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To play a computer game is to submerge oneself in virtual reality — sensory interaction with data structures. Between the light, sound and vibrational patterns that are generated by the code and the active perception as well as the imagination of the player, the aisthesis of computer game- playing unfolds. Computer and player become part of a continuum. The player internalizes the figure that is projected on the screen by the code. Through the contact surface of the interface, the electric states of transistors and nerves dance with each other in a cybernetic circuit. Homo ludens and universal machine meld in the enactment of a computer game. Figure 4: A finishing move in “Manhunt”.

Figure 4 To play a computer game is to submerge oneself in virtual reality — sensory interaction with data structures. Between the light, sound and vibrational patterns that are generated by the code and the active perception as well as the imagination of the player, the aisthesis of computer game- playing unfolds. Computer and player become part of a continuum. The player internalizes the figure that is projected on the screen by the code. Through the contact surface of the interface, the electric states of transistors and nerves dance with each other in a cybernetic circuit. Homo ludens and universal machine meld in the enactment of a computer game. Figure 4: A finishing move in “Manhunt”.

Related Figures (11)

John Lilly in front of isolation tank. I went through dreamlike states, trancelike states, mystical states. [...] I went through experiences in which other people apparently joined me in this dark silent environment. I could actually see them, feel them, hear them. At other times, I went through dreamlike sequences, waking dreams as they are now called, in which I watched what was happening. At other times I apparently tuned in on networks of communication that are normally below our levels of awareness, networks of civilizations way beyond ours. I did hours of work on my own hindrances to understanding myself, on my life situation. I did hours of meditation, concentration, and contemplation, without knowing that this was what I was doing. It was only later in reading the literature that I found that the states I was getting into resembled those attained by other techniques.’ By itself the isolation tank did not allow much more to be learned about the brain than the fact that its deprivation of most external stimuli did not lead to a significant reduction in vigilance.
John Lilly in front of isolation tank. I went through dreamlike states, trancelike states, mystical states. [...] I went through experiences in which other people apparently joined me in this dark silent environment. I could actually see them, feel them, hear them. At other times, I went through dreamlike sequences, waking dreams as they are now called, in which I watched what was happening. At other times I apparently tuned in on networks of communication that are normally below our levels of awareness, networks of civilizations way beyond ours. I did hours of work on my own hindrances to understanding myself, on my life situation. I did hours of meditation, concentration, and contemplation, without knowing that this was what I was doing. It was only later in reading the literature that I found that the states I was getting into resembled those attained by other techniques.’ By itself the isolation tank did not allow much more to be learned about the brain than the fact that its deprivation of most external stimuli did not lead to a significant reduction in vigilance.
Samotar’s self-experiments in the isolation tank took place in the first half of the 1990s, which George H. W. Bush announced as the “Decade of the Brain.”*° Since then there has been much concern that the self and other aspects of our subjective lives are called into question by the neurosciences. In his preface to a collection of texts representative of the German debate about recent advances in the neurosciences, Christian Geyer articulated this growing disquiet about the illusory character of subjective experience: recent advances in the neurosciences, Christian Geyer articulated this growing disquiet about the 4, The Contemporary Problematization of the Self
Samotar’s self-experiments in the isolation tank took place in the first half of the 1990s, which George H. W. Bush announced as the “Decade of the Brain.”*° Since then there has been much concern that the self and other aspects of our subjective lives are called into question by the neurosciences. In his preface to a collection of texts representative of the German debate about recent advances in the neurosciences, Christian Geyer articulated this growing disquiet about the illusory character of subjective experience: recent advances in the neurosciences, Christian Geyer articulated this growing disquiet about the 4, The Contemporary Problematization of the Self
So let us start with the Samadhi state: It is the all-embracing state of complete emptiness lackin; any structure. There is everything and nothing. It is of particular interest to try describing wha happens when you go in and out of this state, when you are close to it. You realize that whatever you think could be a description or whatever you remember from your daily life or from you most elaborate goals in your life or what you perceive as the most profane or the most sacred it your life, no matter what, everything is just loops of differences made and destroyed agair (Figure 1). As soon as you try to grasp an aspect of Samadhi in words, you necessarily detach fron it. And the more you talk (or just think in words), the bigger the loop. As Ludwig Wittgensteit wrote: “The chain of reasons comes to an end, that is, one cannot always give a reason for « reason.” !2 You can follow fractal paths of arguments — but not forever. Eventually you fall back into the void no matter what. But in the process you cross myriads of different states of mind, changing with every single decision you make, constantly evolving. It is funny enough, however, that when you come out of Samadhi through all those in-between states into your everyday state of mind you just operate on the basis of certain assumptions that proved to work in the system of perceptions you call the world, or your life. You know that they are just assumptions, but you do not care. If you cared, you would very probably be called crazy.
So let us start with the Samadhi state: It is the all-embracing state of complete emptiness lackin; any structure. There is everything and nothing. It is of particular interest to try describing wha happens when you go in and out of this state, when you are close to it. You realize that whatever you think could be a description or whatever you remember from your daily life or from you most elaborate goals in your life or what you perceive as the most profane or the most sacred it your life, no matter what, everything is just loops of differences made and destroyed agair (Figure 1). As soon as you try to grasp an aspect of Samadhi in words, you necessarily detach fron it. And the more you talk (or just think in words), the bigger the loop. As Ludwig Wittgensteit wrote: “The chain of reasons comes to an end, that is, one cannot always give a reason for « reason.” !2 You can follow fractal paths of arguments — but not forever. Eventually you fall back into the void no matter what. But in the process you cross myriads of different states of mind, changing with every single decision you make, constantly evolving. It is funny enough, however, that when you come out of Samadhi through all those in-between states into your everyday state of mind you just operate on the basis of certain assumptions that proved to work in the system of perceptions you call the world, or your life. You know that they are just assumptions, but you do not care. If you cared, you would very probably be called crazy.
Figure 2: Sketch of my visual field, see text.
Figure 2: Sketch of my visual field, see text.
This example also shows a very important point. At the time I was recording this I was under the influence of THC which I had smoked before entering the tank. In the tank I was using laughing gas in addition. And while using laughing gas you cannot report because you have it in your lungs, so you cannot talk. You need to hold it in memory and report afterwards. But what are you then reporting? You are already reporting a model of what you perceived before. Figure 3: Evolution Il by M.C. Escher (1939).
This example also shows a very important point. At the time I was recording this I was under the influence of THC which I had smoked before entering the tank. In the tank I was using laughing gas in addition. And while using laughing gas you cannot report because you have it in your lungs, so you cannot talk. You need to hold it in memory and report afterwards. But what are you then reporting? You are already reporting a model of what you perceived before. Figure 3: Evolution Il by M.C. Escher (1939).
of the rooms affect my disposition. In the foyer, dark and ‘ : ; Figure 1: The haptic interface of mysterious music resounds and the depressing «cai of Cthulhu’. atmosphere of the minor chords immerses me in melancholy. Behind one of the doors there is a library. Upon entering I hear a tortured-ecstatic moaning from an unknown room. I search everything thoroughly, but can’t find access to the acoustic trace. (...) I continue to explore the library, and find a chamber, behind a bookshelf, that I hadn’t seen before, and move inside. Suddenly, a figure appears that is moving towards me at the same speed as I am moving forward! Figure 1: The haptic interface of “Call of Cthulhu’.
of the rooms affect my disposition. In the foyer, dark and ‘ : ; Figure 1: The haptic interface of mysterious music resounds and the depressing «cai of Cthulhu’. atmosphere of the minor chords immerses me in melancholy. Behind one of the doors there is a library. Upon entering I hear a tortured-ecstatic moaning from an unknown room. I search everything thoroughly, but can’t find access to the acoustic trace. (...) I continue to explore the library, and find a chamber, behind a bookshelf, that I hadn’t seen before, and move inside. Suddenly, a figure appears that is moving towards me at the same speed as I am moving forward! Figure 1: The haptic interface of “Call of Cthulhu’.
dripping pipes when the stairway collapses beneath me. I fall and briefly lose my orientation and land with a loud thud. Figure 2: The first person perspective of “Call of Cthulhu”.
dripping pipes when the stairway collapses beneath me. I fall and briefly lose my orientation and land with a loud thud. Figure 2: The first person perspective of “Call of Cthulhu”.
I’m afraid that I’ve hurt myself. (...) My breathing is heavy, I hear myself panting and gasping for air, my vision is losing focus at the edges and my movements are extremely cumbersome. I reach in my inventory and grab a morphine syringe that I carry with me as a pain reliever. After a short moment I rejoice over my regained dexterity. But the price of my quick fix is that my perceptual distortions have gotten worse. I see everything double and objects leave ghostly traces when I move my head. I also hear voices, a faint insectoid whispering gnawing at my sanity. In this miserable state, I search for a way out ... Figure 3: The inventory window of “Call of Cthulhu’. move my head. I also hear voices, a faint insectoid whispering gnawing at my sanity. In this
I’m afraid that I’ve hurt myself. (...) My breathing is heavy, I hear myself panting and gasping for air, my vision is losing focus at the edges and my movements are extremely cumbersome. I reach in my inventory and grab a morphine syringe that I carry with me as a pain reliever. After a short moment I rejoice over my regained dexterity. But the price of my quick fix is that my perceptual distortions have gotten worse. I see everything double and objects leave ghostly traces when I move my head. I also hear voices, a faint insectoid whispering gnawing at my sanity. In this miserable state, I search for a way out ... Figure 3: The inventory window of “Call of Cthulhu’. move my head. I also hear voices, a faint insectoid whispering gnawing at my sanity. In this
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History of ScienceGerman RomanticismDrugs and drug cultureHistory Of Psychology
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