In the context of Simulation Theory, the ontology of my life as a time traveler made a lot more sense. I had not run into potential time travel paradoxes such as the Grandfather Paradox because I was not really a time traveler in some ill-conceived “physical” sense. Rather, with the cosmos as such and as a whole being always only a virtual system of information processing, what I was doing was resetting various “games” that were ongoing within the context of this quantum computational system. Computer games can be saved in such a way that it is possible to return to a previous state of play, and then replay the game forwards in another way. What I was arguing is that our cosmos works in the same way.
— Jason Reza Jorjani, Psychotron
Images: from The Witch's Cradle, directed by Maya Deren, 1944
— Jason Reza Jorjani, Psychotron
Images: from The Witch's Cradle, directed by Maya Deren, 1944
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In the context of Simulation Theory, the ontology of my life as a time traveler made a lot more sense. I had not run into potential time travel paradoxes such as the Grandfather Paradox because I was not really a time traveler in some ill-conceived “physical” sense. Rather, with the cosmos as such and as a whole being always only a virtual system of information processing, what I was doing was resetting various “games” that were ongoing within the context of this quantum computational system. Computer games can be saved in such a way that it is possible to return to a previous state of play, and then replay the game forwards in another way. What I was arguing is that our cosmos works in the same way.
— Jason Reza Jorjani, Psychotron
Images: from The Witch's Cradle, directed by Maya Deren, 1944
— Jason Reza Jorjani, Psychotron
Images: from The Witch's Cradle, directed by Maya Deren, 1944
BY Prometheism
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