THE ABYSED SUMULATION: NARRATIVES THAT CREATES DIGITAL EXPERIENCE

With Artificial Intelligence it will be possible to create a multiple narration where all roads are possible and are canceled in juxtaposition, in a simile to Borges's theory in "The Garden of Forking Paths": "In all fictions, every time a man faces different alternatives, opts for one and eliminates the others; in that of the almost inextricable Ts'ui Pên, he chooses - simultaneously - for all. It creates, in this way, various paths, different times, which also proliferate and diverge. Hence the contradictions of the novel. "(Borges, 1993: 112)
This generates two possibilities: the infinity of divergent paths that the receiver transits and the variability to generate a principle of uncertainty about the text to be obtained, a multiple book that allows to distort the idea of Umberto Eco that "... a work of art , complete and closed form in its perfection of perfectly calibrated organism, is also open, possibility of being interpreted in a thousand different ways without its irreproducible singularity being thereby altered. " (Eco, 1990: 7).
Once we understand the changes that the support was gestating in human narratives, the question is how the transformations in the creative process, the digital textuality and the linking of the user from tecnonarratives1 strategies allow to create a narrative genre that encourages active participation of the subject to link the fiction with reality and with that data the machine generates an open / binding story? A narrative discourse that links the reality of the user with the discourse pre-established by the author would be generated, so that the machine generates a specific text for the receiver and this one can connect its reality with the fictionality of the plot, in this way the receiver becomes in co-creator it changes the essence, only now alterable, of the text. (Nuñez, 2015)
Beyond the idea of conceiving the machine not as a tool but as a possible autonomic being, here we will perceive it as a support that can generate a specific text for the user based on

1Theoretical notion that derives from the position of Dr. Javier Echeverría about technosciences and technopersons, in this case the way in which narrative strategies and digital tools are related

these data, based on digital tools. one of the most interesting settings for us, people are striving every day more in linking virtuality with reality, hence the true success of social networks; This leads us to ask ourselves what strategies and tools are necessary to develop personalized accounts to the receiver, full of meaning.
Technodigital links allow a double game2 by using the resignification of reality from technology and link it with a metaphorical approach through language -Paul Ricouer determines that what is communicated projects and constitutes the horizon of the reader and its reality (Ricoeur, 2000: 148) - from their data3 and understand the possible decisions of the users to build stable stories with it.
It is important to understand how the narrative will use these elements in order to develop a link between the elements of the plot and the reality, that is, the constitutive relation between the subject and the character will have to be explained, as well as visualize reality as a plot , to be able to use that amount of data that we give every day to the machine and that with it can also build narrations. (Núñez, 2016) Therefore, reading will allow us to inhabit or build a stable simulation, as it is concretized in the reaction of the brain in the experiences and simulations of both our own generation (dream, reading, imagination and projection) and the characteristics of simulations and fictionality virtual (immersive, adaptive, interactive, multitextual, etc.) of this form we can understand the elements that entail this substitution, its implications and needs in an increasingly closer future; as well as the importance of shaping simulations, from the new digital narratives, to achieve immersion that allows people to substitute realities.
In 1999, a film transformed that panoramic vision: Matrix of the Wachowski sisters, which, beyond its aesthetic and artistic value, would define my generation. People

2 To understand the reader's notion of the duplication of experiences between a textual world and a tangible one, I follow the lead of Marie-Laure Ryan, particularly in the notion of psychological mental simulation (Ryan, 2004: 140) 3 Narrative Data Driven. In a connected world (IoT), every movement or idea that we develop will be registered by a machine.

focused on the heroic idea4 of the film, when the fundamental thing, as the name determines, is the program that simulates worlds, with a narrative so stable that the user does not differentiate it from fictionality. In the film, they state that we inhabit a reality simulated by computers, which seems real to us, but that are simply a reflection before the stimuli created by gifted mechanical beings.
On this, Nick Bostrom published his essay Are you living in a computer simulation (2002), where he explains in what sense we live, or the possibility that our reality is partly simulated. The digital tools generated the possibility to create simulations, not only immersions, as the narrative had gestated for centuries. I clarify the vision of Bostrom, director of the Institute of the Future of the University of Oxford, but I determine that my approach to simulation is a narrative approach, not ontological.
From the film Nick Bostrom, in his essay Are you living in a computer simulation, where he explains in what sense we live, or the possibility that our reality is partly simulated. One of its three strategies is to clarify that a future civilization would have the computational capacity to create, and inhabit, simulations of its past, us.

4In that same year appears The Fight Club of David Fincher. The two films share, in addition to a public, the idea of simulation. In The Fight Club, the schizophrenic variation is posed, when the protagonist -the narrator in Chuck Palinuck's novel- creates a model alter ego: Tyler Durdeen. Tyler defines himself as a chaotic conspirator of the epoch that looms and poses the supremacy of corporeality over alienation. In it, Tyler stands as a hero to the classic sense of sacrifice for the sake of a better civilization. A violent man who creates lapidary phrases. The West is structured on the concept of heroism. Mircea Eliade, in his book Myth and Reality, affirms that History propitiated the overcoming of myth, although mythical thought has not been abolished. Although we inhabit a historical time, where the protagonists are not heroes or gods but human beings, common, affordable, we always look for the hero's idea to pose surmountable challenges and imitable functions. When the movie appeared, we all wanted to be Tyler, we did not know what he was predicting was the end of an era, heroic. At the same time that Tyler dynamited the consumer society, Neo, the magician hero, concretized another society, the virtual one. The 21st century will be the age of the magician, a mixture between the necromancer and the illusionist. If we believe in the power that technology provides and the importance for the current era, we can start from the simulation maker shares the attributes that Cristopher Marlowe provides in his Faust: "But the rule of those who master this is as vast as the mind human: a skillful magician is a semi God. '"(Marlowe: 49). In addition, he is a magician in the sense that he can turn the artifice into a simulation that transcends our notion of reality, as does the prosperous Shakespearean.

Beyond what sounds ridiculous to some, if we analyze the advances that computers have made in the last forty years and the speed with which this will increase, as the Moore Law clarifies, it is not a far-fetched theory.
To recreate this reality, only the habitable, without the abyss of the universe or the hidden regions of the earth, in a constant present where the past acts as an intertext immersed in the annals and that can simulate the personal conscience of a human inhabited by that reality, it interacts superficially with other entities and has an intrinsic freedom of action, it would take around 1036 operations per second. The first supercomputer, the CDC 6600, built in 1964, reached 106, currently working on a supercomputer that achieves an exaflop, ie 1018. In fifty years, the capacity of a computer tripled, without recourse to quantum bits or transplanetary networks , feasible and increasingly closer. Bostrom's position was taken up by cosmologist Brian Green, one of the most respected scientists today, in his book The Hidden Reality, as a mathematically demonstrable, scientific possibility.
Now, you do not need to simulate all the reality, only the one that impacts the main users, because one of the things that Bostrom raises is, how are you sure that the beings that surround you, that move through your life, far and silent Are you aware? or that the reality that we do not perceive, in an imitation with George Berkeley, really exists. Have any of you been to Bali, let's not talk about the moon? How do we know that these images are real? Let's not talk about astronomical images, constellations and galaxies that are closer to an illustration than a scientific portrait of our conception of space. However, at this moment, or it is impossible to recreate reality, what I believe, or is a fact that we inhabit a simulated reality, an idea that does not differ much from the religious conception that the deity created a world and perceives it in simultaneity , as a temporary aleph.

Finally, we must ask ourselves if our life, which we feel physical and material, is not really a second life, the result of a very sophisticated simulation. The simulated world hypothesis, which has been evoked in literature for decades, has once again become fashionable partly because celebrities of culture and science, such as philosopher Nick Bostrom and tycoon Elon Musk, have declared that everything seems point to the fact that we live in a kind of staging in which we have missions, classifications and scores. Like all simulation, our world is real only while it is "running", and consciousness depends on being connected. Life then would not be a dream, as Calderón de la Barca said, but a strange game with unfathomable rules, controlled by strange minds somewhere unattainable. And we would be reflections, echoes of other beings that, instead of playing dice with our universe, use it as an entertaining and brutal videogame (Yehya, 2018: 25)

Under the principle of Bostrom, if they were created in a simulation, our posthuman descendants could inhabit different scenarios and develop for a time as one of us, as stipulated by the film The 13 floor, also from 1999.
Now, if we manage to simulate realities, that would give rise to that great historical simulation, we could recreate worlds in a mise in perfect abyme, where at some point we would not be fully aware of what is the real reality and what the duplicated reality. For this we can consider, if reality is virtual, because virtuality can not be real?
Another point raised by Bostrom and Green is, yes, there is a future civilization that can simulate any circumstance or reality, because they would recreate this, as imperfect, or maybe it happens as Borges clarifies in "Del rigor en la ciencia":

[...] the Colleges of Cartographers erected a Map of the Empire, which had the Size of the Empire and coincided punctually with it. Less Addicted to the Study of Cartography, the Next Generations understood that this dilated Map was useless and not without Impiety they gave it to the Inclemencies of the Sun and the Winters.

Now, simulating a reality goes further. As Jean Baudrillard clarifies in Cultura y simulacro, "the impossibility of staging the illusion, is of the same type as the impossibility of rescuing an absolute level of reality. The illusion is no longer possible because reality is not either "(Baudrillard: 47)
Fifteen years ago, the film dazzled by its fantastic idea. Today, with the rise of the digital world, the user's relationship with the simulation is transformed in a radical way, because it takes it beyond the imagination and gives the creator a chance to manipulate the user to replace his consciousness of experientiality with simulated experiences.
I would like to clarify that I approach the idea of simulation in the sense of a narrative in which a user inhabits a reality or experiences an experience, not technological strategies to optimize results.
A simulation is the imitation of a model with such precision that the original and the duplication are confused or comply with the same laws to be observed, in such a way that the observer does not recognize the difference between the model and the replica. The creation of simulations, not simulations, either of reality or of experience, is fundamental since it would specify one of the maximum functions of the narrative arts that is to allow the user to coexist more than one life, which goes beyond fiction, where the reader takes elements from the world of fiction to implant them in their reality and vice versa.
I know that the notion of simulations based on digital advances is not a novel proposal. If in the eighties began to raise mechanisms to conform, with technological devices, the necessary spaces to create simulations of reality; in the last ten years, what has been transformed in recent years is its relevance, because today, with social media and immersive digital applications, people are connecting the two worlds, the real and the virtual, in a mental palimpsest .
Therefore, creating simulations would allow us to inhabit and specify our desires, even the most unattainable, making our brain believe that this is real, as much as at this moment we dialogue. Beyond the ethical idea that this would make us free, if we believe that freedom is based on the responsible choice between possibilities, it would allow us to materialize our desires and perversions without direct affectations to third parties, transforming us.
The importance, and possibility, of generating simulations comes hand in hand with the sociocultural changes that the digital world entails. Our relationship with the world and with ourselves is being transformed, but what implications-and what kind-does this mutation entail? If the cultural and social development continues along the current path, this platform will transform two twinned elements: new narrative schemes will be created and the experiential path will be restructured. The consequences will be multiple and the modes of affectation will be diverse. The transformation that comes with computers goes beyond programs, is distorting the way we perceive reality
However, before simulating you have to understand the model. We live a reality, we all agree on it, the problem is when we want to grasp a definition, because what is reality? It is a question that goes beyond truisms. Its definition transcends us, it is impossible to define it as an entity, and we resort to analogies or dissimilarities to apprehend it. The Royal Academy defines it ambiguously, clarifying that it is "what really happens" or "the actual and effective existence of something", "as opposed to the fantastic or illusory". On the other hand, when it defines virtual reality it has no problem in asserting that it is the "representation of scenes or images of objects produced by a computer system, which gives the sensation of its real existence". As it is uncomfortable for us, we could argue, as St. Augustine said of time: "If you do not ask me, I know; if you ask me, I ignore it "(Agustín, 1999 :), simile to the answer that American Judge Potter Stewart established when he was asked if a publication was pornographic or not, to which he replied," I know, when I see it ".
Since we can not understand reality by its meaning, let's go to its parts. One of its characteristics, or at least we will all agree, is that it is objective, it is the conception of materiality, of objects, not of subjects, because reality is not what one perceives. It is not characteristic of objects that are cold or rough, nor that are olfactory or sound, because reality is not what we perceive with the senses. Therefore, I believe that one of the best definitions was introduced by Phillip K. Dick: "Reality is what does not vanish when you stop believing in it".
Under this principle, reality could be replicable. It has been tried for thousands of years. The linear narrative arts, such as the novel or the cinema, have sought to replicate it, to create in the reader the essential idea that we stop inhabiting the tangible reality to belong to a reverie. As Salvador Elizondo states in El hipogeo secreto "Perhaps it would be easier to write a simple book, a book that would simply describe the life of men and the lives of women, like all the books that have been written over the centuries. margin of all drunkenness or of all daydreams; that is, whose arguments are carefully inscribed within the limits of that supreme fallacy that is reality. "(Elizondo) The problem is that when we read, although we immerse ourselves in an alternate world, we are aware that our reality is not transformed, not even affected to a lesser extent. I believe that none of us, assiduous readers, believe in the quixotic idea that fiction and the tangible world are mixed; we are aware that our reality is not being duplicated by another, simulated, but that there is an alternate reality, with the same physical and sociocultural principles, where beings very similar to us solve conflicts so human that they allow us to empathize. The immersion is specified, but not the simulation. The same happens with video games, until now, where the graphics of a high immersion and the reaction of the character to the user's decisions, lead to a greater immersion, an alternate reality, defined by two rules that are similar to our reality, the objectivity of the environment and the subjectivity of the actors. The spaces are pre-established, the goals are unequivocal and, finally, a pre-established reaction that varies conform to the "decisions" that the user executes, in the same way that the reactions of the other characters that surround you vary. In spite of this, the regular game participants are aware that the game's space is simulated, that its reality remains unchanged. Regardless if they use immersive mechanisms or increasingly interactive stories.
But still not enough, the goal is to go beyond social collaboration or virtual reality. The current mechanisms have failed to distort the philosophical principle that reality is a construct.

The primal element, by simulating reality, is as a principle that all the elements, which are beyond us, seem to us to be as real as this reality, that we can not define but inhabit. An overlap of realities would be created. The way to achieve this is, as Borges clarifies in "Shakespeare's Memory," "man's brain is a palimpsest. Each new writing covers the previous writing and is covered by the one that follows, but the almighty memory can exhume any impression, however momentary it may have been, if they give it sufficient encouragement. "(Borges, 1993: 304) It is the idea of the palimpsest on which the theory of simulation is built, in general.
For this, computers could be the tools that will generate much more accurate simulations, in addition to the narrative and digital mechanisms that we have in the 21st century. The digital world is necessary to achieve it, what literature and cinema, in their current formats, will never conceive. And there is a generation in development that sees as an organic change the way in which the digital world has transformed our idea of reality, even more than we are willing to assume.
As until now reality has not been replicated, some theorists and narrative exponents have assured that it is more feasible to inhabit an already simulated reality.
In 2017, Facebook decided that it would invest almost 400 million dollars to support the development of educational applications for virtual reality. In order for adults to work on an avatar of the office from home and children to do the same in virtual classrooms. On this, the children would coexist with the virtual world during the six hours of class a day. At the same time, television, to which a Mexican child devotes an average of 4.5 hours each afternoon, would be projected on a viewer, with what they would take, on average more than ten hours, plus eight hours of sleep, they would only subtract from the child of four to six hours in tangible reality. If this happens, as Jane Galloway clarifies, when the child reaches adolescence, more time will have passed in the dream than in the palpable reality, on it, in a simile to the question asked by Calderón de la Barca in La vida es sueño , how can we define and distinguish what the reality will be or if the reality will only be the one we physically inhabit. My position is that, until now, simulations of reality are unsuccessful because users never break the principle of the suspension of disbelief. All, without counting the neurological delusions, we believe that we inhabit a reality and that the fictionalization of that reality is an immersive fiction, not a substitution. Although digital mechanisms are increasingly closer to what we consider reality. If we start from how the graphics of video games have evolved in a few years, maybe our perception of reality is less real than we think.
In the dream something similar happens, our brain simulates a reality and experience, because the amygdala provokes emotions, such as fear or excitement, which produces "apparent sensory impressions", as Dr. Allan Hobson of the Faculty of Harvard medicine. By generating false sensations that are generated in our interior, we listen, see and feel, even though our body is apart. This, together with the narrative guidelines of the dream that defy logic, involve the sensation of reality and presence in totality, closer to the simulation of experience, but with a process of total immersion, as is sought in the simulation of the reality.
However, it is not enough. Although reading is stripped and clothed-inverted strips, said Vargas Llosa-when one reads what matters it is not one, in the sense of narrative importance, you are a spectator. Unlike when you dream. Or is this not real?
If the brain in the process of imagination about reading is different in neurological and psychological sense when you imagine about yourself, that is, when you are your own character, contrary to reading, where the author shows you is what you have to Imagine, in an interview, Dr. Itzel Galán, a cynical neuropsychiatrist from the School of Psychology of the UNAM, answered:
Actually this situation of evocation in the neurological sense seems to be the same areas of representation, that is, the fact that you are mentally representing something that someone allows you to evoke, in general the construction is still personal and the areas involved in the iconic representation they are the same, because you have an activation that allows you to generate those images, yes, perhaps what has been observed is that maybe there are other areas involved for the participation or the generation of those images, but the representation as an image it is practically the same and it has been used in some studies with magnetic resonance, they work in which the participation of common areas has been seen.

This is fundamental, because although language and emotions are formed in different areas of the brain, "emotional memories are conserved in the amygdala, but words are stored in the temporal lobe" (Kaku,: 150). As Michiu Kaku clarifies in The future of the mind, the interesting thing is when they mix in a level III of consciousness, what has been called "theory of mind", fundamental for survival and to which reading contributes, because it helps to "imitation and empathy, since they allow us not only to copy the complex actions that others take out, but to experience the emotions that those people are feeling" (Kaku,: 87)
Reading is like remembering other lives. As if you had lived that experience. But you know it's not you. Gabriel García Márquez begins his memoirs with the following sentence: "Life is not what you lived, but what you remember and how you remember it to tell" (García Márquez, 12). It is a memorable phrase for what it entails: literature is truer than reality, truer than life itself. But sometimes life is not to tell but to read it. When you read a novel, you create an alternative world that is much more human and perfect; a unique world that each reader turns into reality thanks to personal anchors. We are all each character that we have read.
Reading is converting one experience from another (Bachelard, (1960) 2013) that becomes present when you read it (Blanchot,). The temporality of reading is fast, we imagine too fast, like when a book changes location, as if right now you were in the bank row, and not reading this, investigating how the scene would be, that each element is extracted in a memory , in moments.
On this, we come to the second, fundamental point, if reality is "what does not disappear when you stop believing in it", what matters to us is what we inhabit, the perception of it, our experience.
Experience is the connection with reality based on observation and participation. This connection is generated through our senses, the way in which we link with the environment and our preconceptions.
The problem is that we can not trust our senses in their entirety. As Rene Descartes says in his "Metaphysical Meditations": "Everything I have admitted up to the present as safer and more true, I have learned from the senses or the senses; now, I have sometimes experienced that such senses deceived me, and it is prudent never to trust entirely those who have deceived us once. "(Descartes,)
If you closed your eyes, for a moment, containing the sense that allows us, or so we believe, to recognize reality, and listen to an audio of a busy street, and consider that reality is what surrounds us, we would be, at this moment , on a busy street, with hundreds of cars around us, or behind us, so, his brain, having his eyes closed, should release adrenaline in sufficient quantities so they do not run over us. They will realize that our senses are manipulable. If we distrust our sense of hearing, then we can not trust that we know reality.
In the same way it happens when one listens to his voice in a tape recorder, we all understand that the own sound is deformed with the impact of the waves in the cranial base, but we do not recognize ourselves when listening outside of our head. In that way, how do we know that the image we see reflected in a mirror is not our distorted perception?
If in the Greek tragedy, old Tiresias, the blind man who contemplated the future, went to the oracle of Delphi to know the destiny of Narcissus, the man in love with himself. He sat in front of the mother and explained that as long as his son did not know himself, he would live. They say that Narciso, a day when thirst led him to a pond, saw himself reflected and perished, some say that he died of thirst, because every time his hand intruded between the water and his reflection, the waves distorted the image and he did not want to interrupt his contemplation. Passivity about himself exterminated him. Other versions narrate that Narciso dies at the bottom of a pond, when he sees his image he rushes to embrace it and dies drowned, full of water. It is the search for appropriation of being that borders on death. The moment he recognizes himself in the mirror, the individual plunges into the deep waters of the mind and comes out refreshed, aware that, as Jonathan Swift repeated, tireless, crazy, blind and on the verge of death, I am what I am. What happens if our perceptions deceive us, if our reality is intangible.
Experience has been seen as what we collect through ideas or the senses; in either of the two forms we speak of the configuration of reality as an entity perceived through the mind. And the mind can be manipulated with narrative strategies and by itself. The aim is to understand these mental transformations in order to recreate simulations of experience in the user.
From the point of view of philosophical hermeneutics (Gadamer), only experiences are possible if you have expectations, that is why a person of experience is not the one who has accumulated more experiences (Erlebnis), but the one who is qualified to allow it.
Experience is the connection with reality from observation and participation, the way in which we link with the environment and our preconceptions in order to configure reality as a perceived entity through consciousness.
That is, reality only materializes in the present and experience is a mental fragmentation5 that is materialized in a distension of a simultaneous present that unites the present-past, memory, in this case the false memory; the present-present, the existential vision, the reality; and the present-future, the projection of a thought, by linking with the imagination; it is in the present from where we inhabit and glimpse the causal future or imagine uninhabitable events.

5Henri Bergson starts from the human experience from a finite, transitory vision, which is conformed as soon as it is remembered, where the future and the past are in the being, and the world in the present; that generates that the elapsed time can be represented, because in its way it invents and closes. As the philosopher states: "Without a doubt, external things change, but their moments do not happen except for an awareness that remembers them." (Bergson, :)

As the psychologist Daniel Kanhemann, Nobel Prize in Economics, clarifies, we are split into an entity that experiences life and another that remembers it, which alternate although, as the conference clarifies "the enigma of experience versus memory" ( Kahnemann, 2010), "We do not really choose between experiences, we choose between the memories of the experience. And even when we think about the future, we do not normally think about our future in terms of experiences. We think about our future in terms of anticipated memories. "This is fundamental, since what should be simulated in the user is not the experience itself, but rather a memory of a fictitious experience. This is, not only possible, but daily. Dr. Elizabeth Loftus, specialist in the acquisition of false memories, specifies that we all narrate events that may not have occurred. So the main tool of the experience simulation, is to generate an experience that becomes a simulated memory in the user (Núñez, 2016).
turn your experience of reality into a simulation and simulation tie with reality, to break the increasingly feeble line that separates fiction from reality, as Jorge Luis Borges clarifies in "Partial Magic of Quixote": "Why What disturbs us that Don Quixote is a reader of Don Quixote and Hamlet? I think I have found the cause: such investments suggest that if the characters of a fiction can be readers or spectators, we their readers or spectators can be fictitious. "Or, the simulated experiences are not only real, but they become a memory. .
When artificial intelligence allows us to create simulations in a not only organic but instantaneous way, the function of the simulations as generators of an experience, or of an alternate life, the narrative functions will become as important as the vital ones. For the moment, we have to adjust to the current, common elements, to create a strategy that allows us to simulate in the most plausible way possible and to seek that with the current technological implementations new aesthetic ideas are generated, a new narrative discipline that unites different branches artistic and digital elements around a narrative that generates an experience in the user and mute in memory.
We know each other through language, for this reason man and his environment is a lexical product, a metaphorical approach to reality, a resignification of the world and its temporal dimension (the past can only be reconstructed by the imagination, the present is understood as resignificarlo and the future is a lexical projection), as well as the enlargement of our horizon, impoverished by everyday life. As Paul Ricoeur clarified, "what is communicated, in the final analysis, is, beyond the meaning of the work, the world that projects and constitutes its horizon" (148).
Even with these elements, the way to simulate reality, until now, has been based on narrations. "Reading, said Ezra Pound, is an art of replication. Sometimes readers live in a parallel world and sometimes imagine that this world enters reality "(Piglia,: 12) This process is the basic principle of simulation as it has been understood, until now.
In addition, finding the keys and mechanisms to create simulations of experience, from the cognitive functions and not the technological materiality would allow people to create their own simulations, share them in a network of experiences that would transform our notion of experience as a unique situation , this would generate an empathic network and perhaps contribute to a transformation of our notion of the livable and the experimental.
Unlike what Robert Nozik states, the purpose of this type of simulations is not to replace reality but to increase the vital sensation of the experience. In a simulation, everything can happen, even physically impossible, and the user can be whoever they want.