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      "author": "altrealitygame",
      "permlink": "heaven-fell-to-earth",
      "title": "HEAVEN FELL TO EARTH",
      "body": "The war in heaven fell to earth\nThe dance in heaven that fell to earth\nThe sex in heaven that fell to earth\nThe game in heaven that fell to earth\n\nPick your own description because it may well be beyond saying that it IS THIS and is NOT THAT.\n\nWhat if i told you there was a war going on, and that this war had been raging as far back as history can be traced and further. It has changed in form and scope and theater, but has been the primary driving force behind everything we see and know as human civilization. Many people seem to go about their whole lives unaware of this war, but unbeknownst to them they play some part in it, supporting one side or the other. Governments and religious institutions, academia, all are used as puppets by the forces of one side in opposition to the other. Humanity and the material realm are the fodder and ultimately suffer as the casualties of this war, but the forces themselves that are at odds are eternal. All mythology describes this war and frames underlying thought and philosophy in order to pit one side against another, one aspect against another bolstering opposition and fomenting the embodiment of this war. \n\nThis war is ultimately boolean in nature and is the embodiment of dualism expressed through the logic we are so familiar with as the basis of our language and understanding whereby things are labelled and classified through systems of IS THIS and NOT THAT. It is within this construct that we cannot conceive of something that IS, with the exception of the definition of what it IS NOT, and so we automatically think things to be either TRUE or FALSE, and it is through this imposition of binary and mutually exclusive dualism that these forces dominate and oppress the existence of chaos into order. Same claim to understand and revere chaos in it’s true form, but usually seem to have labelled and aspect as opposed to order such that it is a pale two dimensional shadow of it’s true form and is described by IS THIS and NOT THAT with it’s binary oppositional form being labelled as “ORDER” which simply allows the concepts to shrink so that the war can be broadened. This construct is made of language, and language is made of dualism of boolean logical mutual exclusion. The TRUTH beyond this construct may be that IT IS and IS NOT (simultaneously and atemporally as a superposition of these “truth states”). Distinctions define dimensions, just as values on a number line that stretches out as positive and negative in opposite directions from an origin or zero point. It is through this construct that we create our distinctions of space in the three dimensions of height, width, and depth, and of time is past as negative receding values and future as positive extended values and with NOW as the origin point. Through this process of thought we hammer all things we experience into this linguistic system of pigeon holes whereby we describe experiential phenomena within this framework of inclusion vs exclusion. This creates a template of “narrative form”. \n\nWhen i speak of this war i do so in terms of language and by words that are equated with thought forms catalogued through associations of IS THIS and NOT THAT as  value assessments to make determinations by which meaning can be assigned. If you replace each noun in this with a descriptive label of your choice (something that seems more accurate to say it represents the thought that IS THIS and is NOT THAT), and further alter all the “BE VERBS” “is”, “are”, “was” etc to include their counterpoint as in “IS AND IS NOT MAYBE” etc, very quickly although the communication rises in the absolute value of descriptive accuracy, it very quickly loses all value in describing any isolated portion of the construct. So to share and communicate and understand and perceive we create this construct of mutually exclusive dualism as a filter and sample the infinite recursive form in such a way that this war can continue. \n\nThere will be some that hold this communication as totally devoid of value, and others that are able to glean a deeper meaning. As a proper piece subversive propaganda, try to see it as both of those things simultaneously.",
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      "author": "altrealitygame",
      "permlink": "creating-meta-narratives-as-a-hypersigil-within-a-larger-arg-scenario-for-personal-and-societal-transformation-which-way-is-up",
      "title": "Creating meta-narratives as a hypersigil within a larger ARG scenario, for personal and societal transformation (which way is up in this strange loop?)",
      "body": "![BannerIO.png](https://cdn.steemitimages.com/DQmcKnvGGXysKqcrva6tcbVMvqzZTytNVnayU9vi9fNiYNY/BannerIO.png)\n\nCinematic technique was used in ancient times in temples, (often using autonomous mechanical devices to provide seemingly miraculous results) and played a major role in many of the ancient mystery traditions. Immersive and interactive narratives and participatory experience has been used to create altered states of consciousness and altered experience of reality as far back as history can be traced and arguably into the animal kingdom where young animals often use play to develop skills and develop behaviors that can serve them later within the narrative structure of their pursuit of survival and of life itself. Some para-psychologist suggest the state of mind entered into when one is provided with input that is beyond comprehension or that confounds a currently held belief or limit, is a key to manifesting further results that can only be described as paranormal or “beyond the scope of normal scientific understanding”. With this in mind we suggest that psychodrama dealing with the limits of understanding are both the controlling and creative forces that work on the population of humans as social creatures, and that understanding this mechanism of creation and control allows for the willful translation of reality, but we will go into this in more detail as we go further into these topics.  \n\nWatching dramas playing out by proxy in a theater, arena, or coliseum, was understood to allow vast populations to be placated such that they could succumb to an otherwise boring, uneventful, and non-dramatic life while getting their emotional fix by voyeuristically watching others experiencing life and death dramatic conflict.  “Give them bread and circuses” became the motto for keeping the masses entertained and for teaching them the virtues of loyalty and vices of courting dangerous and revolutionary ideas. This would go a long way toward retarding any uprisings or revolt against a system of containment that sought to utilize the masses as a mechanism working towards a broader centralized nationalistic or cultural goal.  \n\nPlays and drama as an art form eventually became the method even to provide subversive social commentary about politics, religion, and to experiment with virtues and vices of archetypal characteristics, and even to teach by example the power of certain cultural norms and taboos, providing a sort of programming template for the human population. As technology progressed and provided a means of recording these scripted performances, allowing for mass distribution and enhancing the ability to alter and use trickery to create illusions of reality, cinema became perhaps the popular and powerful medium for these narratives.\n\nWhen people saw the first grainy and silent moving pictures, one of the first reported effects on an audience was to react as if the scenes on the film were real. There was a particular scene depicting an oncoming train and as this train approached the cameras vantage point, many in the theater ran away for fear of being struck by the oncoming train… \n\nBefore their exposure to this new medium, no one had seen anything like this and the results seemed like some strange magic… Man has since increasingly learned to distinguish what is real as well as to create psuedo-realities that wade through “the uncanny valley” on the verge of seeming real; or at any rate are real enough to create a visceral reaction or to suspend disbelief. Real enough so that if one so chooses, they can in effect lose themselves in the content being played out in front of them. \n\n\n\nFor roughly the last century, cinema has represented what is arguably the most highly evolved medium for presenting narratives, but cinema seems to be giving up ground in the same way print media and broadcast media are giving way to the more interactive format of social media and collective content curation… in this way games as interactive narratives, are quickly evolving into a whole new medium that can encourage audiences to become authors and spectators to become participants. Closing the circle so to speak and creating a “hyper-meta narrative” whose hero is the protagonist that becomes the author, the player that becomes the game designer.\n\nThe concept of “language games” was popularized by the philosopher Ludwig Wittgenstein as a way to understand the underpinnings of culture and the cultural motivations that sway the behaviors of any given member of said culture. Understanding the underlying game mechanics inherent in these language games and narratives that form the backdrop of our subconscious motivations can be a very empowering realization. Playing new language games by creating our own meta narratives where the individual acts as both the subject and the author or the player as well as the game designer can allow us the opportunity to override or “hack” the cultural conditioning and to become a mindful director of the application of will that both creates the narrative content of dreams, and plays out in the subconscious associations with your perceptions of the world as well as the emotions, reactions, and ultimately behavioral choices that form how you interact with the world around you. In short we create games that allow players to change their worlds and change themselves in accordance with their own values, and a means of understanding the cultural template without being constrained by it.\n\n\nWe will be adding references and examples for many of the claims and assertions made in this post. Please feel free to add any comments and even anything that you feel refutes any of the claims made as this work is meant to be a collective effort, and to be interacted with and altered so that any in the audience can also play a part as an author.",
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      "body": "Cinematic technique was used in ancient times in temples, (often using autonomous mechanical devices to perform seemingly miraculous results) and played a major role in many of the ancient mystery traditions. Immersive and interactive narratives and participatory experience has been used to create altered states of consciousness and altered experience of reality as far back as history can be traced and arguably into the animal kingdom where young animals often use play to develop skills and develop behaviors that can serve them later within the narrative structure of their pursuit of survival and of life itself. Some para-psychologist suggest the state of mind entered into when one is provided with input that is beyond comprehension or that confounds a currently held belief or limit, is a key to manifesting further results that can only be described as paranormal or “beyond the scope of normal scientific understanding.”. With this in mind we suggest that psychodrama dealing with the limits of understanding are both the controlling and creative forces that work on the population humans as social creatures, and that understanding this mechanism of creation and control allows for the willful translation of reality, but we will go into this in more detail as we go further into these topics.  \n\nWatching dramas playing out by proxy in an theater, arena, or coliseum, was understood to allow vast populations to be placated such that they could succumb to an otherwise boring, uneventful, and non-dramatic life while getting their emotional fix by voyeuristically watching others experiencing life and death dramatic conflict.  “Give them bread and circuses” became the motto for keeping the masses entertained and for teaching them the virtues of loyalty and vices of courting dangerous and revolutionary ideas. This would go a long way toward retarding any uprisings or revolt against a system of containment that sought to utilize the masses as a mechanism working towards a broader centralized nationalistic or cultural goal.  \n\nPlays and drama as an art form eventually became the method even to provide subversive social commentary about politics, religion, and to experiment with virtues and vices of archetypal characteristics, and even to teach by example the power of certain cultural norms and taboos, providing a sort of programming template for the human population. As technology progressed and provided a means of recording these scripted performances, allowing for mass distribution and enhanced the ability to alter and use trickery to create illusions of reality, cinema become perhaps the popular and powerful medium for these narratives.\n\nWhen people saw the first grainy and silent moving pictures, one of the first reported effects on an audience was to react as if the scenes on the film were real.. There was a particular scene depicting an oncoming train and as this train approached the cameras vantage point, many in the theater ran away for fear of being struck by the oncoming train… \n\nBefore their exposure to this new medium, no one had seen anything like this and the results seemed like some strange magic… Man has since increasingly learned to distinguish what is real as well as to create psuedo-realities that are on that wade through “the uncanny valley” on the verge of seeming real; at any rate real enough to create a visceral reaction. Real enough so that if one so choose they can in effect lose themselves in the content being played out in front of them. \n\n\n\nFor the roughly the last century, cinema has represented what is arguably the most highly evolved medium for presenting narratives, but cinema seems to be giving up ground in the same way print media and broadcast media are giving way to the more interactive format of social media and collective content curation… in this way games as Interactive narratives, are quickly evolving into a whole new medium that can encourage audiences to become authors and spectators to become participants. Closing the circle so to speak and creating a “hyper-meta narrative” whose hero is the protagonist that becomes the author, the player that becomes the game designer.\n\nThe concept of “language games” was popularized by the philosopher Ludwig Wittgenstein as a way to understand the underpinnings of culture and the cultural motivations that sway the behaviors of any given member of said culture. Understanding the underlying game mechanics inherent in these language games and narratives that form the backdrop of our subconscious motivations can be a very empowering realization. Playing new language games by creating our own meta narratives where the individual acts as both the subject and the author or the player as well as the game designer can allow us the opportunity to override or “hack” the cultural conditioning and to become a mindful director of the application of will that both creates the narrative content of dreams, and plays out in the subconscious associations with your perceptions of the world as well as the emotions, reactions, and ultimately behavioral choices that form how you interact with the world around you. In short we create games that allow players to change their worlds and change themselves in accordance with their own values, and a means of understanding the cultural template without being constrained by it.",
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      "body": "![](https://steemitimages.com/DQmUuxmVETDfhyYg3khY9yxZfXRyukTyutxtSVNM37xRp8c/image.png)\n\nIt can be difficult to start at the beginning of such a topic, but at the outset of the game of simulacrum (we will use the generic term \"game\" to refer to this concept going forward) most players seem to assume themselves to be an organic biological life form that lives in a universe comprised mostly of inanimate objects where they come from a long lineage of generations of biological organisms, originating either naturally and through evolution after a big bang or some other scientific origin story, or supernaturally through some deistic origin story, or some combination thereof (at least as a default operational paradigm). This prevailing origin mythos becomes increasingly and more extremely important as it tends to color the underlying assumptions or base axioms used as a filter from which to derive other subsequent truths from observation and therefore create a framework for creating downstream judgments, strategies, tactics, etc.\n\nOne of the main goals of the game is to put players into scenarios whereby they will question their default paradigm and the inherent assumptions they use to define self as well as the objective universe they consider to be \"other than self\".\n\nIt becomes obvious to most players that they are operating avatars or acting as an “agency” and controlling an “agent” that encounter both other players operating avatars, as well as NPC (non-player character) AI operated avatars. Within the game.\n\nSome points of the goal hierarchy and some considerations (in no specific order):\n\n Survive\n\nPrevent threats of an existential nature within the game from eliminating the players ability to influence and affect the game’s outcome and the emergent narrative from within its own level.\n\n Bring their own avatar and possibly the avatars of others like themselves to a successful conclusion by winning challenges which as a reward includes a means of ascension whereby the avatars are afforded an opportunity to express themselves through others outside of the context of the game and in what the players consider the \"real world\" by the players becoming an expressive extension of that avatar within the player’s \"real world\" or within their local space and time.\n\nIn other words, some expressive actions or activities must be taken, on behalf of the ascended avatar by the player. (the standard criteria of which avatars are deserving of “saving” as well as what actions would constitute a win and provide an opportunity for ascension is ultimately player determined, but should be applied consistently to all as well as used as a player’s standard of behavior for their own avatar or applied as a \"moral compass\" or ideal to be attained by the player’s direct actions and behaviors through their own avatar. (Players should not hold the avatars of others to higher standards than they hold themselves) An avatar’s ascension should be considered some profound realization of form such that it is not simply a subroutine contained by the system encapsulated by and defined strictly by the game mechanics, but has demonstrated some uniqueness or originality and creativity. As the avatars express and so alter the “real world”, these ascendant avatars become a part of the exterior system through complex chains of cause and effect, thus suggesting the player consider the nature of self, objectivity, and of “reality” itself, as well as the prospect of ascension and individual creativity and unique individuation, as well as nonlinear temporality as a creation mythos.\n\nThe game scenarios are specifically designed to encourage the player to ask of themselves questions about their identity and their default paradigm so they not only question if others that surround them in the game are human or AI, real people or simulation, but through projected meta-analysis, to ask themselves why they make the determination they have, and what are the ramifications of applying those same considerations to themselves. It is also designed to suggest the question of how would an avatar know when it is inside a simulated “encapsulated” environment and when it only appears to be such, so that when one applies these same questions to the outside world, they can see that certainty is founded on assumptions, pragmatism (from the “inside paradigm’s” perspective), and other similarly shaky philosophical framework.\n\nFurther the desire to not provide an agency in the real world for what may be malicious AI, or an unworthy agency of simple reaction based automata disguised as another player with an avatar trapped in the simulacrum, will encourage the player to project and thereby identify with both the NPC AIs and the position of other players in order to try to understand their strategies and tactics and defenses, as well as to formulate their own.\n\nSome concepts that should immediately make themselves apparent within the game mechanics can include:\n\n Avoiding Existential Threat\n\nThe idea of existential threat requires an underlying worldview of limited existence. The nature of existence (preferences) are all that can be threatened if existence itself is seen as unlimited. Since encapsulation and partitioning of levels of simulacrum are by nature non-absolute (since the attainment of ascension is the stated goal of the game) there is a direct yet subtle suggestion of recursion and infinite regression / progression of form.\n\n Creating sub-games or meta-games\n\nEither individually or within a collaborative setting with others recruited for the same purpose, players are encouraged to create sub games or meta-games within the game level they are operating within as a default, to recursively model all the necessary game mechanics as described herein and be both compelling enough to encourage interaction and provide a means of transcendence of the game level as a reward.\n\n Considering Consciousness, Ego, and Individuation\n\nPlayers are encouraged to question what aspects of self as well as others are unique and individual and not just an automaton's reaction. What creativity can be applied while operating within what seems an outside objective universe in order to transcend it’s limits and not just be an operant agent with no true individuation and uniqueness.\n\n Considering the External vs Internal Perception (Objectivity vs Subjectivity) Solipsism, etc.\n\nPlayers are encouraged to consider the nature of the universe and the self and the paradigm of internal perception vs outside objectivity, and the ramifications of the paradigm of classical solipsism in the context of universal cosmology.\n\n Polarity / Dualism and Singularity / Annihilation of Individuation\n\nPlayers are encouraged to consider the ramifications of the standard classical, dualistic, and  mutually exclusive, binary aspects of polarity as an absolute, as well as considerations of singularity and the annihilation of individuation and differentiation.\n\n Good vs. Evil\n\nPlayers are encouraged to consider concepts of Good and Evil as a standard of assessment and in terms of preferences and default judgments based on prior axioms and current prevailing paradigms.\n\n Intention vs. Effects / Negligence vs. Malice /  Forgiveness and Grace vs Accountability and Karma\n\nPlayers are encouraged to ask the question in determining value, which factor is used as the metric of assessment and judgment, the intention or the end result of some action? If a player means well but the result of their action is seen as averse to the expression of a player’s will, is that action absolved because it was motivated by good will, or is it strictly assessed on the basis of the outcome? They should confront the question of this application and results of cause and effect and the implications for the choices made between accountability and grace.\n\n Friend vs. Foe\n\nThrough game play, players are encouraged to consider which things acting aside from the players own agency are converse or antagonistic to the expression of the players will and are working against the players ascension, and which obstacles and challenges are a part of the process of ascension and working towards the ultimate goal and will of the player? Which characteristics of self and in others should be sought out and which should be foregone, etc.\n\n Narrative Continuity / Consistency and History / Memory / Temporality\n\nPlayers are encouraged to consider cause and effect, linear and non-linear temporality, narrative form and consistency, as well as history, memory, and how these things both define and illustrate narrative. These aspects tend to be very important both in creating compelling game scenarios and in demonstrating a recursive aesthetic that allows for ascension.\n\n Expectations / Archetypes / Understanding and Communications\n\nPlayers are encouraged to consider communications, meaning, symbolism, expectations, archetypes and all forms of ideation and informative expression both in the context of gameplay and in the context of ascension.\n\nThe end conclusion suggested by any level of attainment of the game often seems to be that none of these considerations may be able to yet be solved in any absolute terms (and it also that these absolute determinations may not matter) but unique, novel, and recursively aesthetic solutions (those acknowledging and communicating or demonstrating these same considerations) as solutions to previous limitations and challenges are what directly provide ascension to higher levels and further opportunity for higher levels of interaction and gameplay.\n\nOne idea often presented by the game narrative / mechanics is that If a compelling enough game can be built inside the current level of the game, it can be used as a test or a filter to see which avatars can create recursively aesthetic (any aesthetic that demonstrates or suggests an understanding that it is a game) and create a unique and creative solution for avatars to ascend, and which other avatars conversely get caught up in the game and trapped in the simulation to respawn (having their characteristics serve as data points used to model future NPC AI controlled agents, living their entire existence in service of the lower level game itself unless they themselves attain ascension.\n\nEach player acts as an “agency” (a directing will) that operates an “agent” (performing operations) within an and affecting an “environment” (some scenario containing constraints and limitations or challenges as well as some method of ascension or completion to advance and ascend).\n\nGame mechanics often include questions or other means of making determinations about each agent’s characteristics and judgments as well as a method of ongoing data collection and analysis for monitoring current states as well as consistency, this encourages players to carefully consider their perceptions and reasoning from the perspective of their avatar or agent as well as what that agent may want to share and how much they trust anything aside from \"self\", as well as if they can really trust themselves on a grander scale “outside” their encapsulated perception of reality. Players are free to reassess and restate and or change any characteristic state at any time, but these changes of self are also often used to assess the consistency of judgment players make about other agents controlled by players or NPC AIs in their interactions and relationships.\n\nGame play includes creating avatars or agents, determining operations actions and behaviors for their agents, building environments, scenarios, situational opportunities and limitations, consistent and compelling narrative, and determining game mechanics to model and filter winning game play from those that do not provide ascension or success and progress at that particular level.\n\nThe game quickly becomes about both engaging with and creating valuable and compelling relationships and embodying and relating with characters, scenarios, narratives and games that are both popular with other players and allow enough activity for people to become invested to the point that they want to take meaningful game elements outside of the confines of the game itself, and express those elements within the “real world” thereby providing ascension to those game characters that have proven worthy of the players allowing themselves to be used as this means of expression.\n\nThis \"ascended expression\" of fictional characters in the real world as an outcome is readily visible in context of pop-culture iconography, memes, and the expression of archetypes mimicked from movies and other media. The main difference with our game of simulacrum being that the process is not so obviously established within the narrative of creating the expression by those that passively watch and project allowing the fictional characters to live vicariously through their expression within the audiences of most passive media, whereas in the context of interactive media and within a narrative about ascension through gaming a nonlinear temporality can be woven into the creation mythos such that a standard player can be encouraged to create scenarios whereby an avatar can ascend as well as provide a means for such an avatars expression at a higher level.\n\nSuch gameplay encourages players to try to understand the point of view of their avatar or agent, that of other players and NPCs, as well as the game designer, to project and expand self into a recursive frame of reference of both a unique individual and an undifferentiated singularity simultaneously.\n\nSub games and meta-games are and have been being developed and played within the real world you and I share with other people, as well as within various other MMORP worlds and other simulation environments. Avatars from all levels of game play are also expressing themselves and attaining ascension. It can be difficult to start at the beginning of such a topic, but at outset of the game most players seem to assume they are organic biological life forms that live in a universe composed mostly of inanimate objects where they come from a long line of generations of biological organisms that originated either naturally and through evolution after a big bang or some other scientific origin story, or supernaturally through some deistic origin story, or some combination thereof (at least as a default operational paradigm). This prevailing origin mythos becomes increasingly and more extremely important as it tends to color the underlying assumptions or base axioms used as a filter from which to derive other subsequent truths and therefore creates a framework for creating downstream judgments, strategies, and tactics.",
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      "body": "whaddup defango?!  loved your video on apophenia pareidolia and synchromysticism.  look forward to more content from you going down that rabbit hole!",
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      "body": "![FBbackground.png](https://steemitimages.com/DQmVkJ8bUEiBdMP6uaLQajvWr4P3ivbrfdkgeaFcj8Vqvyg/FBbackground.png)\n\nFrom the earliest possible age, given the opportunity, all sentient creatures willfully engage and interact in the world around them through play. Play allows us to develop our physical and mental dexterity; our creativity, and imagination, as well as our cognitive, emotional, and social tools. By simultaneously exploring and defining the world around us and our role in it, we create the context and framework for the most crucial behaviors and the decisions that shape our identities, our lives, and the very fabric of reality. \n\nIt is for these reasons the Alternate Reality Game Organization provides assistance to the game development community and artists; providing and sharing resources through our programs directly to the game developers and artists who are actively creating the realities we all share. Everything that is now real was once just imagined. At what point does an imaginary thing become real? Is there a moment of phase change or a gradual spectrum of subtle variation as ideas crystallize and take on form? We work by creating bridges between the world of ideas and the \"real world\". These bridges are built from both direction; working from ideas and imagination and bringing things ever closer to reality, as well as taking things that are decidedly real and adding elements of imagination and new ideas into their current form.  \n\nBy doing so we are creating a community of active creators while simultaneously creating and playing with our reality. We welcome you and look forward to sharing and co-creating reality and playing our games together.  \n\nEnjoy your game! you are already playing...",
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