(no subject)

[fabrisse]

The following contains spoilers for

Half-way into one of the action sequences in the new Matrix movie, it occurred to me that the action sequences last long enough for the previous sets of symbols to sink in before introducing the next set. That's when I started becoming a little frightened.

It sounds odd to say that, but the film deals in symbols and philosophies on a very low level. For those unfamiliar with computer programming, the lower the level the deeper the influence. I can, in the high-level database language I write, crash a system. I can't rewrite the computer's basic functionality. In human terms conscious thought can filter down and become a deeper level of our code, but it's faster to work on the symbolic level and have the connections well upward.

Within the movie, I caught references to Christian and Jewish mythologies and scriptures -- including the eternal question: Was Judas the most faithful apostle? Neo and Morpheus now dress like priests, specifically Jesuits. Neo -- both the one and the new -- loves Trinity, and in one startling bit of intercutting, this trinity manages to represent Eros, Philia (sic?), and Agape. There's also another trinity operating -- The Architect (who wears a white suit and sits in a room with all the possible reactions of Neo projected around him, as blatant an example of the Father as I've seen depicted), Neo, and the Oracle (her connection to the holy Spirit is clearer when it's remembered that the holy Spirit is often seen as an aspect of Wisdom which is feminine in Greek).

There are also references to Celtic mythology, Brave New World, Alfred Hitchcock, Freudian theory, Calvinism, and Jungian archetypes. When I was talking to jerminating earlier this evening, I said that I couldn't find any references to Hinduism. But Neo's tested by his ability to fight, both by the "good" and the "evil" of this universe, which leads me to ask if it's a reference to ideas of caste put forward in the Bhagavad Gita. Neo's way is the path of the warrior. What paths did his predecessors choose?

As a programmer, I had some interesting moments as well. When the Oracle was speaking about understanding why the choice was made, I kept seeing Procedure code. It was inexplicable to me. I assumed that it had to do with the fact that I've been programming this week for the first time in ages. Instead the scene with the Architect makes explicit what I was intuiting. He refers to Neo as an anomaly in the code, a flaw in the system. The Oracle found that the denizens of the matrix can be kept happy by having the illusion of choice. It works in 99% of cases. Neo, Morpheus, and the inhabitants of Zion are the one percent.

In taking care of some legacy code a few years back, I came across a call to a procedure that was completely commented out. It was buried so deeply that the line would almost never be tripped. I deleted the procedure entirely and commented out the line of code. The program wouldn't run at all. When I restored my backup, I inadvertently uncommented the procedure. I crashed my computer. It took IT an hour to put me back to where I'd been. The procedure had to exist; the call to it had to exist; it did nothing except let the program run.

The heavy Calvinism that runs through the movie disturbs me more than anything else. Though considering how Neo and Morpheus are dressed and the Architect's mention of the fatal flaw, Augustinianism is probably closer to the truth. All the influential characters at one point or another mention that they have a purpose, that there's a grander purpose to it all, and that choice is an illusion. The Oracle, in admitting that understanding why the choice has already been made is important, holds out some hope that humanity has an influence on the inevitable outcome. Or maybe it's a hope that some individuals within the plan may become enlightened enough to see the purpose and consciously help it along.

Most of all, I think that the Wachowski brothers were influence by Arthur Koestler. They put the ghosts in the machine and explained the origins of parapsychological phenomena. Several times, I found my mind returning to exerpts from Bricks to Babel.

There are doors and keys throughout. Doors that will only work for one person; keys that change the destination on the other side of the door. Persephone, in helping the key maker to escape, is shown opening multiple doors (7?) down a long hallway in the most blatantly Freudian moment in the movie.

Her husband, the Merovingian, lets loose with the foulest stream of French I've ever heard (I hadn't realized that I knew that many swear words in French). But more significant to me is the fact that this avatar of deep code chooses as his favorite language one that has no direct synonym for mind. Brain, intellect, psyche, persona, personality can all be defined, but there's nothing in French that gives the equivalent feel to the English word mind.

It worries me that Neo chooses what I believe to be the wrong door. He's capable of Eros and possibly Philia, but seems to stumble on Agape.

Thanks to his choice, we are left at the end with only a few people surviving the destruction of Zion. I don't know if it's the required 23. It certainly seems heavy on the males. Neo's unconscious and the only person to survive Zion's destruction -- who is also unconscious -- is the man who tried to assassinate Neo earlier.

The movie is brilliantly done. I am worried that by working on such a deeply symbolic level that it's acting as a meme -- an extremely pessimistic one. Koestler and his wife ultimately chose to take their own lives. I've often said that if I didn't believe I had free will, I'd kiss the railroad tracks. In that context after all, my suicide would be predestined.

Several times the filmmakers imply that we are living in the Matrix. We're all part of a complicated illusion.

I'm scared.

Comments

[tpau]

but zion has not yet been estroyed. as neo said, it is in 24 hours. only the 5 ships sent to attack are destroyed. the man who survived is the man who was "assimilated" by agent smith, and hten sent into the "real" world.

what bothers me most is that Neo can now control things outside of the matrix. which means one of two things. either where they were was now part of the matrix (i.e they didn't actually wake up, they jsut think they did) or, more likely in my mind, Zion is also part of hte matrix, and was never real in the first place.

the second movie made a much bigger deal of blurring the lines between the matrix and reality. much much more so then the first. i believe the third movie will blur the line completly, allowing for the illusion for hte viewr that the matrix scenario is indeed real.

[fabrisse.livejournal.com]

what bothers me most is that Neo can now control things outside of the matrix. which means one of two things. either where they were was now part of the matrix (i.e they didn't actually wake up, they jsut think they did) or, more likely in my mind, Zion is also part of hte matrix, and was never real in the first place.

That implication bothers me the most. The temple sequence seemed to imply the value of the human connection and the worth of the body. But if Zion's part of the matrix, then all it may have done is provided enough energy for Zion's destruction.

Coming into contact with Neo has turned Smith into a virus, does that make Neo a worm or trojan horse?

I hope that you're doing well. Hugs.

Layers of an onion

[cristovau.livejournal.com]

But if Zion's part of the matrix, then all it may have done is provided enough energy for Zion's destruction.

If Zion's part of the Matrix then, the matix is like an onion and the dark future Zion is a layer outside the 20th century layer, and there is probably a layer outside Zion, and maybe a layer outside that.

When do you escape the onion and all it's layers? When you reach the point of saying this is a movie and not real at all. That is the ultimate reality.

I hope this isn't the case, because it's predictable and a bit trite. I rather think that what Neo did at the end of the film is something else entirely and a sign that Neo is evolving. Also, the hunters he killed were machines controlled by programs. We know how Neo can disrupt the program in the Matrix. This ability is unexplained and related to his neural processes, so it might well extend beyond the matrix world.

As for Virus Smith, if he is free why doesn't he wear creme? My thinking is that he's doing precisely what the Matrix wants hime to now. His connection with Neo made him a candidate for being the Uber-agent. Also, the irony of becoming and reveling in what he hates is great.

Reloaded

[cristovau.livejournal.com]

It worries me that Neo chooses what I believe to be the wrong door. He's capable of Eros and possibly Philia, but seems to stumble on Agape.

It bothered me too, but then, it became clear that this was _the_ support for free will. The term anomaly applies to Neo incredibly well. He is the anomaly of anomalies. The architect and frankly everyone else wanted Neo to choose the other door. Trinity's death seemed foretold, predestined and unavoidable (though what the Architect said is vague: she will die - don't we all?) The other door is what Morpheus would have told him to do. Trinity would have told him to do it, too, and die for Zion. Everything points to that door, and he doesn't take it. Defying fate and the prophesy, Neo choses something else.

Now he's gained abilities beyond the Matrix. Is it some telepathic ability to influence the machine code directly or is the Matrix spilling out to reality? Whatever it is, it relates to the "wrong" choice. More than anything else, that's what free will is all about - the ability to do the wrong thing when you know better.

If the choice in the first film was the 'real' future versus the Matrix facade, then the choice in this movie was between prophesy and uncertainty. From this point on the characters have no script or outline.

I wondered about the 23 thing, too. We'll see is all I can really say. As for all the influences, religious and otherwise, I can see this though I wish they'd have chosen a single visual theme to wash over the film, as Through the Looking Glass worked on the original. As for the fight scenes being a break to allow the symbolism to settle in, the opposite seemed true for me. The fight scenes felt like a distraction from the symbolism.

When the named the "Merovingian", I heard "The Meryll Lynchian" and laughed out loud. It seemed a proper name for an evil program. I love his decoratng scheme. This foyer says violence to me, let's decorate in mayhem incarnate. The fight in the world of weapons gallery was disappointing. They alluded to werewolves and vampires, but all we get is a standard fight scene... ah well.

Re: Reloaded

[fabrisse.livejournal.com]

The architect and frankly everyone else wanted Neo to choose the other door. Trinity's death seemed foretold, predestined and unavoidable (though what the Architect said is vague: she will die - don't we all?) The other door is what Morpheus would have told him to do. Trinity would have told him to do it, too, and die for Zion. Everything points to that door, and he doesn't take it. Defying fate and the prophesy, Neo choses something else.

More than that I think that if Neo really was something special enough to think beyond the apparent choices given (which is my definition of free will), he could have done both. The Architect said he could select any 16 women and 7 men. All he had to do was choose Trinity.

I too wish they'd done more with "werewolves, vampires, and aliens," but I also found a visual allusion that intrigued me here as well. The ghost twins wear cream; one of the other fighters with the Merovingian wears cream, and so does Persephone. It's stated twice that the 'people' surrounding the Merovingian are persistent programs. What does that make the girl who wore the same color in the first movie who fought by Morpheus side?

More than most trilogies, Reloaded recasts the shadows of its predecessor.

Good to see you out here in LJ land. Hugs.

[eanja]

I was left uncertain at the end of the film whether Neo's choice was based purely on his willingness to damn the rest of the world to save Trinity, or whether he was actually reasoned that making the "correct" choice would only reset the same loop that had already occurred five times previously, and that there might be some other solution after all if he didn't do as the machines wanted.

I am not sure he could have saved Trinity any other way, as she would have been dead before the end of Zion and the time to select survivors.

This was a fascinating post- I hadn't really thought much yet about the symbolism in the movie, but clearly I need to do so. In truth, the Calvinist attitudes about choice in the film are something I simply can't quite wrap my head around. I am not really sure that, from a moral perspective, there is actually a difference between choice, and the illusion of choice (it sounds a bit like telling people that they only think they are happy).

I don't know that free will is necessarily incompatible w/ destiny- I read an article many years ago in which a mathematician stated that he believed in both. If, he explained, you believed in an a god who was not limited temporally, it logically followed that he would already know what you were going to do w/ your free will, and you could therefore be predestined to do something, and your own choices would be what lead you to that destiny.

I think that whether one believes in Purpose is less a function of the existence of choice, and more of whether one believes that there is a grand scheme to things that someone can see, in whole or in part. This does not quite track with the film's world, where the machines can not actually see the future, but based on the Architect's belief that things will play out in just the same way as in each previous occasion, I could argue that is he is considering extrapolation from past events to be virtually the same as actual knowledge of the future and is therefore assuming that he knows Neo's destiny. Since his knowledge is only assumed rather than actual, he is wrong, both the subject of choice, and about predicting Neo's actions.

[fabrisse.livejournal.com]

I've been thinking more and more about the room we find the architect in. We see multiple possible reactions from Neo, and yet only one is selected to go through to the next phase of the conversation. What isn't clear to me is which of them is making the choice. At one point we see all the Neos reacting the same way. At another, there's a group acting one way and the others are all individual reactions. At yet another part of the conversation, we're pulled into one reaction with no explanation as to why that action has come to the fore.

If it's the architect who's making the choice, then his knowledge isn't only assumed. If it's Neo, we still have no comprehension as to why that choice is selected at that moment. Honestly, I was with the Neo in the background flipping the bird at the architect.

Programming is the art of limiting and manipulating choices. From the point of view of the Merovingian or the Architect, Neo's just been thrown into an IF...ELSE...ENDIF while they have the greater freedom of DO CASE...ENDCASE. Within a CASE statement there should always be an OTHERWISE to cover and manage the unexpected. To them, every possible contingency's been covered.

I saw a way to save Trinity and humanity. Specify her as one of the 16 women that would rebuild humanity. Also, if the Architect is giving Neo the choice of people for the rebuilding, then Neo can pick the most stubborn and free thinking people he knows. That could mean that the next loop is the one that breaks the cycle, the one that's not covered by the OTHERWISE.

And then the movie ends...

[cristovau.livejournal.com]

Also, if the Architect is giving Neo the choice of people for the rebuilding, then Neo can pick the most stubborn and free thinking people he knows. That could mean that the next loop is the one that breaks the cycle, the one that's not covered by the OTHERWISE.

I suspect that this is what probably happened the last six times. These guys already are pretty stubborn and free-thinking. While Keanu didn't portray it fully enough, I think Neo knew what the stakes were and was ready to try and break the cycle. Plus, since this is a movie meant for our entertainment breaking the cycle is more interesting than repeating it.

Do you think that the other six might have looked like Neo? If so the Oracle was looking on with recognition, not just appreciation. I don't think so, but it'd make that conflict more unusual.

[kstanley.livejournal.com]

This is in two parts...

Part One

Half-way into one of the action sequences in the new Matrix movie, it occurred to me that the action sequences last long enough for the previous sets of symbols to sink in before introducing the next set. That's when I started becoming a little frightened.

I didn't think of this the first time I saw the film, but I kept it in mind for my second viewing. I think you are right. Although, in the case of the lengthy Agent Smith scene, I think TPTB made it long to force the viewers to be sick of the fight--so that they would draw the same conclusion that Neo did: why am I doing this again?

The fear I do understand--although for me, the fear comes from an awareness of how deep this film is. Of the messages. And it's a slippery fear. For example, right at this moment, I can't feel it at all. But sometimes, when I really thinking about the movie, I get scared. I think it's because it is so disorienting. And because there are people who have done this--created this film. What do they want? Why did they do it? That frightens me I think.

It sounds odd to say that, but the film deals in symbols and philosophies on a very low level.

Yes. And at a high level. Everywhere. Everything in the film is so very controlled. Everything is there for a reason. Never have I seen something so very contrived. There is something almost sinister about it.

Was Judas the most faithful apostle?

What made you think of this?

and in one startling bit of intercutting, this trinity manages to represent Eros, Philia (sic?), and Agape.

Which scene are you referring to?

I said that I couldn't find any references to Hinduism.

Well the cycle of creation and destruction seems very Hindu to me. Remember the main three Hindu gods: Brahma (the creator), Vishnu (the preserver), and Shiva (the destroyer).

The heavy Calvinism that runs through the movie disturbs me more than anything else.

Well certainly the machines and programs seem to be Calvinist (if by that you mean that every is pre-destined). This is natural, because as far as a computer program is concerned, everything is predestined. But it is different for Man and I think the movie is trying to point that out.

Most of all, I think that the Wachowski brothers were influence by Arthur Koestler. They put the ghosts in the machine and explained the origins of parapsychological phenomena. Several times, I found my mind returning to exerpts from Bricks to Babel.

I don't know anything about this. Care to elaborate?

It worries me that Neo chooses what I believe to be the wrong door. He's capable of Eros and possibly Philia, but seems to stumble on Agape.

I don't think he chose wrongly. But I suppose we will see in the next film.

[fabrisse.livejournal.com]

Was Judas the most faithful apostle?
What made you think of this?

Niobe and the betrayer from the first film. Something about Niobe reminded me of the one who went back into the Matrix. I don't think that she has betrayed anyone nor that she will. I thought it was interesting that she chose that name (I'm assuming that like Morpheus and Neo everyone we meet in Zion uses their self selected computer handles). I first knew the legend and the name at University when I saw the RSC production of The Maid's Tragedy The whole image of someone who could "weep till I am water," struck me forcibly then. Her eyes are behind the glasses, does she weep? Do we know why? I wish I could tell you why that set of images brought up that question. Maybe I need to see the film again.

As far as the original question goes: Nikos Kazantzakis has argued that any good Jew who recognized and followed Jesus knew that certain prophecies had to be fulfilled for him to truly be the Messiah. The other 11 shied away from the harsh and hateful reality of betrayal, but Judas believed so strongly and loved so well that he gave up his place at Jesus side in order to help him fulfill the Messiahship.

and in one startling bit of intercutting, this trinity manages to represent Eros, Philia (sic?), and Agape.
Which scene are you referring to?

The rave and lovemaking intercuts. We see the friendship and bonding of Morpheus and Neo, but also of Niobe and Morpheus, Neo and Trinity, and Trinity and Morpheus. They choose to celebrate life in various ways. But dance and sex are two of the main ones. Morpheus chooses to abandon his solemnity and dance (unlike Niobe's current lover who holds himself apart -- like a pharisee?). Neo wants some time to himself -- or at least with Trinity -- and Trinity takes him through to their arch. We see all the dancing, and, while within Christian tradition the original agapes were a sharing of food, the Romans accused the Christians of orgies and dancing. So, the rave is the agape, the friendships that transcend love affairs are the philia, and the two naked bodies (who look a little too much like brother and sister for me to be entirely comfortable -- maybe their going for the Egyptian myths *g*) are the Eros.

Elaborating on Koestler

Arthur Koestler started as a German communist who wrote some brilliant novels. His most famous was a roman a clef called Darkness at Noon which was based on his experiences during the Spanish Civil War. He was tortured and sentenced to death. After the Spanish Civil War he ended up in Britain -- he couldn't go back to Germany because communists under Hitler and very short lifespans and he'd already beaten one death sentence. After World War II, he stopped writing novels (he wrote one more in the mid-1970s that wasn't very good) and started writing non-fiction. The book Bricks to Babel is a compendium of his works which he selected. There are excerpts from all his works from his anti-death penalty pamphlets (his article in the Sunday Times before the British referendum is credited with ending capital punishment in Britain as those voters who couldn't decide had been expected either not to vote or to vote conservatively to maintain the practice. The facts that he presented in the article may have gotten them off the fence.).

Much of Koestler's non-fiction was an exploration of probability and the stranger edges of popular science. From this he started writing philosophical works which incorporated science. The Ghost in the Machine was his attempt to explain some of the more complex mental illnesses. In his view, some of the earlier less civilized parts of our brain will come to the fore in some people or produce hallucinations or voices. It's the ghost in our machine. The Matrix gives us dreadlocked twin horrors that pursue through everything except escape.

Koestler and his wife committed suicide together. His estate was left to the University of Edinburgh to endow the Koestler Chair of Parapsychology.

[fabrisse.livejournal.com]

I like your take on the Hinduism.

I'd like to point out that I think that Neo and Morpheus, at least at the beginning of the film, aren't so much Calvinist as Augustinian. Not just is everything predestined, but humanity is born impure and unheeding too boot.

Re:

[kstanley.livejournal.com]

Thanks Fabi!

This is all very interesting.

[kstanley.livejournal.com]

And Part Two:

The movie is brilliantly done. I am worried that by working on such a deeply symbolic level that it's acting as a meme -- an extremely pessimistic one.

No. I think we will see in the third film that there is a "happy ending". Despite the influence of many philosophies and theologies and mythologies in The Matrix films, the underlying theme is still one of existentialism: man has the power to change his life.

Here is what I believe:

1) We need Civilization. Otherwise the human race would not have accomplished all the things that it has.

2) In order for Civilization to work, we have to give up a lot of our freedoms.

3) In order for humanity to live within Civilization, we have to retain at least some of our freedoms.

4) These freedoms are dangerous, because of the ripple effect. An action taken in one part of society has consequences on another part. So, Civilization seeks to minimize these dangerous actions. It does this by attempting to control us and contain our choices within safe boundaries. This a good thing. Until it isn't.

5) When one of Civilization's controls becomes more of a hindrance than a help, it must be overturned. This is very difficult. It is not work for the feeble-minded or the emotionally unstable, or the immature. This is because changes to the system are very dangerous and have serious repercussions. Only someone of great experience, intelligence, compassion is fit to make one of these big changes. And it has to be someone of power and patience. Because change takes time. There is a reason that young martial arts students aren't taught advanced moves. They are incapable of performing them and also they are incapable of judging when these moves should be used. So changes to the system can be made--but only by someone special.

I think that these five points encapsulate the theme/message of the Matrix films. Perhaps the reason that TPTB ( I can't accept that only the Wachowskis are behind this film), have done what they have done, is because they want us to understand that change can happen--but there is a price. It is a price worth paying. But we should understand how difficult it is to break out or change things. We need to understand the level of power and responsibility necessary to alter the system.

[fabrisse.livejournal.com]

I need to think a bit more on this. I'll come back to it later.

Re:

[kstanley.livejournal.com]

I look forward to hearing back from you.

That theory I put forward simply evolved as I was writing this. I imagine that it is a bit unstable.