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No Maps For These Territories

A Profound and Moving Statement About the Human Condition


You don't need to be a fan of William Gibson to get a lot out of "No Maps for These Territories." Taking the simple form of Gibson expounding on a raft of subjects from the backseat of a car en route from Los Angeles to Vancouver, intercut with a breathtaking visual melange to illustrate his points, "Maps" is a good reminder of how truly profound have been the changes in the world in the last few years, as well as what it means to be human -- the only animal that makes maps, after all.

Despite the whole "cyberpunk" label (which he rejects, anyway) Gibson comes across as intelligent, thoughtful and a rather nice person, and he looks at least a good decade and a half younger than his mid-50's baby-boomer age. And his description of his writing process is the most accurate distillation of how creativity works that I've ever heard. There isn't any BS coming from this back seat; Gibson speaks from the heart and it shows.

Oddly enough, it's the hardcore fans who might be the most disappointed in this film. Gibson is almost self-deprecating in talking about his work and his fame. But it's a film that deserves to be seen, and listened to with great attention. It's also done with a stunning style that adds to, rather than distracts from, the content. The film begins with frenetic, quick-cut images, but ends up in a beautiful, elegiac mood as we drive down a fog-shrouded bridge while U2's Bono reads from Gibson's unpublished Memory Palace. The end result is moving, haunting and worth many repeat viewings to take it all in.

William Gibson

William Ford Gibson (born March 17, 1948) is an American-Canadian speculative fiction writer and essayist widely credited with pioneering the science fiction subgenre known as cyberpunk. Beginning his writing career in the late 1970s, his early works were noir, near-future stories that explored the effects of technology, cybernetics, and computer networks on humans—a "combination of lowlife and high tech"—and helped to create an iconography for the information age before the ubiquity of the Internet in the 1990s. Gibson coined the term "cyberspace" for "widespread, interconnected digital technology" in his short story "Burning Chrome" (1982), and later popularized the concept in his acclaimed debut novel Neuromancer (1984). These early works of Gibson's have been credited with "renovating" science fiction literature in the 1980s.
After expanding on the story in Neuromancer with two more novels (Count Zero in 1986, and Mona Lisa Overdrive in 1988), thus completing the dystopic Sprawl trilogy, Gibson collaborated with Bruce Sterling on the alternate history novel The Difference Engine (1990), which became an important work of the science fiction subgenre known as steampunk.
In the 1990s, Gibson composed the Bridge trilogy of novels, which explored the sociological developments of near-future urban environments, postindustrial society, and late capitalism. Following the turn of the century and the events of 9/11, Gibson emerged with a string of increasingly realist novels—Pattern Recognition (2003), Spook Country (2007), and Zero History (2010)—set in a roughly contemporary world. These works saw his name reach mainstream bestseller lists for the first time. His most recent novels, The Peripheral (2014) and Agency (2020), returned to a more overt engagement with technology and recognizable science fiction themes.
In 1999, The Guardian described Gibson as "probably the most important novelist of the past two decades", while The Sydney Morning Herald called him the "noir prophet" of cyberpunk. Throughout his career, Gibson has written more than 20 short stories and 12 critically acclaimed novels (one in collaboration), contributed articles to several major publications, and collaborated extensively with performance artists, filmmakers, and musicians. His work has been cited as influencing a variety of disciplines: academia, design, film, literature, music, cyberculture, and technology.

Please watch the film case the player malfunctions. 

From the back of a chauffeured limousine equipped with a computer, cell phone and digital cameras, legendary science-fiction writer William Gibson, author of "Neuromancer," embarks on an unusual cross-country trip. In this technological cocoon, the man who created the term "cyberspace" comments on an array of subjects -- including his literary success, what led to his writing career and how the modern world is starting to resemble the futuristic one he writes about.
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Mark Neale
Mark Neale
Mark Neale
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The holographic principle: Study

In short, the holographic principle states it is the area A of a surface that constrains the amount of information in the bordering regions, and not the volume. The holographic principle therefore relates information and geometry, and this suggests it's origin must lie in a theory which unifies matter and spacetime.

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The holographic principle is a remarkable property that seems to be universally valid. It relates the information content of nature to the geometry of spacetime, and therefore it seems that it originates from a yet unknown theory which unifies quantum mechanics and gravity. According to the covariant entropy bound, the amount of information that a region of space can posses is vastly less than the predictions of any current theory. Even more, it is possible that a deeper theory is not local, since the CEB states that entropy on a light-sheet is limited by the area of its boundary surface. Another interesting feature following from the holographic principle is the existence of cosmological screens. These hypersurfaces contain all the information of a spacetime, hence making it possible that our universe is a giant hologram.
Although most systems composed of ordinary matter seemed to obey a stronger bound than the CEB, S < A3/4,counterexamples have been found by Bousso, Freivogel and Leichenauer[2] and thereby confirmed the universality of the CEB. These counterexamples can be divided in mainly two categories: truncated light-sheets and anti-trapped surfaces in open FRW universes. In the case of anti-trapped surfaces, the CEB can approximately be saturated.
New counterexamples were searched in the anisotropic Bianchi model and in the inhomogeneous LTB model. For the considered solutions of those models (except for the elliptic solution of the LTB model) counterexamples were found that are very similar to those of truncated light-sheets or anti-trapped spheres found by Bousso, Freivogel and Leichenauer [2]. One of those examples approximately saturates the CEB. A new kind of counterexample requiring anisotropy was found in the Bianchi model, but the validity of the derivation is not completely certain, since quantum gravitational effects may be important in the regime that was

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Are We Living in a Simulated Reality?


According to some theorists, we are living in a simulated reality. This theory is based on the idea that the world we experience is nothing more than a computer simulation. Furthermore, some scientists believe that an advanced civilization could create this simulation.

We spend so much time inside computers and phones that it’s hard to imagine life without them. But what if we’re living in a simulated reality?

Some people think that computers could be creating simulations of different worlds in which to play, while others believe that our entire reality could be just one extensive computer simulation.

What is defined as Real?

When discussing what is real, it’s important to define what is meant by the term. For some, the reality is what can be experienced through the five senses. Anything that exists outside of that is considered to be fake or simulated.

Others may believe that reality is more than just what can be perceived with the senses. It may also include things that are beyond our understanding or knowledge.

In the movie “The Matrix,” Morpheus asks Neo what is real. This is a question that people have asked throughout history. Philosophers have debated this question for centuries. What is real? Is it the physical world that we can see and touch? Or is it something else?

What is real? How do you define ‘real’? If you’re talking about what you can feel, what you can smell, what you can taste and see, then ‘real’ is simply electrical signals interpreted by your brain.

-Morpheus, The Matrix


Some people believe that there is more to reality than what we can see and touch. They believe that a spiritual world exists beyond our physical world. Others believe that reality is nothing more than an illusion.

There is no single answer to this question as it varies from individual to individual. What one person considers natural may not be seen as such by someone else. This makes it a difficult topic to debate or discuss.

The Matrix: A movie or a Documentary?

There is a lot of debate over whether the 1999 movie The Matrix is a work of fiction or a documentary.

The Matrix is a movie based on the idea of simulated reality. It asks the question, what if our world is not what we think it is? What if we are living in a simulation? The movie takes this idea and runs it, creating a believable and fascinating world.


However, some people believe that The Matrix is more than just a movie. They think that it is a documentary. Our world is a simulated reality, and we live in it without knowing it. While this may seem like a crazy idea, it does have some basis in science.

Simulated reality is something that scientists are currently studying, and there is evidence that suggests it could be possible. So, while The Matrix may be a movie, it could also be based on reality exploring the idea of a simulated reality.

The Simulation Theory

The theory is that we might be living in a simulated reality. Proponents of the simulation theory say that it’s plausible because computing power increases exponentially.

Why wouldn't simulators do so if we could create a simulated world indistinguishable from reality?

Some scientists even believe that we’re already living in a computer-generated simulation and that our consciousness is just a program or algorithm.

Physicist creates AI algorithm that may prove reality is a simulation

A theory suggests that we are all living in a simulated reality. This theory, known as the simulation theory, indicates that humans created a computer program that allows us to experience life as if we are living in the real world at some point in our history.

Some people believe that this theory could explain the mysteries of our existence, such as why we are here and what happens when we die.

The first time the simulation theory was proposed was by philosopher Rene Descartes in 1641. However, it wasn’t until the 1970s that the theory began to gain popularity. This was due to the development of computers and later artificial intelligence.

Then, in 2003, philosopher Nick Bostrom published a paper titled “Are You Living in a Computer Simulation?” which revived interest in the theory.

While there’s no definitive proof that we’re living in a simulation, the theory raises some interesting questions.

What if everything we experience is just an illusion? What does that mean for our understanding of reality and ourselves?

How could we know if we’re living in a simulation?

There are a few different ways to determine whether or not we’re living in a simulation. One way is to look at the feasibility of creating a simulated world. If it’s possible to create a simulated world that is indistinguishable from the real world, we’re likely living in a simulation.

Another way to determine if we’re living in a simulation is to look at the development of artificial intelligence. If artificial intelligence surpasses human intelligence and becomes able to create its simulations, then it’s likely that we’re living in a simulated world.

Whether or not we live in a computer-generated simulation has been debated by philosophers and scientists for centuries. Still, recent advancements in artificial intelligence (AI) have brought the topic back into the spotlight.

Some experts believe that if we create intelligent machines, they could eventually become powerful enough to create their simulations, leading to an infinite number of universes — including ours.

So how could we know if we’re living in a simulation? One way would be to see if the laws of physics can be simulated on a computer. Another approach is to look for glitches or inaccuracies in the universe that could suggest it’s fake. However, both methods are complicated to execute and may not provide conclusive results.

The bottom line is that we may never know whether or not we’re living in a simulation.

Final Thought

The likelihood of living in a simulated reality is still up for debate; the ramifications of such a possibility are far-reaching.

If we were to find ourselves in a simulated world, it would force us to re-evaluate our understanding of reality and its meaning to being human. It would also raise important questions about the nature of existence and our place in the universe.

Apr 18