Is Vision Alive?

In the fourth episode of WandaVision we see Wanda looking at Vision after using her powers to send Monica back to the outside world and he looks just like he did right after he died five years ago (which was about three weeks ago from Wanda's perspective). 

This brings the question to the forefront we have all been asking since the show started, "Is Vision really alive?" I think there are three possibilities:

  1. He is alive but his animating energy is coming from Wanda, not the Mind Stone
  2. He is alive and has a new power source (arc reactor?) or stone (in the comics he has the Sun Stone in his forehead).
  3. He is dead and Scarlet Witch is just imagining him as alive

It seems that #3 is not true because Vision seems to have a mind and personality all his own as he is seen questioning the strangeness of Wanda's reality several times until Wanda asserts control again. So most likely either he has truly been brought back to life by Wanda (perhaps as her powers come from the Mind Stone she can create a reasonable facsimile to resurrect him), or somehow he was brought back to life in the five years since the Snap.

As Vision did not appear in Avengers Endgame it seems that he was NOT brought back to life by Bruce Banner or Tony Stark, but there doesn't seem to be a good reason WHY they didn't bring him back. It is weird that Vision just stayed "dead" after the Mind Stone was pulled from his head. I mean it's just basically like if you took the battery out of your toy, right? Couldn't Tony have just made a new arc reactor for him? It doesn't make sense that Shuri, Bruce, or Tony wouldn't have fixed him, but I guess Shuri was blipped out and Bruce and Tony were traumatized so they didn't think to resurrect him.  

I know part of his personality was from the stone, but he should still have his Jarvis personality, he would just not have emotions. (A similar thing happened to him in the comics.) It's not like a robot has to have their brain in their head. (It wouldn't make any sense actually; you would want his brain to be in like a bullet-proof black box deep inside his chest cavity or something, right?)  

So it makes sense that he could be back alive, it's kinda weird that Wanda didn't just . I hope we see the scene where Scarlet Witch goes to the warehouse with his body. Perhaps she is so overcome with grief she goes nuts. Maybe since she is not a tech person she didn't think about calling Shuri and having her fix him. It has only been three weeks (for Wanda) that she was in Wakanda and talking to Shuri who was sure she could remove the stone and save Vision's brain.  

 
 
In Infinity War Shuri says the Mind Stone is attached to "3 trillion neurons" in Vision's body (but it could be that the Mind Stone itself has the "3 trillion neurons" but that doesn't really make sense). Shuri says that any slight miscalculation when removing the stone could be catastrophic. It seems the obvious thing to do would be to make a backup of Vison's mind before she started to try to disconnect the stone safely. (If you were going upgrading your PC you should backup your data first, right?)


If Vision is not "really" back alive from Scarlet Witch's magic, then hopefully they contact Shuri and she can help make a new stone (Sun Stone?) for his power source and restore the backup she made before she started her procedure.


Does a Sand Castle Have a Soul?

 

 

Where does the soul go when we die? Not it's final destination of Heaven or Hell, but where has it gone from the human body? Assuming any small changes in weight of a dead body from a live being are accurately described by the out-gassing of a body no longer engaging in live biological activities (such as breathing) a dead body seems to be the exact same thing as a sleeping being.

Of course there have been many explanations of what and where the "animating force" of a living being goes when we die, but none have any scientific basis. Many religious dreamers and philosophical thinkers say there is no scientific explanation, but this is not correct.

Think of the model of a sand castle on the beach. Before you built it with your sand pail and molds, and shaped it with your shovel and sticks, the sand was part of the beach. After you take your photo for family and instagram, if a stray dog or child runs through your castle, destroying it's walls you may abandon it to the elements, or you may decide to tear the whole thing down yourself. Either way, eventually the sand castle returns to the beach. However, the sand making the castle is still there, but where did the castle go?

Of course we don't think if this process as the loss of the "essence" of a castle from the sand. There is no "spiritual castle" which floats up to heaven after it's sandy ramparts are leveled to the ground. It is simply that the sand is no longer organized into the pattern it was in. It is this pattern where the answer lies.

While it may like the human mind is nothing like a sand castle, it IS also a pattern, albeit a much more complex one closer to an intricate tapestry or computer program. It is in the dissolution of the patterns in our brains when we die where the mind and soul is lost. The brains in our skulls may still there, but without oxygen to keep the cells alive, they quickly loose their cohesion and the delicate and complex pattern of our brain is lost to time. 

Someday science may find a way to fully capture the intricate patterns in our minds, or perhaps simply a reasonable facsimile of it, like a photograph captures a moment in time. We may be able to save the essence of what makes us unique humans into a synthetic virtual world, or even a fully artificial robotic body. 

In the meantime, we live on in the impressions the patterns in our head leave on the world around us. In our correspondence, our collections, our art, our careers, and our friends and family we leave behind. At the moment of death the memories and emotions our fellow humans hold for us are more closely related to the pattern of our minds than the disordered decomposing cells in our skulls. Though we may not have any further thoughts, the thoughts and deeds we leave behind have can attain a modicum of immortality. 

The time for the uniquely complex patterns that are our minds is fleeting, so use it well; and may we all find much happiness and at least a small quantum of immortality.





WandaVision First Review/Reaction

 I just watched the first couple episodes of WandaVision yesterday. While the "mystery box" serialized subplot all hinges on the eventual reveal, meaning a final verdict on the show will have to wait a couple months until all nine episodes are released, a lot of fun can be had taking each episode on it's own.

As someone who grew up watching re-runs of Dick Van Dyke, I Love Lucy, Bewitched, I Dream of Genie, Leave it to Beaver, Father Knows Best, etc. I really loved the commitment to the 1950's and 1960's esthetic. It is so weird to keep hearing people online refer to "I Love Lucy" and "I Dream of Genie"  in reference to this show, when the sets they use in the first episode is almost exactly the same as the Dick Van Dyke Show and Bewitched sets, even down to the [SPOILER] fact that Bewitched started out black and white and then became a color series later in the late 60's.

I understand people who are eager to figure out what's "really" going on, but I am content to just enjoy each episode for what they are: celebrations/send-ups of classic TV shows seen through the eyes of Scarlet Witch and how her sub-conscious is building this comforting world for herself while whatever "really" is happening is happening. 

One of the interesting tropes of 1950's TV I had forgotten about is the grumpy, even abusive, boss whose constant disrespect and belittling of his employees is never questioned, or even remarked upon, by the other characters. It was just simply taken as a fact of life that people in power could say and do whatever they want. Perhaps this partially explains why the MAGA crowd never seem to question Trump's behavior.

I have always loved Scarlet Witch and Vision in the Marvel Avengers movies. Their powers are some of the coolest in the MCU. I would LOVE LOVE LOVE if we got a proper Avengers/X-Men video game where we got to play as Scarlet Witch or Vision someday. (Not sure why no other game studio has tried to simply copy what SuckerPunch did with Infamous Second Son, which is basically the best 3D open-world X-Men video game ever made.)

Can't wait to see where the rest of this series goes. Some of the shots from the trailers seem to imply we will get at least one or two full on superhero episodes, probably near the end. It looks like the next few episodes will be send-ups of The Brady Bunch (1970's) and Family Ties (1980's). I am VERY curious if the 1990's episode will be a Full House send-up. How could it not with Elizabeth Olsen's sisters' being the stars??? Maybe too on-the-nose? If they do it, will we see a cameo from the Olsen Twins? That would be to crazy, right? I am guessing that Friends would be the 2000's sitcom. They could then go just bat-shit insane with the 2010's shows and have Randall Park reprise his Fresh Of the Boat character and Kat Dennings reprise her 2 Broke Girls character  (both with MCU characters seen in the trailers) in a Parks & Rec mish-mash of all the 2010's sitcoms before the false reality shatters from all the absurdity.

Anyway, right now I'm just glad to have some more Marvel stories to watch. It's been SOOOO LONG!!! I can't wait to see where this all goes.

Relativity and Quantum Mechanics

I posted the following reply to this interesting article on Ars Technica: A “no math” (but seven-part) guide to modern quantum mechanics I thought it might be fun to also publish it here.

I think a lot of quantum "weirdness" can be better understood when people take into account the relativistic effects of fast moving particles.

When something approaches the speed of light, most people are aware of the time distortion effects (from our perspective the clock of an accelerated object seems to slow down), but many forget there is also an accompanying spacial distortion as well (i.e. the length of "a meter" measured by an accelerated object is much longer than a meter if measured in our perspective).

In the case of a photon (in a vacuum) there would both be "no time" between an emission point and an absorption point, and "no space," as the time and spacial distortions become infinite at the speed of light. Particles going very close to the speed of light will have "very small time" and "very small distances" between emission and absorption.

An additional feature of relativity is that the universe must agree that both the photon's "point of view" and our point of view is a valid and true description of time and space events. From the photon's POV there is almost no space in between the the laser and the wall, yet from our POV there is space in between, but both observers must agree on what happens.

So while from our perspective it appears the photons are interfering with each other, from the photon's point of view the paths it can travel are limited to those that won't interfere with any other similar photons traveling a similar path in the universe. This ensures that the result (the pattern on the wall) makes sense from both the "fact" that there is a lot of space between emission and absorption (our POV) and the that there is almost no space between emission and absorption (the photon's POV).

The reasons that the photon's path is limited when moving through the two slits are complex and involve wave mechanics, but it may be sufficient to understand that the single photon MUST travel in a way that appears to us to involve time and space, but to the photon involves "allowed" and "not allowed" paths and probability distributions, and BOTH must agree.

(BTW, the only way we can "see" the interference pattern caused by single particles going "through both slits" is that we create an artificial image where we compare numerous particles to each other. There is no way to detect the interference pattern if we only examine a single particle.)

Legal Ownership of an Artistic Property Does Not Grant Creative Ownership

The last few years have brought about many revivals and reboots of "intellectual properties" (IPs), such as Star Wars, Star Trek, Superman, Ghostbusters, and even She-Ra where the new creative teams have obvious philosophical/moral problems or disagreements with the original artwork. 

While it may be legally and financially fine, commentating on another artists work while simultaneously appropriating their original ideas is morally wrong, just as a rich man who bought a culturally significant piece of art and then lit it on fire would rightly be judged harshly. 

Let's take a look on why these "re-imagining" of properties, by other artists who have vastly different values and philosophies to the original works, is problematic.

Star Wars


With Star Wars: The Last Jedi Rian Johnson gave commentary on his apparent philosophical disagreement with relying on your own moral judgement and rather elevating the importance of submitting to legal authority. Also, suggesting it is better to bully and humiliate your enemies rather than to win them to your side with love and understanding. Rian banishes the Black and Asian characters to a pointless side story of failures and mistakes and instead focuses on a cowardly version of Luke Skywalker and developing a romance between the white female lead and the white villain who tortured her, killed her new friend (Han Solo), and repeatedly tried to kill her, just days earlier. That Johnson also made time to present the two female leaders of the rebellion as needlessly dictatorial and cruel to their comrade, and leader of their x-wing squadron so as to drive home the idea that it is more important to follow orders than save the lives of everyone aboard the ship is impressively "deconstructionist" of the humanist values of the original trilogy of films.

Star Trek

With Star Trek it has been Alex Kurtzman's disagreement with the original Star Trek concepts of intellectual and moral inspection by placing complex characters in unique situations to illustrate something about the human condition. Instead he seems to think that shouting, shooting, drinking, and stabbing are much cooler and less boring than all that silly science stuff. Like Johnson, Kurtzman constantly betrays the fact he, and his writers, have made almost zero effort to become familiar with the source material, with almost every episode of Star Trek: Picard misunderstanding a vital part of how the Star Trek universe works, and/or the history of the societies and characters in that universe. This laziness of something so easily correctable, and yet central to the very premise, betrays a disdain for the source material, as well as the audience.

Superman

 

With Superman, Zack Snyder it is rejection of the irony of a god-like being of physical perfection being an alien from another planet who must hide his true identity to save the ones he loves. Instead, Snyder's vision is of a pouting sullen god who sacrifices his own father to hide his true identity, and who gives into despair and violence when presented with a difficult moral dilemma. Snyder's Superman is a beautiful body and god-like powers, instead of a complex individual who must balance saving his friends and family while also protecting his city and adopted home planet.

Ghostbusters

With Ghostbusters it was less of a philosophical difference with the original work as a lazy retelling of the story with different gendered actors while squandering any interesting commentary on how a female perspective might have given the characters a different approach to their work. Was hiring a beautiful male idiot as their secretary, instead of the highly qualified, intelligent, and attractive female secretary of the original movie some statement on the sexism of the first movie having only male ghost busters? A more coherent script (supposedly a better draft exists before director, Paul Feig, altered the story). 

Feig also chose not to have the female cast play the same characters from the original, instead, he had similar characters who just happened to be female. There was the loudmouth, the bumbling fool, the nerd, and the um... Black character? That these were not the same characters from the original, but completely new characters, made the choice to have (Black actor) Leslie Jones' character the only non-scientist of the group problematic, if not racist. Why are the races of the characters considered vital, but the genders are not? If there was no connection to the original movie, and the point of the movie was to make some statement about gender equality, an entirely original Specter Hunters movie would have been a more honest artistic statement. It is hard to defend the reason this movie was titled, Ghostbusters, except to sell Ghostbusters merchandise.

She-Ra

With She-Ra it was Noelle Stevenson's philosophical/moral disagreement with the portrayal of the original She-Ra as a 1980's personification of the perfect physical specimen of feminine beauty - big hair, short skirt, and high heels included. Instead her She-Ra was a flat chested teen with huge biceps. While the criticism that She-Ra's depiction of idealized female beauty was problematic is a perfectly valid argument (the same might also be said for He-Man, She-Ra's male counterpart), hijacking the original intellectual property to commentate on a moral/philosophical issue an artist has with the original work is inherently problematic. A more honest commentary would be to create a similar hero, perhaps named Her-Za, who embodied Stevenson's ideas about female power and served as a commentary and counter-argument to She-Ra's problematic ideas about the same topic. 

Michelangelo's David


Imagine if I had a philosophical issue with the depiction of idealized male beauty in Michelangelo's David and instead of making my own statue illustrating the love-handles that any normal man's body would have, I made the same statue and called it a "long lost Michelangelo artwork" called David in Repose. Now even if I conceded, when pressed, that it wasn't actually a work of Michelangelo, but still marketed my statue to the general public as a Michelangelo sculpture I think it is pretty obvious that this would be immoral. Is it illegal? No. Michelangelo isn't around to sue me for it, but people would be understandably upset if they felt my work was dishonest and even that it may be insulting to Michelangelo. 

The same can be said of the intellectual properties in popular culture that are given over to new artists to take a revisionist approach or antithetical philosophical direction. Commentary and critique of an artwork is inherently dishonest when presented under the "brand" or "IP" of the original work. While it may be perfectly legal to do so, it is morally wrong for another artist to usurp a body of work they did not create to deliver their own opposing views on the art. Not only is this dishonest in the way my example of the "new" David statue would be above, but it also stifles the creativity of a new artist to force them to work under the brand name of another artist's work.

Conclusion

It is perfectly fine for George Lucas to revise and re-edit his own works as much as he wants. While it may be upsetting to fans and historians, it is not an immoral decision. Star Wars was his creation. He can do with it whatever he wants. It is NOT the same thing for Rian Johnson to fundamentally alter the character of Luke Skywalker in order to tell his own story and deliver his own philosophical views on the futility of listening to the Force, especially when this is in direct opposition to the presented views in Lucas' original works. 

It may be legally acceptable, but it should not be tolerated from an artistic and moral view. There is nothing stopping Johnson from making his own Space Battles movie about a mystical group of Gradzi warriors who use the mystical Anti-Entropy energy, and plasma blades, to fight the evil Interstellar Empire. The fact that it is more difficult to attract an audience to a new IP is not an excuse to commit the artistic forgery, and bait-and-switch marketing, of the companies and creators who attempt a "deconstruction" of another artist's works while selling it under the same name as the original.