Saturday, August 31, 2024
The Effort Of Gaming
Friday, August 30, 2024
One Truth Or Existent And Another: Equally Real
Thursday, August 29, 2024
Legacy Admissions
Wednesday, August 28, 2024
Movie Review--Cube 2: Hypercube
--Jerry Whitehall, Cube 2: Hypercube
Before the first Saw movie was released, two films in the Cube series had already debuted. Vaguely similar but very distinct, the series that came first brushed up against moral, existential, and epistemological issues in its initial entry, which focused on a small group of people trapped in connected cube-shaped rooms. Cube 2: Hypercube expands on the geometric potential of a series of large, shifting rooms shaped like cubes by introducing elements that are more explicitly connected with contemporary science fiction: quantum teleportation, tesseracts, and spatial distortions all factor into the plot. The original Cube's relative simplicity and mystery worked incredibly well at establishing a setting and tension between characters, but Cube 2 builds on that mystery by leaping far more overtly into the philosophical waters the series was always floating in from the start.
Production Values
The CGI probably struck many viewers in 2002 as already looking outdated and primitive, but it is thankfully used only in very particular scenes. Many of the rooms within the larger cube need little more than practical effects pertaining to lighting and physical sets. Regarding the latter, the rooms are much brighter this time around, in contrast to the dull, dim environment of the first movie. In typical Cube fashion, the cast is largely unknown to more mainstream movie audiences, which can be a great asset when independent movies handle this factor right. Mostly solid performances animate the characters, even if some of them fall into the exact same broad categories as the characters of the original Cube. For example, at least one member of the group trapped in the cube recalls involvement in designing it, and another member has extensive familiarity with theoretical mathematics. Despite the efforts of the cast, though, the concepts at the heart of the film take the spotlight first and foremost as the plot progresses.
Story
Some mild spoilers are below.
Intellectual Content
The rooms that suspend or otherwise manipulate the natural laws of science intentionally or unintentionally illustrate how the laws of physics never were necessary truths and never could be. By nature, laws of physics, from gravitation to the rate of a particular substance's decay, hinge on the uncaused cause and the specific initial conditions of the material world. Nothing about a given law of physics had to be the way it is in the sense that it could not have been any other way. No, each one could have differed, and each one could potentially change, even if such a thing never happens. However, the logical concept of shapes like a tesseract, a four dimensional cube otherwise called a "hypercube," cannot change. Material environments and objects have shapes; otherwise, shapes do not exist except as logically possible concepts that govern physical matter. In other words, squares, cubes, triangles, and diamonds are not ultimately found in the natural world; objects in the physical world have shapes, but they are not shapes themselves. This means that even the concept of a tesseract is neither a natural object nor purely a human conceptual construct. We may not have any reason to reflect on it or search for something with its properties outside of the mere concept, but the concept is hypothetically accessible to everyone.
Conclusion
Cube 2 does not have the best examples of effects work the early 2000s offered, but it does stand firmly on a unique set of storyline concepts that negate the need for more elaborate effects that could have overshadowed the higher quality of the acting and premise. Cleverness can keep smaller, independent films with little cultural recognition afloat even without a great amount of resources in front of or behind the camera, and that is exactly what Cube 2 accomplishes. Indeed, other than the very primitive CGI, much of the film avoids any need for criticism. This does not mean it is flawless, just that it is not terrible despite its budgetary limitations! Viewers can expect more about the vague lore of the onscreen universe to be revealed without sacrificing the basic aspect of mystery that drove the first film from beginning to end.
Content:
2. Profanity: Different forms of "damn" and "fuck" get used on occasion.
3. Nudity: Female breasts are shown very briefly--as I have said before, neither the female chest area nor male chest area is truly "nudity," but Western ratings systems treat the former as such. In another scene, two nude, intertwined shriveled corpses float in a seeming gravitational vacuum.
Tuesday, August 27, 2024
Seventy Times Seven
Monday, August 26, 2024
Pursuing Empowerment
Sunday, August 25, 2024
Taking A Pledge
Saturday, August 24, 2024
Profit Sharing
Friday, August 23, 2024
Equal Access To Animal Sacrifices
Thursday, August 22, 2024
Coming Back From Assumptions
If someone who knows and embraces that no knowledge whatsoever can be found trough assumptions, they are in a better position to let go of any assumptions they allow themselves to hold regardless of knowing that they are inherently invalid. A former or struggling rationalist, that is, would be in the best position of all the people who wander from the truth in belief, intent, or action to correct themselves by aligning with the supreme, omnipresent, intrinsic truths of logic. Just as rationality is within everyone's reach, if only they decide to discover its necessary truths and absolute certainties, irrationality is within everyone's reach, if only they allow themselves to stoop to it. Redemption is accessible for all in the latter category, something anyone could intellectually and morally pursue if needed.
A rationalist who stumbles--avoidably, as is the case for everyone when it comes to philosophical beliefs and moral actions--can always come back from their assumptions or negligence or apathy. Fellow rationalists who are not likewise voluntarily sidetracked by emotionalism or assumptions of some kind would welcome him or her. No matter how one might feel towards them personally, this wavering rationalist would have abandoned falsities and slavery to preferences in order to be aligned once more to the truth. Had they remained in irrationalism, they would have deserved hostility (though never of an emotionalistic, hypocritical, or otherwise irrational and unjust form), but they have pushed submissions to illusions aside.
Redemption does not erase what has been believed or said or carried out. No, this is why on any logically possible sort of moral theism, not just Christianity, turning back to reason, God, and morality could not itself atone for former blunders. One would always have the metaphysical condition of that guilt, if morality exists, unless one is liberated from it by divine mercy. On a human level, mercy is not required to understand how someone could turn to or back to reason, to appreciate their transformation, and to approve of the status they have led themselves to at that point. Rationalists do not need other rationalists to discover and savor many truths, but they can support each other as the strongest of brothers or sisters, and Christian rationalists in particular.
Showing mercy for genuine errors and faults is one thing, but there is nothing rational about hostility towards someone who has initially renounced irrationality and other sin or who has returned from them. How could it be rational or just to oppose someone for coming back to reason and justice, for repenting of their disregard, however temporary or comparatively small, for the truth? One would not have to be merciful towards them for their errors (though even I, of all people, now would want this) to be accepting and outwardly thankful of their restoration. For those who gravitate towards either mercy or intense but justified ire, the restoration of a person is nothing to dismiss. Someone would have, in the best cases, chosen reason and the realities it grounds over self-deception, emotional persuasion, and every single kind of assumption.
Wednesday, August 21, 2024
The Localization Of Consciousness
Tuesday, August 20, 2024
Practical Autonomy
Monday, August 19, 2024
Daniel 12:2 Teaches Annihilationism
Sunday, August 18, 2024
The Expression Of Language
Saturday, August 17, 2024
Are Microtransactions Predatory?
Friday, August 16, 2024
The Sluggard Of Proverbs
Thursday, August 15, 2024
The Participants In Adultery
Wednesday, August 14, 2024
Movie Review--Cube
--David Worth, Cube
A conceptual predecessor of Saw, even if James Wan never watched, discussed, or heard of it, Cube features a starting premise comparable to that of the biggest horror franchise known for traps. The sheer conceptual creativity of focusing on a handful of people inside a series of cubic rooms, some of them rigged with lethal mechanisms, disguises the budgetary restraints of the film and allows the philosophical approaches to the trial to take a place of great prominence. Cube succeeds as an independent film that foreshadows the later development of a subgenre within the loosely overlapping horror and thriller genres and that makes the most of its limited production resources.
Production Values
Story
Intellectual Content
Conclusion
Content:
1. Violence: A man's body is cut apart and falls to the ground in pieces. Another person's face dissolves onscreen when sprayed with acid, and several physical fights between characters spill blood.
2. Profanity: Words like "fuck" are used multiple times.