very much part of a new Silicon Valley gospel. Like the equally unproven concept of the Singularity, it may one day take the place of religion among techies.
Never mind that philosophers have been hacking away at that whole "world is an illusion" thing ever since a French thinker named Rene Descartes fell asleep in front of a fire in 1641.

Evil Demon or Computer Simulation?

Descartes was, so far as we know, the first man to worry that his perception of reality was being faked. He feared that an "evil demon" was presenting him with a complete image of everything, including simulating his body and simulating his friends and family. The demon "has directed his entire effort to misleading me," Descartes suggested.
It's a great thought experiment. I love that thought experiment! I have loved it ever since I was a 14 year old who'd never heard of solipsism, and came up with the whole idea himself in his bedroom, also not realizing it was centuries old.
I suspect this is a phase many too-smart-for-their-own-good kids go through.
I suspect this is a phase many too-smart-for-their-own-good kids go through: "Life feels weird. No one seems to recognize my genius. Maybe this is a fake reality!"
Of course, these days most rational people don't believe in evil demons. But it is just as easy to construct the thought experiment in a more exciting high-tech manner that appeals to those of us brought up on video games.
The Matrix was a damn good shot at doing this, battery math notwithstanding. But the gold standard is a 2003 paper by Oxford philosopher Nick Bostrom. Called "Are You Living in a Computer Simulation?", it updated Descartes by pointing out how powerful machines are getting these days, then spinning it forward into the future Moore's Law-style.
"It could be the case that the vast majority of minds like ours do not belong to the original race but rather to people simulated by the advanced descendants of an original race," Bostrom wrote in summary.
Given the countless billions upon billions of people who will (hopefully) exist in the future, and the trillions upon trillions of hours they'll spend immersed in video games, our chances of actually being the lucky people who originally existed — rather than simulations — are vanishingly small.

Sorry, the future is just not that into you

So is this the real life? Is this just fantasy? Caught by an AI, no escape from Bohemian Rhapsody references?
In his paper, Bostrom said there were only three possible conclusions to the thought experiment, which Musk quoted Wednesday:
(1) The fraction of human-level civilizations that reach a posthuman stage is very close to zero; (2) The fraction of posthuman civilizations that are interested in running ancestor-simulations is very close to zero; (3) The fraction of all people with our kind of experiences that are living in a simulation is very close to one.

Now I could spend some time on this, but I'm just going to skip straight to the chase. Spoiler alert: It's answer 2. Of course it's answer 2. We're not living in a perfect HD early 21st century simulation because not even the nerdiest of future nerds would be interested in building it or playing it.
How do I know this? I'll answer that with another question. When was the last time you bothered to simulate your own ancestors? Why not? We have the video game technology; why doesn't anyone care to do it? 
Spent a lot of time playing "Sim Neanderthal" on the PS4 lately? It's great! The game lasts for 30 years, and you spent nearly all of your time looking for berries, finger-painting on stone walls, and occasionally crapping your fur in terror when a saber-tooth tiger looks at you the wrong way. 
Plus don't get me started on how sizzlingly hot everyone looked back then! Bow-chicka-bow-wow, as they might have said if they'd had language. 
To an advanced future race, we are the Neanderthals. We're the creaky old diorama that makes your eyes glaze over in the Natural History Museum. We're so dumb and backwards and boring, we really can't hold a future audience's interest for more than five minutes unless we're cute and animated like Ice Age or The Croods.
Maybe there'll be some sort of exciting serial set in these dark times, a kind of 64th century version of Game of Thrones, but I doubt even that would simulate the exciting drama of every single damn time you ever went to the toilet. We can't all be playing Tywin Lannister.
To think otherwise, you'd have to be some sort of massive egomaniac who thinks they're so inherently smart and world-changing, the future is bound to want to create a simulation based on your life. Or in other words, you're a Silicon Valley entrepreneur.
(Here's a thought experiment for you, one that has genuinely kept me up at night: What if the more advanced in your career you become, the more recognized and notable, it increased your chances of actually being a future simulation? Would that make you more likely to be living a real life if you're a regular schlub, deliberately shunning all promotions, all achievement? Use that as an excuse next time your parents call.)
There is danger in this line of thinking, and not just because it could make you an egomaniac or a loser. It's this: If you start to look at the world and think "it's probably not real," you may have less desire to interact with it. You may care less about homelessness or poverty or famine, because it's happening over there, in another part of the simulation, to people who probably aren't even people.
Maybe thinking this way makes you more interested in the mechanics of the simulation as a whole, and you try to have the largest possible impact on it, which would explain Musk's laudable interest in solving climate change and taking us to Mars.
Or maybe it makes you diffident, content to do nothing while real evil rumbles overhead. Why would you volunteer to work long, hard hours in a phone bank trying to persuade people not to vote for Donald Trump, if Trump is just part of a simulation? (If so, he's proof that the game's makers just phoned it in when they constructed an end-of-level boss character).

LOL, it actually matters

This simulation notion is of a piece with that detestable nihilist hashtag, #LOLnothingmatters. It's shruggie culture, where we expend a lot of emoji-related effort to show how little we care. It's playing Candy Crush while Rome burns, because you're pretty sure Rome doesn't actually exist, even if those CGI flames look pretty real.
It could even be an excuse for the people who tortured flies as a kid, or trapped their Sims in doorless rooms, to perform the same kind of self-amused experiments in "real life."
Four centuries ago, Descartes found his way out of the "evil demon" philosophical trap with the one thing he could clearly say about himself: I think, therefore I am. No matter what is real or not in the outside world, your mind exists. You're proving it by reading this in your head right now.
So you might as well act like everyone else thinks and exists too — because that seems to be the whole point of the game. Caring about others genuinely makes us feel better; in the long term, it's the only thing that does.
If they don't exist, it doesn't matter either way, but if they do, you have a moral obligation to treat those minds the way you would want yours to be treated. To ease their suffering and increase the opportunity for them to have a great game.
And that, unlike worrying about some artificial intelligence in the far distant future that we don't even know we can build yet, is an idea worth thinking about.

Tyler Cowen:
Be suspicious of simple stories 
 
http://www.ted.com/talks/tyler_cowen_be_suspicious_of_stories?utm_campaign=social&utm_medium=referral&utm_source=facebook.com&utm_content=talk&utm_term=humanities 

TEDxMidAtlantic · 16:32 · Filmed Nov 2009
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Like all of us, economist Tyler Cowen loves a good story. But in this intriguing talk, he asks us to step away from thinking of our lives — and our messy, complicated irrational world — in terms of a simple narrative.

The Lasting Benefits of Growing Up Around Books

The Lasting Benefits of Growing Up Around Books

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Photo: Darren Johnson / EyeEm/Getty Images
There are many things one may take issue with in Marie Kondo’s mega-best-selling The Life-Changing Magic of Tidying Up, but for a certain sort of person, one particular piece of advice she gives is unthinkable: Throw away your books, she says. Get rid of as many as you possibly can, both the ones you’ve read and the ones you haven’t (and know you never will). For your very favorites, she allows, you may rip out the best parts and keep only those pages.
This is impossible advice to follow for bookworms, whose preferred home environments look something like beloved used-book stores. And there is now, Quartz reports, a bit of empirical evidence about the lasting benefits of keeping stacks of books lying around, at least in childhood — kids who grow up around books end up being more successful. In a study of nine European countries, a team of economists from Italy found that boys who had access to non-school-related books grew up to make 9 percent more, on average, than boys who did not have many non-textbooks around. (Alas, this data set focused only on the guys.)
Writer Thu-Huong Ha breaks down the study methodology:
The researchers based their models on data collected from men between ages 60 and 96 from Austria, Belgium, the Czech Republic, Denmark, France, Germany, Italy, the Netherlands, and Sweden, part of a massive ongoing survey of Europeans. They compared whether the men grew up in rural or urban environments, the years they were in school, roughly how many books they had in their houses at age 10, and their income across their lives.
According to the study, which was published in The Economic Journal, the magic number of non-schoolbooks appeared to be ten. “Crucially, there was no significant difference between whether participants reported having 50, 100, or 200 books growing up,” Ha explains. “The key was whether they grew up with any number of books greater than ten.”
This study captured data from in the pre-internet era, so it’s not clear what this may mean for children growing up today. And it’s true that it may not be the books themselves that created this association, or not exactly, anyway. A house with books is likely a house that values education; it may also be a signal of higher socioeconomic status.
But in recent years, psychological science has found that reading fiction increases empathy; one 2014 study on the Harry Potter series in particular found that kids who read about magic and Muggles were more likely to have positive feelings about people who were different from them. Perhaps the emotional intelligence that kids gain from reading helps set them up for success later in life. In sum: Books are great! Keep ‘em around.

‘The Art of Slow Motion’: New Video Essay from The Discarded Image Examines the Popular Technique


‘The Art of Slow Motion’: New Video Essay from The Discarded Image Examines the Popular Technique

Martin Scorsese, Wes Anderson and death itself all feature prominently.


Julian Palmer’s “The Discarded Image” series of video essays continues with “The Art of Slow Motion.” Palmer touches on everything from its frequent use in action movies, where it allows fight sequences and supernatural abilities to be seen in a level of detail that real time wouldn’t allow, to Martin Scorsese’s habit of using it to allow us inside his characters’ minds, namely those played by Robert De Niro: Travis Bickle in “Taxi Driver,” Jake La Motta in “Raging Bull” and Sam “Ace” Rothstein in “Casino.”
READ MORE: Watch These Parodies of Video Essays and Learn the Answer to the Question ‘Why Is Cinema?’

Other practitioners featured in the video include Stanley Kubrick (“Full Metal Jacket”), Wong Kar-wai (“Chungking Express” and “In the Mood for Love”) and Nicolas Winding Refn (“Drive”). Palmer also turns his attention to the bloody climax of “Carrie,” where Brian De Palma underscores the feeling of imminent dread, and “Reservoir Dogs,” where Quentin Tarantino makes his color-coded characters look cool.
READ MORE: Every Frame A Painting: Learn How Editors Think & Feel In Tony Zhou’s New Video Essay
The essay ends, fittingly enough, with an invocation of both Wes Anderson (who closes out almost all of his movies with a slow-motion scene) and the ever-popular slo-mo death sequence.
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‘King Jack’ Review: This Coming-Of-Age Story Packs A Rare Punch

‘King Jack’ Review: This Coming-Of-Age Story Packs A Rare Punch

Felix Thompson's debut is part "Boyhood," part meditation on violence.

"King Jack"
“King Jack”
Writer-director Felix Thompson’s “King Jack” is a sensitive and self-possessed debut that clocks in at 76 minutes and doesn’t waste a single one of them. A coming-of-age story that mines familiar territory with unusual verve, the film almost immediately throws its cards on the table. The first scene finds our scrappy, towheaded 15-year-old hero (“Boardwalk Empire” alum Charlie Plummer in the title role) sneaking onto somebody’s front lawn during the early dawn hours and spray-painting the word “CUNT” on their garage door in huge black letters. The light is soft, the camera is close, and the music is warm — there are really only so many places a strong, tender-hearted indie can go from there.
Shot through a limpid, mid-summer haze in the Hudson Valley, the film follows Jack as he bikes back to the broken home he shares with his single mother (Erin Davie) and his garage mechanic brother (Christian Madsen). They live in a recognizably lower middle-class house, the musty kind of place where everything is peeling off the walls and everyone is screaming on the inside.
Jack hides in his room and tries to will himself into becoming a man — he does push-ups (as amusingly futile as filling a go-kart with rocket fuel), smokes cigarettes, and texts the girl he likes a picture of his dick. He’s called “scab” by the kids at school, and a pissed-off posse of them (led by Danny Flaherty as Shane) abuses him with extreme prejudice. Watching them get revenge on the whole garage door business by blasting Jack in the face with spray-paint, it’s clear that the adolescent rage is marked by a fully matured sense of violence. Jack’s frame has yet to fill out, but the weight of masculinity is already sinking onto his small shoulders.
Jack may mope and complain when his aunt “goes crazy” and he’s forced to babysit his chubby younger cousin Ben (a wonderfully blank-faced Cory Nichols), but he seems happy to finally have someone he can lord over, someone even more defenseless than himself. When Ben is taken hostage after the beef between Jack and Shane’s escalates to the level of a paintball gang-war, the eponymous shrimp is forced to figure out what it really means to be strong.
Plummer is in every scene of the movie, and his magnetic performance resonates with a wounded, weaselly, wannabe tough guy vibe that makes him a natural lead — there’s enough going on behind his eyes that you can feel his character processing things in real-time, and so all of “King Jack” is imbued with the vital energy of a young kid realizing that he doesn’t have to be a product of his environment. Jack is just old enough to do something that ruins his life forever, just old enough where he can slip through the cracks without someone being there to catch him.
Almost nothing happens in this movie that you won’t see coming a mile away, but when you’re 15, you don’t really see anything coming until its right in front of you. Thompson’s tunnel-vision plotting cleverly expresses the myopia of its young protagonist by allowing his most formative hours to unfold with the organic quality of a lazy afternoon. Between Ben, Shane, Jack, his family, the girl he likes, and the girl who likes him, there are nearly a dozen parts that very neatly slide into place for the movie’s climactic party, but Thompson makes the most of the energy he mines from Plummer and Nichols’ performances, using the “whatever” energy of an unsupervised summer day to distract from his script’s suffocating airtightness.
The result is a movie that unfolds like a delicate short story, a wisp of a film in which everything is in exactly the right place and even the smallest supporting roles are played with naturalistic perfection. That lived-in quality is sometimes at odds with a tone that feels like it was lifted wholesale from any of the similar coming-of-age features that Sundance has turned into a cottage industry (is it a spoiler to reveal that this movie ends with some kids riding their bikes down a street to some vaguely uplifting music during the magic hour?). But childhood is all about commonalities — “Boyhood” resonated with so many people because of its broadness, because it provided viewers a new lens through which to see their own lives.
And “King Jack,” while unabashedly a coming-of-age story, is even better as a portrait of masculinity in crisis, of how its passed down from one generation to the next, and how that process might best be interrupted. Even at its most clichéd moments, Thompson’s debut never loses sight of its hero’s most crucial lesson, and the one truth he’ll hopefully keep fighting to protect: Violence isn’t an expression of strength, it’s an expression of weakness.

Grade: B

“King Jack” opens in theaters on Friday.
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