Indian Philosophy has reached across the globe. It is popular for its practical way towards life. Study of Indian philosophy should be part of all streams of education. Film is effective tool of communication. It attracts all generations and makes strong impression in the mind. Film is always considered as an effective tool in Pedagogy. Philosophy deals with abstract concepts, their correlation and logical reasoning. It deals with the complex problem of reality. People have notion that philosophy is (...) a dry and theoretical subject. Students can understand complex philosophical ideas if they are demonstrated through films. There are films based on biographies of philosophers, life picture of great people, incidences in life of philosophers. But it can attract only limited number of audience. Some popular Hollywood films have amalgamation of science fiction, super natural elements, fantastic story guided by some philosophical principles. Such films attract audience from different strata. Viewer is totally captivated by extra ordinary super natural and fictional elements in the film. As a result, certain philosophical principles are taught to audience without their conscious effort. (Kantāsammita upadeśa) Teaching philosophy with the means of such films can be definitely effective tool in Pedagogy. Such practise will not only create liking for Indian Philosophy but will result in effective understanding of complex ideas. It can create awareness that Indian Philosophy is embraced across the globe, there are no boundaries for philosophical deliberations and there are certain common threads in different philosophical schools. Paper will take example of popular movie ‘Matrix’ to explain the principles of Advaita Vedānta. The Matrix is a 1999 science fiction film written and directed by The Wachowskis, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano. It states the journey of hero of the film ‘Neo’ who is aspiring for reality. He is struggling between illusory world and the real world which is presented through the means of science fiction. This paper will analyse Matrix from the perspective of Advaita Vedānta. Māyā projects the illusory world (vikṣepa) in place of Brahman (āvaraṇa). Film portrays digital world as illusory world. One sees this world as real due to limitations of body, mind and intellect. Neo goes to the real world and realises his true nature. True reality is beyond senses and sense objects (atindrīya). Concepts of Advaita Vedānta can be explained with this film. Such movies can be shown to students along with Vedanta discourses. Paper will explore ‘Film and Philosophy’ as an effective pedagogical model. (shrink)

Husserl’s commitment to reality is marked by the urgency to return, or rather to a repeated return each time the objective is achieved . He explains this explicitly in The Crisis of European Sciences and Transcendental Phenomenology, taking his cue from Descartes’ Meditations . Reduction, which is the exact name for re- turn, means change of attitude, abandonment of the natural position as naive . Jan Patočka notes in this regard, that today people who have experienced modern sci- ence no (...) longer simply live in the naive natural world . The naive natural world is in- terpreted under species of the mathematical model . So, the gap between meaning as an expectation of experience and meaning within the framework of the model is increasingly evident . If intentionality, according to Husserl and disciples, includ- ing Heidegger, cannot be other than the idea itself, then it is just a something for something . It’s like giving voice to one thing and not another . Commitment to life (Husserl’s Lebenswelt) requires a return to corporeality, as Patočka adds, following Maine de Biran’s accurate insight, that is, of something immediately given, prior to any perceptual experience . The term “matrix” in the title brings to mind the eponymous 1999 film based on the philosophical metaphor of Plato’s cave in the fashion of the digital age . The protagonist, Neo, finds himself living for a long time in the lack of support of reality, precisely because of distrust: something is wrong, and this can only be felt . However, how can the hacker mentality help you under- stand that perhaps it is but a game? (shrink)

I first argue that the Matrix trilogy is a Gnostic cyber-epic; I then use this interpretive lens to review the films' treatment of fundamental questions in epistemology, metaphysics, and value theory.

The shelves of film and philosophy books should have made it considerably easier to teach with films in introductory philosophy classes, and certainly many philosophers have found them useful. However, shortcomings of many of these pop culture volumes (which I discuss in the next section) make these works rarely useful in the classroom. I propose instead a new model for how to teach film in a philosophy class. The model develops the virtues inherent in cinephilia and connects those (...) virtues to the good life. (shrink)

Are we perhaps in the "matrix", or anyway, victims of perfect and permanent computer simulation? No. The most convincing—and shortest—version of Putnam's argument against the possibility of our eternal envattment is due to Crispin Wright (1994). It avoids most of the misunderstandings that have been elicited by Putnam's original presentation of the argument in "Reason, Truth and History" (1981). But it is still open to the charge of question-begging. True enough, the premisses of the argument (disquotation and externalism) can (...) be formulated and defended without presupposing external objects whose existence appears doubtful in the light of the very skeptical scenario which Putnam wants to repudiate. However, the argument is only valid if we add an extra premiss as to the existence of some external objects. In order to avoid circularity, we should run the argument with external objects which must exist even if we are brains in a vat, e.g. with computers rather than with trees. As long as the skeptic is engaged in a discussion of the brain-in-a-vat scenario, she should neither deny the existence of computers nor the existence of causal relations; for if she does, she is in fact denying that we are brains in a vat. (shrink)

Günther Anders offers one of the first phenomenological analyses of broadcast radio (in 1930) and its transformation of the contemporary experience of music. Anders also develops a reflection on its political consequences as he continues his reflection in a discussion of radio and newsreel, film and television in his 1956 ‘The World as Phantom and Matrix’. A reflection on the consequences of this transformation brings in Friedrich Kittler’s reflection on radio and precision bombing. A further reflection on Jean (...) Baudrillard’s notion of ‘speech without response’ permits a review of digital culture and the self-creation of the digital consumer absorbed in what Anders named a schizo-topia, that is, today, an autistic culture of distraction, displacement, and self-driven surveillance. (shrink)

Everybody knows that Superman is Clark Kent. Nobody knows that Superman is Clark Kent. Located between these two absolute statements is the epistemological limit that separates the superhero fictitious universe from our universe of causal reality. The superheroic double identity is a secret shared by the superhero and the reader of the comic or the viewer of the movie, and quite often the superhero winks at the outside world, thus breaking the 4th wall and establishing this collusive relationship. However, in (...) our hypothesis, we are interested in Superman not as a fictitious archetype, but rather as a fictitious metaphor. We are not interested in his double identity as the matrix of superheroic attributes and narratives, but rather as the differential limit between superhuman and human within the fictional universe. Because, the reader or the viewer may share the secret identity with Superman and also with Spiderman or Batman or any other superhuman, but the secret equivalence of Superman and Clark Kent contains another hidden antithesis. (shrink)

In recent years, a central debate in the philosophy of mind and cognitive science concerns the role of the body in perception and cognition. For many contemporary philosophers, not only cognition but also perception is connected mainly with the brain, where the processing of input from the senses takes place; whereas for the proponents of ‘embodied cognition’ other aspects of the body beyond the brain, including the environment, play a constitutive role in cognitive processes. In terms of perception, a new (...) theory has emerged which stresses perception’s active character and claims that the embodied subject and the environment, with which it interacts, form a dynamic system. Supporters of ‘enactive perception’ such as Susan Hurley and Alva Noë maintain that the physical substrate or the supervenience basis of perceptual experience and phenomenal consciousness may include besides the brain and the nervous system other bodily and environmental features. Yet, it will be argued in this paper that the interaction between the subject and the environment forms a system of causal relations, so we can theoretically interfere in the causal chains and create hallucinations, which cannot be distinguished from veridical perception, or a virtual reality as in the film Matrix (1999). This kind of argument and its related thought experiments aim to stress the primacy of the brain in determining phenomenal states, and show that the body and certain interactions with the environment have a causal, but not a constitutive or essential role, in forming phenomenal consciousness. (shrink)

The God Experiment – Let there be Light -/- The question “What is real?” can be traced back to the shadows in Plato’s cave. Two thousand years later, Rene Descartes lacked knowledge about arguing against an evil´ deceiver feeding us the illusion of sensation. Descartes’ epistemological concept later led to various theories of what our sensory experiences actually are. The concept of ”illusionism”, proposing that even the very conscious experience we have – our qualia – is an illusion, is not (...) only a red-pill scenario found in the 1999 science fiction movie ”The Matrix” but is also a philosophical concept promoted by modern tinkers, most prominently by Daniel Dennett. He describes his argument against qualia as materialistic and scientific. Reflection upon a possible simulation and our perceived reality was beautifully visualized in “The Matrix”, bringing the old ideas of Descartes to coffee houses around the world. Irish philosopher Bishop Berkeley was the father of what has later been coined as “subjective idealism”, basically stating that “what you perceive is real” (e.g., ”The Matrix” is real because its population perceives it). Berkeley then argued against Isaac Newton’s absolutism of space, time, and motion in 1721, ultimately leading to Ernst Mach and Albert Einstein’s respective views. Several neuroscientists have rejected Dennetts’ perspective on the illusion of consciousness, and idealism is often dismissed as the notion that people want to pick and choose the tenets of reality. Even Einstein ended his life on a philosophical note, pondering the very foundations of reality. With the advent of quantum technologies based on the control of individual fundamental particles, the question of whether our universe is a simulation isn’t just intriguing. Our ever-advancing understanding of fundamental physical processes will likely lead us to build quantum computers utilizing quantum effects for simulating nature quantum-mechanically in all complexity, as famously envisioned by Richard Feynman. Finding an answer to the simulation question will potentially alter our very definition and understanding of life, reshape theories on the evolution and fate of the universe, and impact theology. No direct observations provide evidence in favor or against the simulation hypothesis, and experiments are needed to verify or refute it. In this paper, we outline several constraints on the limits of computability and predictability in/of the universe, which we then use to design experiments allowing for first conclusions as to whether we participate in a simulation chain. We elaborate on how the currently understood laws of physics in both complete and small-scale universe simulations prevent us from making predictions relating to the future states of a universe, as well as how every physically accurate simulation will increase in complexity and exhaust computational resources as global thermodynamic entropy increases. Eventually, in a simulation in which the computer simulating a universe is governed by the same physical laws as the simulation and is smaller than the universe it simulates, the exhaustion of computational resources will halt all simulations down the simulation chain unless an external programmer intervenes or isn’t limited by the simulation’s physical laws, which we may be able to observe. By creating a simulation chain and observing the evolution of simulation behavior throughout the hierarchy taking stock of statistical relevance, as well as comparing various least complex simulations under computability and predictability constraints, we can gain insight into whether our universe is part of a simulation chain. -/- Index Terms—Simulation, simulation hypothesis, quantum computing, universe, life, intelligence. (shrink)

Several metaphysical/philosophical concepts are developed as tools by which we may further understand the essence, structure, and events/symbols of “Complex” Synchronicity, and how these differ from “Chain of Events” Synchronicity. The first tool is the concept of Astronomical vs Cultural time. This tool is to be the basis of distinguishing Simple from Complex Synchronicity as Complex Synchronicities are chunks of time that have several coincidences in common with each other. We will also look at the nature of the perspective of (...) the time being quantized. The next tool is a particular case study of two movies, The Matrix and Black Swan, that may be viewed as an example of a Complex Synchronicity in the collective conscious of popular culture (as opposed to Simple Synchronicity or a single coincidence). And the final tool is the concept of “Chain of Events” synchronicity as a separate concept from Simple or Complex synchronicities. This 3rd tool is developed using a mathematical metaphor of foreshadowing (an element of storytelling) in the seemingly random pattern of prime numbers. The purpose of this paper is to distinguish and develop these concepts and to lay a foundation for the further study of the concept of Synchronicity first illuminated by Carl Jung as an acausal connecting principle between coincidences. (shrink)