Have You Ever Had A Dream, Neo, That You Were So Sure Was Real?
Morpheus (The Matrix, 1999)
Our world, our home, this table, that apple forms our reality… what we experience is the reality and déjà vu is déjà vu… or is it?
What if the funky sci-fi stories are correct? What if we are living in a simulation?
Taking just the ‘sci’ route for now, we move ahead.
Definition says – “A simulation imitates the operation of real world processes or systems with the use of models. The model represents the key behaviours and characteristics of the selected process or system while the simulation represents how the model evolves under different conditions over time.”
Nick Bostrom, a contemporary philosopher, in his seminal paper ‘Are You Living In A Computer Simulation?’ published in Philosophy Quarterly (2003) argues that at least one of the following propositions is true –
(1) the human species is very likely to go extinct before reaching a “posthuman” stage; (2) any posthuman civilization is extremely unlikely to run a significant number of simulations of their evolutionary history (or variations thereof); (3) we are almost certainly living in a computer simulation.
This galvanizing thought, also explored in literature, reached the masses, in leather-overcoat-black-shades defining manner, via the 1999 blockbuster film, The Matrix.
In a cyberpunk style, The Matrix, fantastically paints a futuristic grim image of us all ignorantly trapped/living in a simulation. But this world fluctuates as there is a ‘Neo’ hero and an ‘Agent’ villain and also a Polestar named Morpheus; while the villain manipulates, dulls and destroys, the hero trusts the revolution and liberates.
A journey with a final destination, the film knows where to end.
A hypothesis doesn’t worry about endings, it is simply and honestly a hypothesis; like one shared by Nick Bostrom, a straightforward, happy philosopher.
He states –
Proposition (1) doesn’t by itself imply that we are likely to go extinct soon, only that we are unlikely to reach a posthuman stage. This possibility is compatible with us remaining at, or somewhat above, our current level of technological development for a long time before going extinct. Another way for (1) to be true is if it is likely that technological civilization will collapse. Primitive human societies might then remain on Earth indefinitely.
There are many ways in which humanity could become extinct before reaching posthumanity. Perhaps the most natural interpretation of (1) is that we are likely to go extinct as a result of the development of some powerful but dangerous technology…
The second alternative in the simulation argument’s conclusion is that the fraction of posthuman civilizations that are interested in running ancestor‐ simulation is negligibly small. In order for (2) to be true, there must be a strong convergence among the courses of advanced civilizations…
What force could bring about such convergence? One can speculate that advanced civilizations all develop along a trajectory that leads to the recognition of an ethical prohibition against running ancestor‐simulations because of the suffering that is inflicted on the inhabitants of the simulation…
Another possible convergence point is that almost all individual posthumans in virtually all posthuman civilizations develop in a direction where they lose their desires to run ancestor‐simulations.
This would require significant changes to the motivations driving their human predecessors, for there are certainly many humans who would like to run ancestor‐simulations if they could afford to do so. But perhaps many of our human desires will be regarded as silly by anyone who becomes a posthuman…
The possibility expressed by alternative (3) is the conceptually most intriguing one. If we are living in a simulation, then the cosmos that we are observing is just a tiny piece of the totality of physical existence. The physics in the universe where the computer is situated that is running the simulation may or may not resemble the physics of the world that we observe. While the world we see is in some sense “real”, it is not located at the fundamental level of reality. It may be possible for simulated civilizations to become posthuman. They may then run their own ancestor‐simulations on powerful computers they build in their simulated universe.
Such computers would be “virtual machines”, a familiar concept in computer science. (Java script web‐applets, for instance, run on a virtual machine – a simulated computer – inside your desktop.) Virtual machines can be stacked: it’s possible to simulate a machine simulating another machine, and so on, in arbitrarily many steps of iteration.
If we do go on to create our own ancestor‐simulations, this would be strong evidence against (1) and (2), and we would therefore have to conclude that we live in a simulation. Moreover, we would have to suspect that the posthumans running our simulation are themselves simulated beings; and their creators, in turn, may also be simulated beings. Reality may thus contain many levels…
In the dark forest of our current ignorance, it seems sensible to apportion one’s credence roughly evenly between (1), (2), and (3).
Talking about the second option, how wonderfully sublime, explicit yet indefinite it is? “Ethics”, Nick Bostrom, matter-of-factly, talks about ethics. That the post-human civilisation may find it ethically wrong or simply may not be interested in undertaking such “ancestor-simulations” is superbly intriguing.
Flood-gates of what is bright and reverberating distinctly, incessantly somewhere, suddenly leaves us with a promise – its nature and terms we know not as yet for we are too far away.
But this gratifying simple thought present as the second option balances and bridges the other two, quite possible, extremes, as if it knows the truth, as if it is the truth … while we wait and work our way towards…
Fate, It Seems, Is Not Without A Sense Of Irony.
Morpheus (The Matrix, 1999)
Download and read Nick Bostrom’s complete simulation argument now –
One summer gleaming morning, back in the 90s, a musician woke up, looked at the world maze and its commuters when a rapturous beat filled his mind… it was a fusion, a fusion of ragga and bhangra beats… the musician knew it was the time to sweetly twist the great razzmatazz of the world maze drama.
And so Apache Indian, the British Indian singer and reggae DJ, mixing cultures, tunes and beliefs, London to India via Jamaica, created a new wave that danced its way into stiff-grumpy-busy society’s heart. His funky hybrid tracks spoke bluntly but always with the spirit to bring a change.
Staying true to its roots – the reggae music genre is known to attack social evils – Apache Indian tried to arrest some fanatic dogmas and set free our handicapped progress.
“High caste low caste, we don’t want that,
Everyone equal, let us decide that.
High caste low caste, Sanu ni chahida (we don’t want that),
Saare jaane barabar (we are all equal), Maano rab da kehna (listen to the one God).”
Caste System – Apache Indian; Album – Nuff Vibes
“Caste System”, “Arranged Marriage”, “Aids Warning”, “Election Crisis” are some tracks that talk about an era and some persistent crippling ideas, all composed in an upbeat style. The very vigorous sounds of bhangra beats give these songs a desi, identifiable and yet refreshing touch; the east and the west amalgamates beautifully.
Then the peppy catchy dance numbers like “Boom Shack-A-Lak”, “Chok There”, “Don Raja”, “Ragamuffin Girl”, “Jump Up”, and “Celebrate” call out to all the listeners to enjoy the moment.
No.1 in a the Bombay chart Indian me a tear them apart When me come me bring a new stylee So listen crowd of people and you have to follow me Chok there – them a ball when they see the Indian Chok there – raggamuffin under style and pattern Chok there – when me come that a different fashion First tune a say me do no it reach No.1 In a the reggae charts and the Indian Chok there – see me face upon the television Chok there – hear me voice pon the radio station Promotor them a come them a rub off them hand Keeping a session and them want it fe ram Chok there – put me name pon the invitation Chok there – pon the gate go raise a million Me bring a brand new style upon the Island Fe the black a fe white and a fe the Indian So each and everyone come follow fashion
Chok there – dip your knee cork out you bottom Chok there – everyone in a the Bhangra fashion Nuff DJ them a have a fe them own stylee Some a wa da dong deng same a come follar me And some a them a say Oh Lord a mercy Pnumina ick pnumina do and also in a three But anytime me came me bring a brand stylee So listen crowd of people and you have to follow me…
Chok There; Songwriters: Simon Duggal, Diamond Duggal, Steven Kapur aka Apache Indian; Album – No Reservations
Experimenting freely and successfully, Apache Indian collaborated with many artists worldwide, from Sean Paul, Maxi Priest, Shaggy, Boy George to A. R Rahman, Asha Bhosle, Bally Sagoo, SteroNation and Jazzy B.
It was in the 90s, a summer dream that came true… not a super-sonic era, but moving towards one, grooving and listening to Apache Indian’s music… that was created with a hope, adding a little bit of this and that to ragamuffin magic, a hope to become better… a hope that is still alive.
Epics, narrative grand poems that celebrate the feats of a hero, and Sagas, narrative prose that deals with social histories and legends, bring forth the magnificent magical miraculous in stories to remind us of the distant charming dream we so often dream; the dream where we always win the battle.
Such heroic stories colour our humdrum thoughts, cheering the spirit’s faith in wonders.
Believing in wonders is vital for it steers us to explore life more keenly and sanguinely; our cherished wonders, packed neatly in stories, passed from generation to generation, create our mythologies.
Mythology is psychology, misread as cosmology, history, and biography.” — The Flight of the Wild Gander (1951)
by Joseph Campbell
The heroic stories, the epics and sagas, the mythologies continue to bridge the gap between the normal and the astonishing, to collect various truths sans embellishments, to fuel the burning time and to mentor the individual who approaches it.
Approaching the epics and sagas via an audiovisual means is not an offence; rather it is advantageous for all those who believe in it.
Arthdal Chronicles is an epic saga that has attempted to present Act I of mankind’s complicated story, a thoroughly entertaining and gripping version of how the journey began.
Arthdal Chronicles is a South Korean fantasy drama TV series that takes us back to the Bronze Age in a mythical land named Arth, where different human species and tribes struggle to be on the top of the power pyramid. The tribes which are technically advanced win over the ones which are not; fear of gods and goddesses help in ruling over the masses. In the chaos of battles and betrayals, the hero, as foretold by the seers, rises amongst the so-called barbarians to win his love and tribe back.
What is fascinating is the fact that in Arthdal Chronicles the writers have given every single one of the main characters, not one but many archetypal characteristics making them grey in the purest sense. These characters drive the already-active plot making it an engaging watch.
Meet the five main characters of the series –
(Spoiler Alert – if you do not wish to know the secrets in advance then please watch the show first, though I assure you that this analysis will not tarnish your experience of watching the series.)
The Warrior/ The King/ The Dictator/ The Intellectual/ The Lover
Ta-gon is an excellent warrior; his war tactics bring victory for the Sarem tribe making them more powerful. His secret, that he is an Igutu (mixed blood species), is his strength and weakness. The king, his father, repents not killing him as a child – a traumatic moment that shapes Ta-gon’s persona. His father stations him always on the battlefield, keeping him occupied fighting and winning endless battles, taking over more and more land, getting more salves in return.
Aware of his father’s scheme, Ta-gon plays the game of politics shrewdly and with the help of his loyal Daekan warriors overthrows his father and becomes the King of the entire kingdom. Unafraid to do the blasphemous, the terrible, Ta-gon kills his father and framers an outsider – Eun-Seom.
Ta-gon makes sure no voice rises against him. He becomes the king and very soon a dictator – for he still has a major opponent to defeat – the religious guru Aasa Ron – against whom he could not declare an open war (not unless he has secured his position).
An atypical lover, Ta-gon promises his love, Tae Al-ha, that whatever happens, they will never sacrifice themselves for each other; both tired of acting as pawns for the men in power, they decide to free themselves from this bonded life. Tae Al-ha plays a very important role in Ta-gon’s victories as she understands the political game only too well.
While maintaining his outer image as an indomitable King, Ta-gon prefers to compromise rather than quit. He is an intellectual, a wise man who knows when to recede and when to attack.
When such a complex character is situated in a volatile scenario, explosions are bound to happen. The character growth that we witness in Ta-gon – from a warrior to a king to a dictator to a fallen hero yet not fully defeated – makes him a real, three-dimensional character.
The Queen/ The Femme Fatale/ The Backstabber/ The Lover/ The Protector
One of the strongest characters in this series is Tae Al-ha, daughter of Mehol (whose tribe has the authority over all the technical advancements), Ta-gon’s love interest whom the King i.e. Ta-gon’s father, also proposes for marriage.
She is intelligent, courageous and calculative. A natural leader, she is a perfect contender to be a Queen.
Tae Al-ha desires to win the entire Arthdal Kingdom and rule it along with Tagon. For this she manipulates, tricks and kills; at times like a Femme Fatale she spies for her father and brings all the information that he wants to know about Ta-gon and his father; playing the game all along, revealing only that what must be revealed.
Until the time when his father’s plan does not hold any threat for Ta-gon, she like an obedient servant works assiduously for him, but when her father tells her that to maintain his camaraderie with the ruler, their next step would involve Ta-gon’s sacrifice, Tae Al-ha backstabs her father and takes Ta-gon’s side.
She tells her father that she has chosen a path for herself and that path will take her and Ta-gon to the throne.
As the story progresses, her and Ta-gon’s love story also progresses; she knows all his secrets; she is the one who brought up his child (the Igutu child he had found abandoned in the jungle); she is a true lover and protector as she saves Ta-gon from every threat, albeit her strong personality, her clever solutions to the problems and shrewdness keep us guessing if she is actually on anyone’s side.
Later in this series, Tae Al-ha fights the soldiers who are sent by Asa Ron (the religious leader) to kill Ta-gon; she gets badly injured but does not quit until she finishes each one of them.
Ta-gon and Tae Al-ha fall and rise together, determined throughout to win the kingdom of Arthdal.
The Hero/ The Messiah/ The Punisher/ The Protector/ The Innocent/ The Star-crossed Lover
Eun-Seom is very much like the classic mythological hero –at times like Krishna & at times like Christ- born in tumultuous times, is raised away from his home town, brought up by outsiders, different from the normal kids of his age, capable of doing the impossible, righteous and smart, who grows up to be the saviour of not only his tribe but all the suffering souls.
Here, Eun-seom is on a ‘Hero’s Journey’ where his adventure has begun and he is facing crisis back to back; death threatens and revives him; after undergoing an internal transformation he continues with his journey.
Slave trade is prevalent in this world and Eun-seom, betrayed by one of his own, is sold as a salve. Trapped in a mine, digging day and night, collecting precious stones, Eun-seom, feeling cheated and lonely, slowly regains his strength and rises back to fight and frees not only his friends but the rest of the slaves as well.
He like a Messiah saves the victims and like a Punisher destroys the evil-doers. It is Eun-seom who asks the warring tribes to unite if they wish to stand against the powerful lords.
In the series, he is often hailed as Aramun Haseulla – the great god who first came on Arth and settled the first tribe, while later he is called Inaishingi – the leader who, 1000 years ago, united all the warring tribes as one.
Initially, Eun-seom is also a simpleton, an innocent person, who restrains from killing anyone, he hesitates to use his power (as being an Igutu he is more powerful than Homo Sapiens), but when he sees the ways of this new world, and how the weak are suffering, he changes and accepts that he cannot win from the technically advanced race without bloodshed; he understands there is just one sin in the world and that is to show weakness. Thus, he becomes the Protector for all those who join his cause and for them he fights and kills without flinching.
Eun-seom’s character grows, he learns how corrupt this world is, a complete opposite of Iark (the place where he has grown-up); while he is in search of his true identity, his main focus remains the same –to save Tan-ya, his love. The promise that he made to Tan-ya, helps him to survive every danger, the hope of meeting and rescuing Tan-ya fuels his spirit.
Both Tan-ya and Eun-seom were born on the same day, the day Azure Comet shined brightly in the sky; their destiny was sealed that day and thus, even when apart, their heartbeats for each other. They are star-crossed lovers who are destined to change the world forever.
The Female Messiah/ The Punisher/ The Star-crossed Lover/ The Scapegoat
Tan-ya, the next Great Mother of Wahan Tribe, is also destined for great things, though initially, she does not picture herself doing anything of importance.
Her character arc develops quickly as soon her tribe is thrown in jeopardy, many die including her mother and thus, she takes the responsibility as the tribe’s Great Mother. She becomes the Female Messiah as she is the one who frees the remaining members of her tribe, including her father. She is forgiving but does not hesitate in punishing the evil-minded.
She is a nature lover and does not like living in Arthdal; she misses the simple lifestyle of Iark. She stands for her causes, loves her tribe and is willing to fight for them.
Often she and the other Wahan tribe members are used as the scapegoat in the series; when Ta-gon frames Eun-seom for his father’s murder, the public ostracises and attacks Tan-ya and her tribe. Until she becomes the high priest, she stays continuously under threat – Ta-gon, Tae Al-ha and Saya –all try to use her to achieve their ulterior motives. But Tan-ya is a fast learner, she starts understanding the structure of the power pyramid and outplays them all. She can no longer be used as a scapegoat or as a pawn.
Just as Eun-seom, Tan-ya is always thinking about him; she is worried if he will be able to survive in this new world; when Saya tells her that Eun-seom and other Wahan tribe members died in an uproar caused between salves and their lords, Tan-ya breaks down; she then decides not to give up and instead gain power to save the rest of her tribe and apologises Eun-Seom for not ending her life.
She and Eun-seom are a perfect example of the star crossed lover archetype, once separated, they do not get to meet in the first season, while they ceaselessly yearn for each other. Tan-ya before getting captured gives Eun-seom a name – dream – she tells him that he is her and her tribe’s dream, a dream that is meant to come true and so he will have to win.
The Fool/ The Lover/ The Outcast/ The Intellectual
Saya is Eun-seom’s twin brother who was adopted by Ta-gon; he was brought up by Tae Al-ha and spent his childhood life trapped inside a tower. He is truly unpredictable as an individual – the Intellectual when he uses his knowledge (he is very well-read) and tricks Ta-gon and Tae Al-ha and helps Tan-ya to become the high priest, the Fool when he acts instinctively and makes mistakes (by declaring overtly that he is Ta-gon’s son) and a Lover when he for the first time does something, not for his personal but for Tan-ya’s interest.
Though he falls for Tan-ya, he repeatedly tells her lies (like Eun-seom is dead).
Saya is made to live the life of an Outcast; the fact that he is an Igutu and lives in the royal palace equals a serious crime. Ta-gon makes sure that he is locked up all the while; he wishes to use Saya as an Igutu loyal servant.
Full of mysteries, Saya acts as a devoted son, he fears Ta-gon and follows his instructions sincerely, but at times he reveals his anger and frustration and hatred towards Ta-gon and Tae Al-ha. He wants to break away and rule as the King. He can sense Tan-ya’s free spirit and wishes to be with her always.
By the end of the series, the world gets to know about his identity – that he is Ta-gon’s son – and his position becomes stronger as he and Tan-ya (the high priest) appear as a couple to the public. Though it is still not clear as to which side he truly belongs and what new plan he is hatching.
According to a prophecy, three powers that united and later will destroy the Arthdal kingdom are – a Sword (to slay the wicked), a Bell (to echo the Word of God) and a Mirror (to illuminate the world with truth) – Eun-seom, Tan-ya and Saya represent these three powers.
In season one, we cheer for these three characters (especially Eun-seom and Tan-ya) and thus, it will be interesting to see them as the destroyers, facing Ta-gon, Tae –Al-ha and the entire Arthdal kingdom.
Watch Arthdal Chronicles to witness the unfolding of an epic saga.
Gabbeh, the 1996 film, is a simple tale of a gipsy girl, her clan and the way their life goes on.
Unfolding beautifully just like an artist painting a canvas, Gabbeh quietly touches the grand questions.
What is the purpose of existence, what is this feeling of love, what makes colours so harmonious, so arresting?
The complexities, the insatiable desires, the mind games, what helps and what hinders, how do we know?
What is to be said, heard and done before death?
The film weaves a beautiful pattern of such thoughts, but subtly, charmingly that one gets truly absorbed in the flow of the story and does not feel staggered or burdened at all.
The story is exceptionally close to reality even though the style of its narration is truly poetic. It is simple and complex, romantic and mystifying, colourful and rough, complete and incomplete.
Presenting life from a woman’s point of view, talking about the role of a woman in a family, sharing her aspirations and wishes with us, the entire story thus, inherently is full of warmth, colour and calmness, making the love palpable for the viewer.
The best way to describe Gabbeh would be to call it a dream. It is a folk tale, a myth and yet an unembellished raw saga; hazy, vibrant, unreal and real at the same time.
Gabbeh is an experience, a dream that you must see one day.
Written and Directed by – Mohsen Makhmalbaf, Gabbeh – Shaghayeh Djodat, Music by – Hossein Alizadeh, Cinematography – Mahmoud Kalari, Edited by – Mohsen Makhmalbaf, Language – Persian.
“Attention is the rarest and purest form of generosity.” – Simone Weil
Stone steps lead up to a place I am yet to see. Dealing with the quietness interrupted intermittently by sweet songs of the birds, I continue ahead. My mind usher some unwanted thoughts and force me to dwell on and on and on, until I refuse, pause and take a deep breath. Don’t inquire for I don’t know why I am smiling, but I am and it has opened the collection of happy memories. Beaming face feels like being in an ocean of flowers. I start knitting happy thoughts with the golden thread of dreams and everything seems possible, the world is mine. A castle is constructed, my reign flourishes in seconds and in seconds I see my downfall. When I gather the broken pieces and stand up, I see the stone steps staring at me. No dialogues are exchanged, and I continue ahead.
When I wake up, I don’t think much of this dream. I am already late to rush into my monotonous routine. The running time never bargains while I always find a reason to bargain, but I haven’t cracked a deal even once.
The whole day I critique myself, like a ritual, except when the dream hushes me-the-perfect and me-the-kind takes over.
It was blurry… but I remember it clearly. Old hands like my mother’s but she wasn’t my mother, then why do I see her? The place is cold and that is how I feel until I look at her, I feel cold and wet as if I didn’t run away from that day’s hard rain. Everything around was cold and wet that day and so was it in my dream. That day when I was strolling in the park I saw a black sparrow… Francis said he would rather be a black sparrow than fight in the war. I saw the black sparrow, and I left the park.
She is sitting on a wheel chair, she is wearing black. Today, when I picked up the burnt paper, I crushed it without knowing why; my hands can still feel the smooth blackness. But she was surrounded by a harsh blackness, she was in the sun, but everything was crude and dull. I hate myself for crushing the burnt paper, I can feel the crude blackness now.
Francis collected stones all the time, he had strange hobbies. Stones he said are beautiful unless we give them a shape. The old lady, someone’s mother, had an image in her eyes; a dull face as if sculpted, and I agreed with Francis that it looked utterly dead. It scares me every time I see the dream.
I am there to help you old lady. Who is it that you are holding in your eyes? What are you whispering? I can’t hear you? She isn’t looking at me Francis, she is looking somewhere else. Francis I can’t see you. I can’t see the black sparrow. I am tied to the dream. I see her eyes Francis… her eyes… there is fear in her eyes.
A roguish year, 2020, I believe was a twist in our LIVE story. Terrible, oh, terrible things happened. Let us nurture hope, let us learn from our mistakes, let us help each other and contribute honestly to this change.
Let the old charm of stories work, let stories heal your tired heart.
This colossal twist proves that the great writer is planning to finish a chapter, but the story is far from over. Dawn is about to break, the sun rays will fall on a new beginning soon.
Come to Chiming Stories, pocket old and new posts and watch, along with me, the horizon.
Gabbeh, the 1996 film, is a simple tale of a gipsy girl, her clan and the way their life goes on. Unfolding beautifully just like an artist painting a canvas, Gabbeh quietly touches the grand questions.
Arthdal Chronicles is a South Korean fantasy drama TV series that takes us back to the Bronze Age in a mythical land named Arth, where different human species and tribes struggle to be on the top of the power pyramid.
Yes fly! For walking on the second track is dull and usual, but dreaming high, high, high requires tools. Tools like the right pair of shoes, a chirpy, gritty soul that eats butter-jam dreams, a soul that drinks milky-milky creams.