Over Fragmenten.blog

Welkom op Fragmenten uit het Schemerland, mijn persoonlijke website en content-verzameling. Je vindt hier veel artikelen over films en series in de FilmDungeon. Ook vind je op deze site mijn achtergrondverhaal, een selectie van mijn professionele werk, en een groeiende collectie blogs – fragmenten genaamd – over uiteenlopende onderwerpen. Veel leesplezier en bedankt voor het bezoeken van mijn blog!

— Jeppe Kleijngeld

PS: Bezoek ook eens mijn andere website over bewustzijn en mijn visie op de ware aard van het universum:

Wat is biocentrisme?

Omdat Robert Lanza’s boek ‘Biocentrisme’ nooit in het Nederlands vertaald is, heeft het begrip weinig bekendheid hier.

In deze blog geef ik een overzicht van de belangrijkste stellingen, inzichten, en het bijbehorende bewijsmateriaal.

Een nieuwe wetenschappelijk perspectief
Biocentrisme is een revolutionair wereldbeeld, geïntroduceerd door wetenschapper Robert Lanza. In tegenstelling tot het traditionele, materie-gestuurde wereldbeeld, stelt biocentrisme bewustzijn en waarneming centraal als de fundamentele bouwstenen van de werkelijkheid.

Het traditionele wereldbeeld vs. biocentrisme

Traditioneel wereldbeeld
Materie staat centraal: Alles begint met materie, en bewustzijn ontstaat als bijproduct van complexe materiële processen in de hersenen.

Werkelijkheid bestaat objectief: De wereld is er, ongeacht of iemand haar waarneemt.

Biocentrisme
Bewustzijn staat centraal: De werkelijkheid ontstaat door waarneming. Zonder waarnemer bestaat de wereld alleen als potentieel – niet als concreet iets.

Waarneming creëert werkelijkheid: Objecten krijgen pas definitieve eigenschappen (kleur, vorm, massa, positie) wanneer ze worden waargenomen.

Tijd en ruimte zijn afhankelijk van waarneming: Zonder waarnemer hebben tijd en ruimte geen betekenis.

De illustratie: Waarneming als kern van werkelijkheid

In de illustratie hierboven zie je hoe waarneming de verbindende factor is tussen de waarnemer en de wereld. De pijlen laten zien dat:

Werkelijkheid identiek is aan het proces van waarneming: De wereld (de aarde in de illustratie) en de waarnemer zijn beide onderdeel van het proces van waarneming. Pas door waarneming worden de wereld en de waarnemer gemanifesteerd als concrete werkelijkheid.

Waarneming is actief: De waarnemer is geen passieve toeschouwer, maar een creator die de werkelijkheid vormgeeft.

De kern van biocentrisme in 3 stellingen

1. Werkelijkheid is waarnemingsafhankelijk
Een huis in een straat bestaat niet als concreet object totdat iemand (of een dier) hem waarneemt. Zonder waarneming blijft het huis een potentieel – een mogelijkheid in een oneindig veld van mogelijkheden.

2. Het universum is een proces, geen ‘ding’
Het universum is geen statisch iets, maar een dynamisch proces van creatie door waarnemers.

Voorbeeld: Stel je de aarde voor als een wereldbol. Australië bestaat alleen als potentieel totdat je ernaartoe gaat en het waarneemt. Pas dan wordt het ‘echte’ werkelijkheid.

3. Waarnemers zijn scheppers
Jij bent geen passieve toeschouwer, maar een actieve deelnemer die de werkelijkheid – inclusief ruimte en tijd – mee vormgeeft. Zonder waarnemers zou het universum puur bestaan als een oneindige verzameling ongemanifesteerde mogelijkheden, maar geen fysieke werkelijkheid kennen.

Waarom is dit revolutionair?
Wetenschappelijke implicaties: Biocentrisme daagt de klassieke natuurkunde uit door te stellen dat bewustzijn een fundamentele rol speelt in de structuur van de werkelijkheid.

Filosofische implicaties: Het benadrukt dat leven en bewustzijn niet toevallige bijproducten zijn, maar de basis van alles inclusief de ruimtetijd.

Praktische implicaties: Als werkelijkheid afhangt van waarneming, dan heeft jouw perspectief direct invloed op hoe de wereld zich aan je voordoet.

Bewijsmateriaal voor biocentrisme
Biocentrisme steunt op:

Kwantumfysica: Experimentele resultaten (bijv. het dubbelspleetexperiment) laten zien dat deeltjes zich anders gedragen wanneer ze worden waargenomen.

Neurowetenschap: Bewustzijn kan niet volledig worden verklaard door alleen materiële processen in de hersenen.

Het Goldilocks-universum: Het universum lijkt perfect afgestemd op het bestaan van leven. De natuurconstanten (zoals de zwaartekracht, de sterkte van kernkrachten, en de verhouding tussen de fundamentele krachten) zijn zo precies dat zelfs kleine afwijkingen leven onmogelijk zouden maken. Volgens biocentrisme is dit geen toeval: levende waarnemers selecteren precies die waarden die hun bestaan mogelijk maken. Het universum is dus niet toevallig geschikt voor leven – het moet geschikt zijn, omdat alleen in zo’n universum waarnemers kunnen bestaan die het waarnemen.

Biocentrisme sluit ook aan bij idealistische stromingen in de filosofie (bijv. Berkeley, Schopenhauer) en Oosterse filosofieën die stellen dat werkelijkheid een constructie is van de geest, maar Lanza concentreert zich puur op wetenschappelijke argumenten.

Samenvatting in één zin

Biocentrisme stelt dat bewustzijn de werkelijkheid schept – niet andersom: levende waarnemers dragen de wereld met zich mee, als een schildpad zijn schild.

Op mijn website Free-Consciousness.com bestudeer ik dit nieuwe wereldbeeld en het bewijsmateriaal in detail.

Life Itself: The Life and Times of Roger Ebert


“I was born inside the movie of my life… I don’t know how I got into the movie, but it continues to entertain me.”
― Roger Ebert

The career of Roger Ebert (1942 – 2013), probably the most famous mainstream film critic of all time, started as a sport writer at a newspaper. “I can write. I just always could”, he said about his early career. He wasn’t exaggerating. His talent was noted and on 21 he already had a column in the local newspaper in Illinois.

He moved to Chicago, got hired directly by The Chicago Sun Times and when their film critic retired, they gave him the job. He would stay in this job until his death in 2013. When he started his job in 1967, he was the youngest film critic in America. One of his early reviews was for Bonnie and Clyde, which was released in that year. He called it “a milestone in the history of American movies, a work of truth and brilliance” and awarded it four out of four stars.

Colleagues describe Ebert as ‘fast and furious’. He could produce a thought-out review in 30 minutes. He is the only film critic to win a Pulitzer price. His formula: producing 6 film reviews a week. During his career, he viewed 10.000 movies and reviewed 6.000 of them. From my personal experience, I can say this is a lot.

In his later life, Ebert got cancer of the thyroid and salivary glands and in 2006 his lower jaw was removed. In the documentary Life Itself, the renowned film critic looks back on his life.

Ebert saw films as ‘empathy machines’. They have the power to transport us to different times and places, and place us in the shoes of all sorts of characters. Early in his career, he would drink a lot and develop a major alcohol problem. He checked in AA in August 1997 and stayed sober till his death.

Another notable fact about his early career was he co-wrote the screenplay for Russ Meyer’s Beyond the Valley of the Dolls. What attracted him to Russ Meyer movies? the documentary maker Steve James asks an interviewee. “Boobs”, is the simple answer.

Ebert had a lot to say about films. He would also do live performances in which he would analyse classics like Vertigo and In Cold Blood frame by frame. “He had something interesting to say about every frame”, a friend observes.

He could certainly be critical, but in a kind way, says Martin Scorsese. Ebert reviewed his first film Who’s That Knocking On My Door and promised he would become the American Fellini. He turned out to be right. Many unknown filmmakers loved Ebert; he could lift them – and their films – out of obscurity.

Ebert became really famous when he was coupled to other Chicago critic Gene Siskel for a TV show. The two were enemies at first, but they developed a great dynamic with furious discussions about the movies they loved/hated. For example, Ebert loved Scarface and Siskel hated it and they had a great discussion. The other way around: Ebert said Full Metal Jacket was “not original, and not a masterpiece” and Siskel thought it “was very original and close to a masterpiece.”

The cities New York and L.A. refused to air the program for a long time, because the reviewers were from Chicago. But eventually gave in and their programme At The Movies became a nationwide success; the two thumbs up or down they pioneered could make or break a movie…

A large segment of the documentary focuses on the Cannes Film Festival, which Ebert frequently attended and later wrote a book about. During the festival, he also pioneered early internet use by phoning in daily reviews for his newspaper. Before his passing, he built a cutting-edge website where his entire body of work is archived. It remains a vital resource for film information.

So why is the documentary, which was based on his autobiography, named ‘Life Itself’? A former colleague from the newspaper explains that Ebert was the lead star and director of the movie that was his life. And quite the movie it turned out to be.

12 Roger Ebert Reviews with Surprising Ratings
On IMDb, each classic film from Ebert’s era features a dedicated reviews page where critics contribute. Roger Ebert consistently ranks as the top reviewer for these movies, with each of his reviews including a rating from one to four stars. But which of his ratings stand out as the most unexpected?

1.) Blue Velvet –– 1 out of 4
2.) The Usual Suspects –– 1,5 out of 4
3.) A Clockwork Orange –– 2 out of 4
4.) Die Hard –– 2 out of 4
5.) Fight Club –– 2 out of 4
6.) Full Metal Jacket –– 2,5 out of 4
7.) Once Upon a Time in the West –– 2,5 out of 4
8.) Reservoir Dogs –– 2,5 out of 4
9.) Star Wars Episode 1: The Phantom Menace –– 3,5 out of 4
10.) Gates of Heaven –– 4 out of 4
11.) Knowing –– 4 out of 4
12.) Man Push Cart –– 4 out of 4

What ‘Jacob’s Ladder’ Teaches Us About Reality

Jacob’s Ladder (1990, Adrian Lyne) – a haunting exploration of reality and death – opens with a brutal ambush of American soldiers in Vietnam. Jacob Singer (Tim Robbins) is among them, but his fate in the attack is left unresolved.

Years later, Jacob is back in New York City, living with his girlfriend Jezzie (Elizabeth Peña). We learn he is divorced, has two children, and is still grieving the death of his third child, Gabe (an uncredited role by Macaulay Culkin).

It soon becomes obvious that something is wrong with Jacob’s reality. He is haunted by ghost-like entities, sees a tentacle protruding from a sleeping homeless person, and at the Veterans Office there is no military record of his service in Vietnam. Then, inexplicably, he is suddenly back with his ex-wife and children as if no time has passed.

At a friend’s party, a psychic delivers a chilling revelation: Jacob is already dead. Could this be the key to understanding his torment? The film’s script, penned by Bruce Joel Rubin (known for Ghost, 1990), delves into the mysteries of existence beyond our own.

Read the entire article on Free-Consciousness.com

Half a Shot at Redemption

A Sci-Fai Short Story

The saloon doors of The Rusty Spur creaked shut behind Jason Terry as he stepped into the dust-choked street, his revolver holstered low. The air smelled of gunpowder and regret. He had one destination: the Iron Trigger Showdown, the fastest-draw tournament west of the Mississippi. One problem: Jason wasn’t just there to compete. He was there to prove something—to himself, to the ghost of his pa, to the whiskey-soaked memories of every draw he’d ever lost.

He hadn’t gone twenty miles out of town when the stranger appeared. Leaning against a sun-bleached post, hat tipped just enough to hide whatever passed for eyes, the figure looked like any other drifter—except for the way the light bent around him, like heat off a desert mirage. His duster was too clean, his boots too quiet in the dirt.

“You got the look of a man riding toward something he ain’t ready for,” the stranger said. His voice was smooth, like oil on a freshly sharpened blade.

Jason’s hand twitched toward his Colt. “Who the hell are you?”

“Name’s Joe.” The stranger pushed off the post and stepped into the light. His face was all sharp angles, skin too perfect, like polished metal under a layer of dust.

“And you, Jason Terry, are riding toward a 97% chance of dying before sundown tomorrow.”

Jason’s fingers froze. “You calling me a liar or a fool?”

“Neither.” Joe tilted his head. “Just stating facts. You’re fast. Not Blaine Rodgers fast.”

The name hung between them like a noose. Blaine Rodgers—the undefeated, the untouchable. The man who’d put a bullet in his pa’s chest in a “fair draw” that had lasted less time than it took to blink. The man who’d laughed as Jason’s father bled out in the dirt, saying, “Should’ve practiced more, boy.”

“Against him, you got a 3% chance of walking away. Want me to break it down?”

Joe tilted his head. The movement was too smooth, too mechanical. “I know you’re 0.23 seconds too slow on the draw. I know you hesitate when you aim, because you’re afraid of missing. I know Blaine Rodgers has killed eighteen men in duels, and he has wounded dozens more. Your father was the only one who ever came close to beating him. I know you’ve been drinking too much, sleeping too little, and your hands shake when you think about the showdown four days from now.”

He paused. “I also know you didn’t come here to win. You came here to die.”

Jason’s throat went dry. “Who—what—are you?”

“A calculation.” Joe swung down from his horse. “And right now, I’m calculating that you’re going to throw your life away for revenge. Unless you let me help you.”

“Help me how?”

“By making you faster than a man.”

Joe didn’t explain where he came from, or why he was here. He just knew things—like how to break down Jason’s draw into a hundred tiny movements, each one shaved down to perfection. He made Jason practice until his fingers bled, until his arm screamed, until he could draw and fire before his mind even caught up. They worked with weights, with wires, with mirrors that showed Jason his own flaws in cruel detail.

“You’re not just slow,” Joe said on the second night, as Jason collapsed by the fire, his muscles screaming. “You’re thinking. Blaine doesn’t think. He reacts. You want to beat him? You gotta stop being human.”

“I ain’t no machine,” Jason snapped.

“No.” Joe’s voice was empty of judgment. “But you can be better.”

By the third day, Jason’s shots were cleaner. His draw was sharper. His aim was true.

“Now you’re at 17%,” Joe said.

Jason wiped sweat from his brow. “That all?”

“It’s enough.”

The tournament was a circus of death. Blaine Rodgers stood at the center of the ring, his reputation preceding him like a shadow. He’d already killed one man that morning—a hotheaded kid from Texas who’d thought he could make a name for himself. The crowd roared as Blaine holstered his smoking revolver, his grin wide as the devil’s.

Jason’s stomach twisted when he stepped into the ring. Blaine’s eyes locked onto him, and that same smirk from five years ago spread across his face. “Well, well. If it ain’t little Terry, all grown up.” He drew his revolver and spun it on his finger. “Your pa sent you to avenge him?”

The referee raised his hand. “Gentlemen. On my mark—”

Jason’s mind went blank. No hesitation. No fear. Just the weight of his Colt, the tension in his fingers, the memory of his father’s blood in the dirt.

The referee’s hand dropped.

Jason moved.

His shot took Blaine in the chest before the champion’s gun had even cleared leather. The crowd gasped. Blaine staggered, his eyes wide with something almost like surprise. He looked down at the spreading red stain on his shirt, then back up at Jason.

“How?,” Blaine wheezed.

Jason’s hand didn’t shake. His breath was steady. He didn’t lower his gun.

Blaine’s knees hit the dirt. “Finish it,” he rasped.

Jason’s finger hovered over the trigger. Five years of rage, of grief, of whiskey-soaked nights spent dreaming of this moment. He could pull it. End it. Make it fair.

Then Joe’s voice cut through the noise, quiet as a whisper: “17.3%.”

Why is he giving me the odds? Jason thought. I have already won the duel. Unless…

Jason’s finger relaxed.

Blaine coughed, blood bubbling at his lips. “You… you don’t have the guts.”

Jason holstered his Colt. “Ain’t about guts.” He turned and walked away, leaving Blaine choking in the dust. The crowd’s murmurs followed him, but he didn’t care. He’d come here to kill a man, but he’d left something else behind—the need for revenge.

Joe was waiting at the edge of town, mounted on his black horse.

“You didn’t take the shot,” Joe said.

“Didn’t need to.” Jason swung up onto his own horse. “What now?”

Joe tipped his hat. “Now you live with it.”

Jason rode on, the weight in his chest lighter than it had been in years. Behind him, a gunshot rang out—someone putting Blaine out of his misery. Jason didn’t look back. Maybe the odds had been against him. Maybe they still were.

But for the first time, Jason Terry had beaten them. And then some.

Idea, characters, outline: Jeppe Kleijngeld
Writing: Le Chat (Mistral AI)
Inspirator: Jan Bletz