The Future In Our Hands

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The future in our hands

As we know, the future is something that worries us all, knowing that it can happen, if it is we who handle our life or if there will be anything beyond, a superior being, or simply destiny is the one who draws our path. The question of whether or not there is reality, whether we are under a causal paradigm, if it is we who build our reality based on what we know or if we just perceive part of what we believe is real and from this we mold it andWe form our destination, we will try to explain each point in relation to the movie Black Mirror: Bandersnatch, through the thought of certain philosophers.

People believe that there is a reality, but there are many and slide as roots and what you do in one affects the other, this understood in the way we usually assimilate what for us is the real, forming a different reality for whomThey perceive it, therefore, having our reality "fixed" everything we do below, modify this reality, creating our own for each being based on their actions. In the same way Pérez Peña tells us that reality is a reality of knowledge, taken from the world thanks to representation and put into practice in daily life. It is considered as reality to what is represented and known. The unconscious is the real and the preconscious is constituted as reality. We also identify the knowledge of certain philosophers as J. Lacan and Hegel, the first states that "the unconscious does not belong to the order of being or not because it is not done" (it does not come true). While Hegel says that in the concept there is not the thing and adds him saying that being is what is not unconscious, therefore the being is reality.

Within the cause-effect paradigm, we can mention how reality is affected, as Democritus exposes, things do not fortuitly or casually, but causally but causally. Nothing happens without a cause since everything is caused. It is worth mentioning that these cause-effect actions are usually understood as detonators of the formation of our destination. Destiny for many has a difficult way to explain or rather a very subjective way, in general understood by the course that our lives or something specific, however, for the Royal Spanish Academy the destiny is a "fate" (unknown strength). II "A chain of events considered as necessary and fatal". III "A circumstance of being favorable or adverse to someone or something". Although we kept control after the screen on the protagonist’s actions, he was the one who triggered the options that would later occur and from which we would choose, in this part Herrero mentions Shakespeare “the destination is the one who considers the letters,But it is we who play ”referring to how Stefan, in their need to find answers to his past or perhaps his ambition to create a game which he already knew would bring consequences, decides to continue and through the alternatives that occur throughoutFrom the tape it generates one or several realities, in turn through us it was creating a series of events and when altering or taking a different option, the whole scene took an alternate turn to which we believed to know, changing its "destiny".

On the other hand we will talk about the immaterial, referring to the abstract, spiritual, ideal or imaginary being this subjective, or also known as non -material. Within this Descartes through its axiom "I think later" exposes us a very important point within the film, in which he mentions us as being aware of being allows us to exist, ceasing to be imaginary or subjective beings, the characterHe recognizes himself as a being and in that situation he decides to jump from the window – he is aware that he is Stefan and wants to throw himself out the window by recognizing everything he has done – in this case Tomas Aquino mentions that “in every entityReal distinguishes what he is (Esuntia) from the act of being (that) that he exercises ". In the same way, he points out that “if there is a certain mocker that is pleased to deceive me, there is no doubt that I am, since it deceives me and as much as I deceive me, it will never get me to make me anything, while I am thinking that I am something’. Referring to the situation in which the protagonist was, for more than him did not act for free will, he had the ability to exist, since, just knowing that someone was deceiving him and acting in his name,He made him doubt if he really existed, and having this doubt he really exists.

The essence of the film does not lies totally in the plot that it has, on the contrary. In this way, man is his own project and what motivates him are his ideals and his concern about the realization of his being, which are not drawn by his destiny or a nature. In the same way the protagonist seeks his own essence in the realization of the game (goal) and through his actions – influenced by us – tries to perform or make himself. However, within the same theme, this idea is opposed since there is no free will for the subject and all it can do is stick to the path described by the spectators. Therefore the essence depends on what the protagonist wants and how we will help it or not, to be directed to the realization of this goal.

When talking about the decisions made during the film, even when the protagonist is aware that someone manages his actions, we talk about a "superior force" that takes control of the road, for Nietzsche the objective of knowledge is not to understand the realityor the absolute truth in itself, but of controlling. It is worth mentioning the phrase "God has died. God is still dead. And we have killed it ”it refers not to an advantage as superior beings, on the contrary when we kill God we are having a problem – configuratively – because now we have to be responsible for our own elections and our life, in this way we passTo be our own God, in the case of the film we kill the option that the protagonist decides, becoming his God having the absolute power and knowledge of him, as Plato writes “to maintain that all these things are as I have described them… ”, Using it as part of the power we have, since things are done according to the orders that we give to the platform. However, and although we seem to "handle" the rhythm and the path that the film takes, who handles us is the Netflix platform, in this case Sartre and Heidegger in being and nothing tell us that the way of being authenticAnd free is "revealing us against everything" as Stefan does so when trying to face who apparently controlled him, in this way the only way to recover will be united, to acquire power to prevent the triumph of the superior man who fights only.

When talking about decision -making, we talk about the control that is exercised, in this Foucault theme your book watch and punish explains how in society the control mechanisms are exercised through confinement devices, to which they are subjected by being part of a structure of a structure ofDomain, on the other hand also analyzes the change in technology used as a punishment tool, by understanding that technology consists of a repression of society. When analyzing it in this way we can understand how the protagonist is part of an confinement through the screen, in which the spectators are able to punish or handle it exercising some control over it, as Foucault mentions later regarding technology and its domainOn individuals, we also see it evidenced, even if we are not aware, the platform controls us and thanks to its control we also control the sequence of facts that happen.

When talking about this repression, it is also good to talk about the anguish that the character perhaps feels by not having the freedom to act:

"Man becomes aware of his freedom in anguish, or, if preferred, anguish is the way of being of freedom as awareness of being, and in anguish freedom is in his being questioning herself".

Sartre relates this anguish when the subject, in this case the protagonist, realizes the inefficiency of his past acts, acts that were the result of our control, which generated an anguish in him, and this anguish- intended by Sartre- thewill use as a method to be free again. Within this point, which really generates uncertainty in the man who links to what Hannah Arendt points to us in the human condition is about the irreversibility and impossibility of predicting, and in a certain way what distress in turn, is thePossibility, what can happen yet, once it has acted and before the chain of unexpected consequences that the action is already having, explained in another way, what overwhelms in such case is something that could have already happened already happenedAnd that the distressed subject will know in the future according to what happens, evidencing this at the time when choosing the thread of our history we reached an end and when returning and trying alternate endings, the protagonist had a scarce idea of whatstep, overwhelming him and creating an anguish for what he lived and for what he will live below.

Bibliographic references:

  • Arendt, h. (1993). The human condition. Barcelona: Paidós.
  • Descartes, r. (1983).Method speech. Barcelona: Orbis S editions.A.
  • Echauri, r. (2007). Essence and existence in Aristotle. Spain: University of Navarra.
  • Foucault, m. (1975). Watch out and punish. MEXICO: XXI CENTURY Editors.
  • Foucault, m. (1976). Watch out and punish. (Aurelio Garzón del Camino, Trad.). Mexico: XXI Century Editors. (Original work published in 1975).
  • Herrero, J. (2014). Neutrino Masses and Dark Matter: A Path to New Physics (Doctoral Thesis). Corpuscular Physics Institute.
  • McLean, r. (Address). (2018). Black Mirror: Bandersnatch [movie].
  • Narváez, m. (2017). Teaching Support Module Subject: "Philosophical Fundamentals". Basin.
  • Nietzsche, f. (1983). Beyond Good and Evil. Barcelona: Orbis S editions.A.
  • Nietzsche, f. (2007). The Gaya Science. (A. Mardomingo, trad.). Madrid: Edaf. (Original work published in 1882).
  • Pérez Peña, and. (1984). The real and reality. Psychoanalysis Magazine, 41 (6), 1079-1094.
  • Plato. (1960). Complete works. Madrid: Editorial Aguilar.
  • Royal Spanish Academy (RAE). (2019). Destiny. In the Spanish Language Dictionary (23.ª ed.).
  • Sartre, j.P. (1943). Being and Nothingness. Madrid: Altaya Editions.
  • Sartre, j.P. (1966). Being and Nothingness. Buenos Aires: Losada.
  • Sartre, j.P. (1946). the existentialism is a Humanism. Argentina: Edhasa.

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