@polytropos98.bsky.social
The agency of the killing at 59:35 is masterfully divided.
April 5, 2025 at 6:43 AM
The agency of the killing at 59:35 is masterfully divided.
So: Gemma's person can be constructed out of the amalgamated responses of others.
April 5, 2025 at 6:02 AM
So: Gemma's person can be constructed out of the amalgamated responses of others.
Every complete file is the creation of a new Gemma-innie. So: Gemma's person can be created by a collection of others who respond to random code with a feeling, and each code-feeling response results in a feeling-code pair, whose code can then be included in the Gemma construction.
April 5, 2025 at 6:01 AM
Every complete file is the creation of a new Gemma-innie. So: Gemma's person can be created by a collection of others who respond to random code with a feeling, and each code-feeling response results in a feeling-code pair, whose code can then be included in the Gemma construction.
Then the recording of his outie to his innie, asking his innie to trust his outie. Plenty of reason not to trust. Then in the exchange, his outie promises reintegration. Not annihilation: integration.
April 5, 2025 at 5:58 AM
Then the recording of his outie to his innie, asking his innie to trust his outie. Plenty of reason not to trust. Then in the exchange, his outie promises reintegration. Not annihilation: integration.
E2S10: Mark's innie is told he needs to cooperate with his outie to destroy Lumen and save Gemma. But that's the end of the innies. Mark confronts what he considers his death; it is ego dissolution. Not integration: dissolution.
April 5, 2025 at 5:44 AM
E2S10: Mark's innie is told he needs to cooperate with his outie to destroy Lumen and save Gemma. But that's the end of the innies. Mark confronts what he considers his death; it is ego dissolution. Not integration: dissolution.
S2E9: 30:20: mo-no-syl-lab-ic-al-ly
April 5, 2025 at 4:10 AM
S2E9: 30:20: mo-no-syl-lab-ic-al-ly
S2E8: Harmony, equipped with hose, in her mom’s bedroom, sobs into the vessel that holds the sadness. It has to go somewhere.
March 10, 2025 at 5:54 PM
S2E8: Harmony, equipped with hose, in her mom’s bedroom, sobs into the vessel that holds the sadness. It has to go somewhere.
This can depict a deeply fragmented self; an intensely compartmentalized self; and, it can also depict family, tradition, generations descending from a common source, carrying a part of that source. Like _Being John Malkovich_, but in reverse, splitting rather than accumulating.
March 4, 2025 at 6:12 AM
This can depict a deeply fragmented self; an intensely compartmentalized self; and, it can also depict family, tradition, generations descending from a common source, carrying a part of that source. Like _Being John Malkovich_, but in reverse, splitting rather than accumulating.
...which creates the possibility of multiple generations of innies. Second, the individual at any level (or, any but the original level?) could be multiply severed, doing different severed tasks like spokes off a central hub of personhood.
March 4, 2025 at 6:09 AM
...which creates the possibility of multiple generations of innies. Second, the individual at any level (or, any but the original level?) could be multiply severed, doing different severed tasks like spokes off a central hub of personhood.
...except instead of just one of them, there are a lot of them. The effect is overwhelming, because it expands the metaphysics the show had been suggesting in two fundamental dimensions. First, innies themselves could be severed, psychologically and functionally (if not anatomically)...
March 4, 2025 at 6:07 AM
...except instead of just one of them, there are a lot of them. The effect is overwhelming, because it expands the metaphysics the show had been suggesting in two fundamental dimensions. First, innies themselves could be severed, psychologically and functionally (if not anatomically)...
S2E7: Gemma who walks the hallways, the first Gemma we see in/at Lumen--she is severed from original Gemma. So there is the original, a first-generation innie, and then several second-generation members, who are as disconnected from the 1st-gen innie as that being is from the original...
March 4, 2025 at 6:06 AM
S2E7: Gemma who walks the hallways, the first Gemma we see in/at Lumen--she is severed from original Gemma. So there is the original, a first-generation innie, and then several second-generation members, who are as disconnected from the 1st-gen innie as that being is from the original...
26': "I'm not her--I'm not. I'm me. Helly." "And how do I know that?" "You don't. You just have to trust me." This is Kierkegaard's structure; the trust is walking every step of skepticism, to the end, and then deciding to keep going where there are no more steps--you must make your own
February 18, 2025 at 4:16 PM
26': "I'm not her--I'm not. I'm me. Helly." "And how do I know that?" "You don't. You just have to trust me." This is Kierkegaard's structure; the trust is walking every step of skepticism, to the end, and then deciding to keep going where there are no more steps--you must make your own
S2E5: Innie-Helly on learning that her Outie came inside: "She doesn't have the right to take my identity." Part of this identity is her(/her) body. Assumption: this ID is constituted in part by personal rights. The ID of personhood, through a history, doesn't require a self-conception of rights
February 18, 2025 at 5:28 AM
S2E5: Innie-Helly on learning that her Outie came inside: "She doesn't have the right to take my identity." Part of this identity is her(/her) body. Assumption: this ID is constituted in part by personal rights. The ID of personhood, through a history, doesn't require a self-conception of rights
And, layers of identities. Outie-Helly playing Innie-Helly to fuck and fuck with Innie-Mark, whose outie-wife's face is hallucinated/projected/seen in Helly's. The ways we can play at being who we're not, and hide ourselves, and want who we're with to be someone else.
February 11, 2025 at 6:35 AM
And, layers of identities. Outie-Helly playing Innie-Helly to fuck and fuck with Innie-Mark, whose outie-wife's face is hallucinated/projected/seen in Helly's. The ways we can play at being who we're not, and hide ourselves, and want who we're with to be someone else.
S2E4: Helly's lie--Irving can tell--she pretends to come clean to Mark after they have sex. "I didn't like who I was on the outside. I was ashamed." Mark doesn't push--and then, Helly's face switches in and out with Gemma's. Helly asks what happened--he doesn't tell. Layers of lies.
February 11, 2025 at 6:30 AM
S2E4: Helly's lie--Irving can tell--she pretends to come clean to Mark after they have sex. "I didn't like who I was on the outside. I was ashamed." Mark doesn't push--and then, Helly's face switches in and out with Gemma's. Helly asks what happened--he doesn't tell. Layers of lies.
And so, for that, Sartre thinks it is always at least almost a lie (bad faith) for you to not identify, immediately, with with whatever it is that happened that involved the intentional agency of your body. Anscombe on Truman: Doctrine of double effect.
February 1, 2025 at 6:35 AM
And so, for that, Sartre thinks it is always at least almost a lie (bad faith) for you to not identify, immediately, with with whatever it is that happened that involved the intentional agency of your body. Anscombe on Truman: Doctrine of double effect.
The Sartrean point is that usually when we excuse what we do by the split, we know we're actually the same person.
February 1, 2025 at 6:35 AM
The Sartrean point is that usually when we excuse what we do by the split, we know we're actually the same person.
The next scene, every character looks, in their faces, split between "What has just happened" and "What have I just done." Close to Moran's 3rd-person/1st-person split on self-knowledge, except here, the split is total.
February 1, 2025 at 6:34 AM
The next scene, every character looks, in their faces, split between "What has just happened" and "What have I just done." Close to Moran's 3rd-person/1st-person split on self-knowledge, except here, the split is total.
The logic of the suggestion requires outie-Mark either to identify with his innie or connect through solidarity. It can't be the former, because they're clearly different agents; but, they also don't seem like completely different persons, which is a precondition on solidarity.
February 1, 2025 at 6:24 AM
The logic of the suggestion requires outie-Mark either to identify with his innie or connect through solidarity. It can't be the former, because they're clearly different agents; but, they also don't seem like completely different persons, which is a precondition on solidarity.
S2E2: Milchick to outie-Mark: "What your innie did tonight was completely unauthorized; and, it was very brave. I would hate to reward his courage with non-existence." The backwards twist 'non-existence' puts on the rest of those sentences is fantastic.
February 1, 2025 at 6:20 AM
S2E2: Milchick to outie-Mark: "What your innie did tonight was completely unauthorized; and, it was very brave. I would hate to reward his courage with non-existence." The backwards twist 'non-existence' puts on the rest of those sentences is fantastic.
S2E1: the innies of both Mark and Helly start reasoning about what to do in terms of their outies. For Mark, commitment: his marriage to Gemma compels him to find Ms. Casey. For Helly, it is to reject her outie, to not identify with her.
January 29, 2025 at 6:52 AM
S2E1: the innies of both Mark and Helly start reasoning about what to do in terms of their outies. For Mark, commitment: his marriage to Gemma compels him to find Ms. Casey. For Helly, it is to reject her outie, to not identify with her.
S1E9: Irving's outie is a painter, who paint's Irving's shadow. Maybe first depiction of innie/outie as shadow/ego. ... 14', Ricken's book reading: "Who are you?", & the scene cuts to Helly, looping back to the beginning of S1E1.
January 28, 2025 at 7:45 AM
S1E9: Irving's outie is a painter, who paint's Irving's shadow. Maybe first depiction of innie/outie as shadow/ego. ... 14', Ricken's book reading: "Who are you?", & the scene cuts to Helly, looping back to the beginning of S1E1.
S1E7: The music dance experience is officially cancelled.
January 27, 2025 at 6:56 AM
S1E7: The music dance experience is officially cancelled.
(i) Each character's mind has to start seeing itself as isolated & individual; instead it must self-conceive as part of a team. (ii) Because of this identification, the office takes on a mind-structure, coordinating against some part (the dominating part, the bosses) that is creating tension
January 27, 2025 at 5:02 AM
(i) Each character's mind has to start seeing itself as isolated & individual; instead it must self-conceive as part of a team. (ii) Because of this identification, the office takes on a mind-structure, coordinating against some part (the dominating part, the bosses) that is creating tension
S1E6: taking the office's space to have the structure of a mind: the departments coming together demonstrates class consciousness. It has classically republican structure (moreover, brought together through rebellion at domination), and at two levels:
January 27, 2025 at 4:59 AM
S1E6: taking the office's space to have the structure of a mind: the departments coming together demonstrates class consciousness. It has classically republican structure (moreover, brought together through rebellion at domination), and at two levels: