My countrymen turn to one another. “Is this the apocalypse?” they ask. “I thought it would be a bit louder.” They see the world entranced, fragmentary mirror images morphing and quivering as in a kaleidoscope. Observation of beautiful forms. Symmetry is a special kind of doubling. The repetition begins at an imaginary center point. “Somehow it’s all connected,” we tell ourselves. We just don’t know how. We need keys to unlock other parts of the game-board. Study maps, search for Ariadne’s thread. Do we wish to escape our prison, or do we wish to know ourselves to be bound to a plan, our every step designed? All I know is, 4:20 comes around and it’s like I’ve leapt levels. The mind-world is mine to do with as I please, or so it seems, the object-world confronting me but for money like a floor laid out with puzzle pieces and Legos, or like a playroom, an amusement park from my youth. Or better yet: a forest or a beach or a library. As part of me rejoices, however, another part of weeps, for the world melts and drips. I take action upon reading Denise Levertov’s “The Unknown.” “The preparations,” she writes, “are an order one may rest in. / But one doesn’t want to rest, one wants miracles.” So out I go for a walk. Some part of me announces, “Any politics that has recourse to Law is of no interest to me.” I gasp for breath at times, the pressure of my workload crushing me. I feel better about being alive, though, upon watching the 11-minute Oscar-nominated trailer for a new videogame called Everything.
Players toy with object-oriented ontology, a mix of identification and detachment as one directs one’s focus among multiple scales of being. I feel it may be time for me to learn about the game’s creator, David O’Reilly. We have arrived at the precipice of a new teaching, now that we’ve devised a way to think it: the Interactive Nature Simulation. Philosophy’s new frontier.