The Metaphysics Of Lego


With these simple building-blocks, you can create an entire universe; you are only limited by your imagination. That’s the central premise of the widely-popular Lego franchise of toys, movies, and videogames. It is a world populated by something akin to the idealized forms of Plato; where anything (vehicles, people, droplets of water) can be replicated by infinite combinations of a set # of pieces.

Lego—especially now that much of it has made the “jump” from actual physical plastic pieces to uncanny replicas of such in the digital realm—is like a blueprint not only of the underlying structure of our reality, but where reality as we actually know it might be heading in the future.

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The current controversy regarding NBC’s upcoming interview with Alex Jones brought up a topic that has been on my mind—belief. NBC is being slammed for appearing to give legitimacy to Jones—and, via Jones, to Sandy Hook “truther” conspiracies.

Last night I was listening to a podcast with a person whose work I’ve found occasionally thought-provoking in the past—even though his ideas are pretty much on the fringe (you know, unlike mine). He declared on this podcast that not only did he now believe Sandy Hook was completely “fake,” but he also suspects most of the key events from the last century were as well—that they were “Hollywood”-type productions using actors

That seems like a pretty big leap to make. How could someone think this way? And what, if anything, is to be “done” about that? That’s what I’d like to discuss here.

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Crisis On Infinite Realities


I finally got around to read the first part of this discussion between R.U. Sirius of Mondo 2000 fame, and Douglas Rushkoff—entitled, “Operation Mindfuck Was Too Successful.” And they touch upon something here that I have been thinking a lot about lately: that irony seems to be dead, and that some of the memes and colorful theories (some invented from whole cloth simply as a method for fermenting chaos) seem to be “coming to life.”

An offshoot of this is that there seems to now be multiple realities, “infinite realities,” swarming through the general population; the same bottle of Coke is simultaneously half full, half empty, and also boasting a logo that had mysteriously changed sometime after the Large Hadron Collider was first activated.

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Our Increasingly Unprovable Universe


There is a current “rumble” going on between roving gangs of rival physicists, each championing their own theories as to how our universe was created. On one side are the authors of the controversial article “Pop Goes The Universe” from the February issue of Scientific American. On the other are “33 Famous Physicists,” including Stephen Hawking, who have signed off on a very stern letter criticizing said article.

What hangs in the balance might very well be our perceptions of Life, the Universe, and Everything:

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Royalty And Reality


The word “real” and the word “royal” are inextricably linked. Indeed, in some languages the word for “real” and the word for “royal” is the same, such as Spanish real. Reality is, in this view, linked with royalty; what is real is what is part of the kingdom, the “real estate.” What is outside the kingdom is, therefore, outside of reality. It is not “royal,” hence it is not “real.” This speaks to Robert Anton Wilson’s concept of “consensus reality”…

Reality is a shape-shifter, dependent as much on political decisions as it is on scientific observations. And these decisions and observations are usually not the prerogative of the individual citizen. An essential part—a fundamental part—of the social contract, and imposed from the top down, is a general agreement as to what constitutes reality.

To deviate from that argument is to deviate from society—the kingdom, the real estate, the state religion—itself. It is to become, in a sense, a satanist, a worshipper of an adversary, or a witch, a worshipper of an unapproved god.
—Peter Levenda, “Sinister Forces” Book 2

Slamming Into The Fourth Wall


The following short video explores the concept of “breaking the Fourth Wall” in storytelling. That’s when a fictional character—or even simply the narrative itself—acknowledges the existence of the “real life” audience existing beyond the (now-tenuous) barrier between fiction and reality. Some famous examples of breaking the Fourth Wall are Ferris Bueller directly addressing the viewer, Dark Helmet discovering the VHS tape for Spaceballs during the middle of the movie, and the ending of Monty Python and the Holy Grail.

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