The Empire Carpet Commercial Never Ended

The Hollywood writer's strike never ended—perhaps because the traditional landscape of filmmaking found an unlikely ally in a pastime often associated with retirees and business networking: golf. More specifically, Virtual Reality (VR) Golf. What started as a casual diversion during the hiatus rapidly evolved into a new medium of creative expression, converging VR, Augmented Reality (AR), and Artificial Intelligence (AI).

We focus in on a Wes Anderson project tentatively titled Ben Hogan and the Left Hand Path, where a Muppet Babies like TV Show begins communicating messages interpreted as “troublesome”. 

 Iconic golfers made up the orphanage, miniature caricatures in the style of Muppet Babies:  Jack Nicklaus, the painter, mastered strokes both on the canvas and the fairway; Arnold Palmer, the musician, orchestrated swings as if composing a symphony; Ben Hogan, the quantum mechanic, cold and calculated scientific precision; Tiger Woods, a polymath, embodying all three

John Daly, the hero, conquering the toughest of challenges.

The MB’s play and compete in VR Golf, a platform that appears troublesome because it is seen to be communicating religious dogma and occult secrets.  

The film was planned as animation and live action.

Before production began, Meta introduced VR to Anderson by sending him 100 headsets and a pitch for possible cross-promotion with the Meta Quest 3 release.  They envisioned celebrity golf tournaments with actors from the live-action parts of the film.

Anderson slowly explored what VR had to offer, and naturally, played a few rounds of golf.  Golf videos started to show up in his algorithm, which was infuriating at first, except for one thing:  all the videos were targeted to the mistakes he was making.

Anderson began applying the instructions he picked up, and VR soon transcended his initial understanding.

SAG-AFTRA

With shooting schedules disrupted, Wes Anderson became obsessed with VR Golf.  This obsession led him to court new players.  The 99 head-sets trickled into the possession of actors and writers, who found themselves having meetings with Anderson and others on the Pebble Beaches of the virtual world.  

Over the course of 100 rounds between an now expanded A-List collection of Anderson’s friends, a revelation was unlocked: VR and AR could offer the first genuine cinematic application that was both immersive and interactive, a complete fusion of stage and screen, where actor and audience were decentralized.  

In the course of three months, Anderson began turning living rooms into interactive AR environments where scripts were not merely performed but improvised. Writers and actors collaborated to create responsive scenes, breathing life into avatars in a fusion of AR and AI. This wasn't merely storytelling; it was a living theater tailored to individual participation. 

The Fourth Wall wasn't just broken; it was redefined.

The first production involved watching the Super Bowl with Bill Murray.  The second was a weekly cup of coffee with Owen and Luke Wilson. Every Wednesday, at 6:30 am, both Wilsons walk into your kitchen and have a cup of coffee with who ever is sitting at your table.

“The experience would include live commentary and pre-recorded behaviors, directed by your own reactions and inputs. A custom-tailored spectacle in the comfort of your home.

This intersection of technologies may have birthed a new form of art, emerging out of necessity, born from a strike that threatened to cripple an industry. Instead, it might just reinvent it. A future where improvised digital series by random groups of people could intersect into a completed form and then be as critically acclaimed as any Oscar-winning film”

588-2300

Official SAT Iron Man: VR is the Great Glass Onion

Thesis Title: Temporal Repetitions and Epochal Mirroring: A Novel Study of The 1989-2024 Temporal Loop Phenomenon in Global History

Abstract:

In this groundbreaking exploration, we delve into the phenomenon of historical cyclicality through a focused lens on the mirroring temporal wave between 1989 and 2024. We postulate a paradigm wherein pivotal socio-political, economic, and cultural events of 1989 reverberate through the fabric of time, influencing and, in some cases, pre-determining events leading up to 2024. Drawing upon Terence McKenna's "Timewave Zero" theory, this work extrapolates a recursive feedback loop between two distinct epochs, suggesting a counterintuitive temporal structure to human history.

Introduction:

The linear progression of history, while a widely accepted construct, offers limited interpretive frameworks for temporal anomalies and repetitious global events. Recognizing a cyclical pattern between 1989, a year of monumental global shifts, and the trajectory of events since 2012 leading up to 2024, we embark on a novel analysis of history as an oscillating wave.

Methodology:

• Temporal Mapping: Employing advanced algorithms, we overlay the events of 1989 with those post-2012 to ascertain points of convergence.

• Socio-Political Analysis: An in-depth analysis of political shifts, contrasting the ideological movements of the late '80s with the period after 2012.

• Cultural and Technological Examination: A study of the cultural resurgence and technological booms in both time frames, seeking patterns and deviations.

• Economic Dissection: Investigating economic trends, trade dynamics, and global monetary policies of both epochs.

Key Findings:

• Digital Tiananmen Reflections: The parallel between Tiananmen Square and post-2012 digital revolutions showcases how medium shifts, yet the essence of human resistance persists.

• Ideological Inversions: An unexpected inversion was observed as conservatism transformed from a bastion of tradition in 1989 to a voice of novelty by 2024, while liberalism underwent a reverse trajectory.

• Cultural Harmonics: The resurgent '80s cultural aesthetics post-2012 were not mere trends but reflected deeper societal introspections and expressions.

Discussion:

• The Power of Awareness: The 2024 global awareness of the 1989 loop alters its trajectory, reinforcing the quantum theory of observer effect on historical progression.

• Implications of the Loop: Delving into the societal, psychological, and philosophical implications of historical repetition and what it reveals about human nature and destiny.

Conclusion:

History's fabric, often viewed as a straightforward continuum, may in reality exhibit intricate loops, feedback systems, and patterns. The 1989-2024 loop serves as a quintessential case study, challenging conventional historical narratives and urging a re-evaluation of time's nature in human experience.

Recommendations for Future Research:
A broader examination of potential temporal loops throughout history, utilizing the methodologies outlined in this thesis, could open a revolutionary understanding of human history and its patterns.

Mesh Gear Fox: Have You Been Through Walls and Windows?

 This is how Room 237, or The Physical Tensor tetrad breaks down as explained by openaichatgpt

Marshall McLuhan's Tetrad is a framework for understanding media's effects on society and culture. Each medium, according to McLuhan, undergoes four phases in its relationship with society: enhancement, obsolescence, retrieval, and reversal. Here's how the Film/Album Tensor concept, as explained through your analogy, could be interpreted through the lens of McLuhan's Tetrad:

• Enhancement (Amplification):
• Film/Album Tensor: As we move from scalars to higher-rank tensors, there's an amplification of the complexity in the relationships between films and albums. The synchronization between different mediums becomes more intricate.
• McLuhan's Tetrad: This represents what the medium amplifies or enhances. For the tensor analogy, the tensor rank amplifies the depth of interconnectedness and synchronicity between films and albums.
• Obsolescence (Replacement):
• Film/Album Tensor: Lower-rank tensors become obsolete as we move to higher-rank tensors that can represent more complex relationships.
• McLuhan's Tetrad: This signifies what the medium makes obsolete or pushes aside. In the tensor analogy, simpler ways of understanding or interpreting media synchronization (like just recognizing that films and albums can be played together) are replaced by more nuanced interpretations.
• Retrieval (Resurrection):
• Film/Album Tensor: As we delve deeper into the complexity, we may find ourselves retrieving certain iconic combinations or synchronicities, like "The Dark Side of the Rainbow." These become significant markers or standards by which other synchronicities are measured.
• McLuhan's Tetrad: This phase brings back something from the past that was previously lost. In terms of the tensor analogy, this could represent a nostalgic or iconic media combination that remains influential.
• Reversal (Flipping):
• Film/Album Tensor: When pushed to its limit, a higher-rank tensor's complexity may lead to a new way of perceiving media, effectively reversing the way we understand or engage with films and music. This might mean a total convergence of media into new forms or mediums.
• McLuhan's Tetrad: This is what happens when the medium is pushed to its extremes, leading to a new form or a flip into a new kind of medium. In the context of the tensor analogy, it's the point where media synchronicity becomes so intricate that it births something entirely new or changes our consumption habits.

In summary, viewing the Film/Album Tensor through McLuhan's Tetrad gives us a framework to understand the evolution and impact of media synchronicities on culture and society. The tetrad provides a cyclical perspective, suggesting that as we push the boundaries of media convergence, we simultaneously harken back to past interpretations, leading to a continuous loop of enhancement, obsolescence, retrieval, and reversal.

Over The Neptunes: What’s The Game Master John

 —  You were saying something one time that Kubrick chose 114 as a “scalar” because it implied a hidden 23, and if you recognized the 114 + 23, you saw that he was advancing past the 23 Enigma into the synchronicities of Pauli and Jung’s 137.  

— Do you know the difference between a matrix and a tensor?

— Sort of.  You said the matrix is a 2-dimensional grid of numbers or codes, a tensor goes beyond that.

— Yes, a matrix has rows and columns, and the number of rows and columns define its dimensions.  Matrices are commonly used in linear algebra for operations that represent linear transformations.

But a tensor is a more generalized concept and can be thought of as built out of three mutually exclusive components:  scalar, vector, and matrix.

Beyond the infinite these components concresce.

Concrescence is achieved at the level of Kubrick’s mathematics.  

And this is the key, it must start with a rank-0 tensor. A scalar. Think of the number 23.  The 23 is a massless, phonetic scalar born out of print culture, and looking at thousands upon thousands of twinkles amongst the nothingness the 23 Enigma becomes all and everything.  

Call the 23 Enigma the 23 Tensor.  Wilson and Burroughs were obsessed by it until it no longer interested them.  Because something else came along to surpass it.  

Room 237

It devoured many Tensors:  23 and 137 almost by design, but 93 as well.

Kubrick’s scalar was 114.  Add 23 to 114 and you get 137.

114 + 23 = 137

Kubrick’s intention with 114 was to imply both the 23 Enigma and the Synchronicities of 137, what he didn’t imagine was that his film work dedicated to both the 23 and 137 Tensors, would get so entangled with the 93 Tensor (Hollywood) that it would push scalar 114 beyond 114+23 into Room 237, or what would be called the The Physical Tensor

Kubrick took the relationship of the fractal and the hologram beyond the infinite and flipped it into a matrix/tensor relationship.

1. Every music album and every film can be played at the same time

This is the Scalar - rank-0 tensor

1. Some albums and films sync up more than others

This is a vector, movement and separation from the scalar statement, higher organization of data

These are Rank 1-tensors

1. Some albums and films sync up a lot more than other albums and films that sync up

This is a matrix.

A Rank-2 Tensor, The Dark Side of the Rainbow

1. A collection of albums and films sync up so well, a meta-narrative manifests that makes it impossible to tell where one begins and the other ends. 

Rank-3 Tensor

Close Encounters of the Third Kind

— you're using an analogy to describe tensors using the medium of film and music. 

• Scalar (Rank-0 Tensor):
• Traditional Definition: A single number.
• Your Analogy: "Every music album and every film can be played at the same time." This might imply a singular experience or point of reference in the context of media.
• Vector (Rank-1 Tensor):
• Traditional Definition: A one-dimensional array of numbers.
• Your Analogy: "Some albums and films sync up more than others." Here, the synchronization between films and albums can be seen as different elements or entries in the vector, with each entry indicating the degree of synchronization.
• Matrix (Rank-2 Tensor):
• Traditional Definition: A two-dimensional grid of numbers.
• Your Analogy: "Some albums and films sync up a lot more than other albums and films sync up." This suggests relationships between different pairs of albums and films, which could be represented in a two-dimensional matrix.
• Rank-3 Tensor:
• Traditional Definition: A three-dimensional array of numbers.
• Your Analogy: Anything that syncs up more complexly than what's described for matrices. When albums and films merge to a point where they are indistinguishable, it adds another layer of complexity. This might refer to the depth or the third dimension in the tensor.
• "Close Encounters of the Third Kind" seems to be a playful nod to the "third kind" or third rank of the tensor, possibly suggesting a more profound or multi-layered experience.

In this analogy, the rank of the tensor seems to represent the complexity or depth of the synchronization between different media. As we progress from scalar to higher-rank tensors, the relationships become more intricate, interconnected, and harder to decipher