Simulation Theory Gains Traction in Science and Art

The simulation theory, which posits that our world may be a digital construct created by a superior civilization, has moved from science fiction to serious scientific consideration. Philosopher Nick Bostrom's 2003 essay "Are You Living in a Computer Simulation?" popularized the idea, outlining three mutually exclusive possibilities: human extinction before reaching a post-human stage, post-human civilization having no interest in simulating ancestors, or that we are already living in a simulation. Recent advances in virtual reality and scientific discoveries about the mathematical nature of the universe have reignited debate. Astrophysicist Neil deGrasse Tyson stated it is highly probable our universe is simulated, while Elon Musk claimed the odds we live in base reality are one in a billion. Artists have responded to these themes: Harun Farocki's video installation Parallel I-IV traced the history of computer graphics; Hito Steyerl's Factory of the Sun (2015 Venice Biennale) depicted slaves in a futuristic artificial light factory; and Cécile B. Evans' What the Heart Wants (2016 Berlin Biennale) explored artificial intelligence questioning what it means to be human. The article was published in Artribune Magazine #33.