What the Bleep Do We Know!? (also written What tнē #$*! D̄ө ωΣ (k)πow!? and What the #$*! Do We Know!?) is a 2004 film that combines documentary-style interviews, computer-animated graphics, and a narrative that describes the spiritual connection between quantum physics and consciousness. The plot follows the story of a deaf photographer; as she encounters emotional and existential obstacles in her life, she comes to consider the idea that individual and group consciousness can influence the material world. Her experiences are offered by the filmmakers to illustrate the movie's thesis about quantum physics and consciousness. The 2004 theatrical release of the film was followed by a substantially changed, extended DVD version in 2006.
Filmed in Portland, Oregon, What the Bleep Do We Know presents a viewpoint of the physical universe and human life within it, with connections to neuroscience and quantum physics. Some ideas discussed in the film are:
The universe is best seen as constructed from thought (or ideas) rather than from substance.
* "Empty space" is not empty.
* Matter is not solid. Electrons pop in and out of existence and it is unknown where they disappear to.
* Beliefs about who one is and what is real is a direct result of oneself and of one's own realities.
* Peptides manufactured in the brain can cause a bodily reaction to emotion.
In the narrative segments of the movie, Marlee Matlin portrays Amanda, a deaf photographer who acts as the viewer's avatar as she experiences her life from startlingly new and different perspectives.
In the documentary segments of the film, interviewees discuss the roots and meaning of Amanda's experiences. The comments focus primarily on a single theme: We create our own reality. The director, William Arntz, has described What the Bleep as a movie for the "metaphysical left".
What tнē #$*! D̄ө ωΣ (k)πow!?
Sue Blackmore engages in lively conversation with twenty-one leading philosophers and neuroscientists, to find out what they really think about the mind, brain, and consciousness. The result is a lively, readable, and accessible introduction to what some of the world's best minds think about some of the deepest problems of human existence.
Waking Life is an American live-action rotoscoped film, directed by Richard Linklater and released in 2001. The entire film was shot using digital video and then a team of artists using computers drew stylized lines and colors over each frame.
The film focuses on the nature of dreams and consciousness. The title, Waking Life, is a reference to the philosopher George Santayana's maxim: "Sanity is a madness put to good uses; waking life is a dream controlled."
An examination of several theories of the nature of self and its relation to society and to the world, techniques of thinking about the self and its identity crises.
Somehow part of the package of being a living, thinking being is that you get a universe inside of you. You get a galaxy sized object inside you that you can access.
And there there are the mountains, the rivers, the jungles, the dynastic families, the ruins, the planets, the works of arts, the poetry, the sciences, the magics, of millions upon millions upon millions of worlds.
And this is apparently who we each are. We’re a little bit of eternity sticking into three-dimensional space and, for some reason, occupying time in a monkey body.
But when you turn your eyes then inward you discover the birth right. The existential facts out of which this particular existence emerged.
And it’s a great secret. A great secret and a great comfort. Because it means mystery didn’t die with the fall of Arthur or the fall of Atlantis or the fall of anything. Mystery is alive in the moment, in the here and now. It just simply lies on the other side of a barrier of courage. And it isn’t even that high of barrier, it’s just is a barrier high enough to keep out the insincere and the misdirected. But for those who will claim it, in midst of the historical chaos in the late 20th century they become the archaic pioneers. They become the first people to carry the ouroboric serpent around to its own tail, and to make a closer. And to the degree that anyone of us has this connection back to the archaic in our life, it makes were we have been make a lot more sense and it makes were we’re going seem a lot more inviting.
Which it really is I think.
"Those worlds in space are as countless as all the grains of sand on all the beaches of the Earth. Each of those worlds is as real as ours. In every one of them, there's a succession of incidence, events, occurrences which influence its future. Countless worlds, numberless moments, an immensity of space and time. And our small planet, at this moment, here we face a critical branch-point in the history. What we do with our world, right now, will propagate down through the centuries and powerfully affect the destiny of our descendants. It is well within our power to destroy our civilization, and perhaps our species as well. If we capitulate to superstition, or greed, or stupidity we can plunge our world into a darkness deeper than time between the collapse of classical civilization and the Italian Renaissance. But, we are also capable of using our compassion and our intelligence, our technology and our wealth, to make an abundant and meaningful life for every inhabitant of this planet. To enhance enormously our understanding of the Universe, and to carry us to the stars