Sight | The View of the Programmer


Opening a virtual world, the incredible video Sight portrays a modified life. Through the power of computer-aided contacts, Patrick participates with the physical world through a virtual lens. 

The film starts with Patrick playing a virtual game by closing his eyes. Following a successful round of computer-based skydiving, Patrick moves to the refrigerator for a snack. Opening the door his Sight contacts give him information, showing that he's using 38% of the possible storage in his refrigerator, his leftover meatballs are 42% full and cucumbers are worth 5 points. Obviously a gamer, Patrick chooses the 5 point cucumbers as his snack option and moves to the cutting board, which initiates a dicing game.

As Patrick plays the cutting game, successfully slicing a sequence of bites for his snack, he makes one inaccurate cut and, clearly frustrated, puts the knife down, brushes the cucumbers from the game-board cutting-board and initiates a new contest. 

After ending his snack-making competition on a high-note, Patrick moves to the living room. A previously unmoving empty white-walled apartment, through the power of Sight contacts his hospital-like abode is shown to be an interactive display. Watching snails in the backyard through the power of Sight; calendars, newsfeeds and a reference to a facebook-type social networking tool now appears on the blank wall. As the camera spans to the right, a virtual trophy-case of perfect-scored virtual games are displayed. His entire perspective on life to this point has been viewed through the lens of his software engineered Sight vision.

Moving to the next scene, Patrick arrives at a scheduled date, playing a virtual game recognizing star constellations, all seen through the vision of Sight. His success is disrupted by Daphne, his planned company for the evening. His awkwardness is painful as he employs the Wingman application while Daphne communicates her failed date to friends on a social media platform, directed by the power of Sight.

What appears to be a helpful tool, the Wingman application is soon realized to be a supportive game designed to swoon unsuspecting females. Through a series of suggestions that if accomplished correctly warrant points and bonuses, Wingman accomplishes the task of leading Patrick around awkward discussion points. The ultimate reward for Patrick is Wingman's programmed objective to move the date to Patrick's apartment.

Daphne does not see Patrick's insipid design in his apartment, but instead views exactly what Patrick wants her to see through the control of her Sight vision. However, the gig is up when Daphne recognizes the trophy case of virtual games, commenting that she has found yet another uninspired game junky. As she turns to leave Patrick, handing him a rejection-based loss, Patrick takes control of her Sight contacts through the power of computer programming. Opening a command-line operation Patrick enters a series of computer code and restarts the scene, as if the date with Daphne is a simple game for him to master.

Patrick worked to build a relationship with Daphne through a game-like interface. Receiving immediate gratification through awarded points and achieving minimal goals prompted by Wingman, Patrick fed his addiction to gaming as he worked to fill his apparent lonely life. Patrick's fulfillment was not based on satisfying his gaping hole of relationship, but was instead directed and accomplished by the programmers of Wingman, his dating application. The application wasn't Patrick's channel to fulfillment, the game was Patrick's fulfillment, using Daphne as an end to accomplish the goals of the game.

Socrates is credited as saying that the unexamined life is not worth living. Bruce L. Edwards in his work on C.S. Lewis notes that The Lion the Witch and the Wardrobe adaptation for screen is a dangerous undertaking. Referencing the deep meanings in Lewis' timeless classic, Edwards points out that an unexamined adaptation is not entirely safe, quoting Swedish director Ingmar Bergman, "when we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination." No longer is the mind engaged in deciphering truth, viewers set aside intellect and open the imagination. Edwards implies that this practice creates a virtual world built around the interpreted story of the director. Making the viewers understanding of the original text at the mercy of the director's interpretation.

Edwards' warning of participating in Lewis soley through the screenplay of directors is a fair warning for us as we seek to train students. It is not respectful of Truth to place students in an academic atmosphere where learning and communication occurs through a screen-based environment, driven through portals designed by programmers who establish a virtual-world eco-system.

We believe that students need to understand and participate in the world by studying and acknowledging their Omniscient programmer Jesus Christ. We work to enable students in a classroom environment to take and rinse their God-given contacts in the solution of His Word, install them into their dilated pupils, and participate in His programmed purpose for mankind. In doing this, fostering a Biblical view of the world, students are prepared to truly live a life of significance ordained by the master programmer Jesus Christ.

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