Understanding the Matrix
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Believing in Fiction I
Believing in Fiction i The Rise of Hyper-Real Religion “What is real? How do you define real?” – Morpheus, in The Matrix “Television is reality, and reality is less than television.” - Dr. Brian O’Blivion, in Videodrome by Ian ‘Cat’ Vincent ver since the advent of modern mass communication and the resulting wide dissemination of popular culture, the nature and practice of religious belief has undergone a Econsiderable shift. Especially over the last fifty years, there has been an increasing tendency for pop culture to directly figure into the manifestation of belief: the older religious faiths have either had to partly embrace, or strenuously oppose, the deepening influence of books, comics, cinema, television and pop music. And, beyond this, new religious beliefs have arisen that happily partake of these media 94 DARKLORE Vol. 8 Believing in Fiction 95 – even to the point of entire belief systems arising that make no claim emphasises this particularly in his essay Simulacra and Simulation.6 to any historical origin. Here, he draws a distinction between Simulation – copies of an There are new gods in the world – and and they are being born imitation or symbol of something which actually exists – and from pure fiction. Simulacra – copies of something that either no longer has a physical- This is something that – as a lifelong fanboy of the science fiction, world equivalent, or never existed in the first place. His view was fantasy and horror genres and an exponent of a often pop-culture- that modern society is increasingly emphasising, or even completely derived occultism for nearly as long – is no shock to me. -
View the Dichotomies in Computer Game Studies in More Detail
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 A Burkean Analysis on the Relationship of the Image to Player Motivation in First- Person Shooter Games Toby McCall Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES A BURKEAN ANALYSIS ON THE RELATIONSHIP OF THE IMAGE TO PLAYER MOTIVATION IN FIRST-PERSON SHOOTER GAMES By TOBY MCCALL A Thesis submitted to the Department of English in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Summer, 2008 Copyright © 2008 Toby McCall All Rights Reserved The members of the Committee approve the thesis of Toby McCall defended on March 26, 2008. _______________________________ Kathleen Yancey Professor Directing Thesis _______________________________ Phil Steinberg Outside Committee Member _______________________________ Kristie Fleckenstein Committee Member _______________________________ Michael Neal Committee Member Approved: _______________________________ Ralph Berry Chair, Department of English The Office of Graduate Studies has verified and approved the above named committee members. ii I dedicate this work to my mother Joseyvette Jackson, who sacrificed much of her own life so that I might have opportunities she did not. Thanks Mom. iii ACKNOWLEDGMENTS I would like to thank my committee for their feedback and encouragement during this process, especially Kathleen Blake-Yancey who kept me sane and on track despite her own busy schedule; Ian Bogost, Steffen P. Walz and Noah Wardrip-Fruin for their input and time; my brother for his unending support; and my friends Chris Findeisen (Knuckles Malloy), Brianna Noll (Icechest Jones) and Dustin Atkinson (KGB Fontenot) for reminding me to relax, have fun, and play Rock Band; to Kelly Powers for his friendship and guidance. -
The Matrix As an Introduction to Mathematics
St. John Fisher College Fisher Digital Publications Mathematical and Computing Sciences Faculty/Staff Publications Mathematical and Computing Sciences 2012 What's in a Name? The Matrix as an Introduction to Mathematics Kris H. Green St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/math_facpub Part of the Mathematics Commons How has open access to Fisher Digital Publications benefited ou?y Publication Information Green, Kris H. (2012). "What's in a Name? The Matrix as an Introduction to Mathematics." Mathematics in Popular Culture: Essays on Appearances in Film, Fiction, Games, Television and Other Media , 44-54. Please note that the Publication Information provides general citation information and may not be appropriate for your discipline. To receive help in creating a citation based on your discipline, please visit http://libguides.sjfc.edu/citations. This document is posted at https://fisherpub.sjfc.edu/math_facpub/18 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. What's in a Name? The Matrix as an Introduction to Mathematics Abstract In my classes on the nature of scientific thought, I have often used the movie The Matrix (1999) to illustrate how evidence shapes the reality we perceive (or think we perceive). As a mathematician and self-confessed science fiction fan, I usually field questionselated r to the movie whenever the subject of linear algebra arises, since this field is the study of matrices and their properties. So it is natural to ask, why does the movie title reference a mathematical object? Of course, there are many possible explanations for this, each of which probably contributed a little to the naming decision. -
Village Roadshow Entertainment Group Restructure
20 April 2017 VILLAGE ROADSHOW ENTERTAINMENT GROUP RESTRUCTURE Village Roadshow Entertainment Group (VREG) today released the attached announcement of a transaction with Vine Alternative Investments and Falcon Investment Advisors. Following the transaction, Village Roadshow Limited’s (VRL’s) total interest in VREG comprises: • 20% of the ordinary equity in VREG; • An option over a further 2.5% of VREG’s equity; and • US$10 million of subordinated notes (ranking in priority to the ordinary equity of VREG), repayable by November 2022, with a non-cash return of 15.5% p.a. This represents a restructure of VRL’s entire existing interests in VREG, without additional funding from VRL, and there will be no impact on VRL’s accounts. Co-Chairman and Co-CEO of VRL, Mr Graham Burke, will continue as Chairman of Village Roadshow Pictures and Mr Burke and Mr Robert Kirby, Co-Chairman and Co-CEO of VRL, will remain Directors of VREG. For personal use only VILLAGE ROADSHOW LIMITED | ABN 43 010 672 054 | LEVEL 1, 500 CHAPEL STREET, SOUTH YARRA, VIC, AUSTRALIA 3141 | T + 61 3 9281 1000 villageroadshow.com.au VILLAGE ROADSHOW ENTERTAINMENT GROUP VILLAGE ROADSHOW ENTERTAINMENT GROUP EXPANDS GLOBAL CONTENT PLATFORM WITH SIGNIFICANT CAPITAL FROM VINE ALTERNATIVE INVESTMENTS Vine Acquires Majority Shareholding in VREG; Company to Increase Slate, IP Development, Partnerships and Platforms April 20, 2017 – Los Angeles, CA – Village Roadshow Entertainment Group (VREG) is expanding and complementing the Company’s business model as a leading co-financier and co- producer of filmed entertainment into selectively developing and acquiring its own IP and producing content across a breadth of platforms with both existing and new partners. -
Copyright by Jason Todd Craft 2004 the Dissertation Committee for Jason Todd Craft Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Jason Todd Craft 2004 The Dissertation Committee for Jason Todd Craft Certifies that this is the approved version of the following dissertation: Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions Committee: Adam Z. Newton, Co-Supervisor John M. Slatin, Co-Supervisor Brian A. Bremen David J. Phillips Clay Spinuzzi Margaret A. Syverson Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions by Jason Todd Craft, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2004 Dedication For my family Acknowledgements Many thanks to my dissertation supervisors, Dr. Adam Zachary Newton and Dr. John Slatin; to Dr. Margaret Syverson, who has supported this work from its earliest stages; and, to Dr. Brian Bremen, Dr. David Phillips, and Dr. Clay Spinuzzi, all of whom have actively engaged with this dissertation in progress, and have given me immensely helpful feedback. This dissertation has benefited from the attention and feedback of many generous readers, including David Barndollar, Victoria Davis, Aimee Kendall, Eric Lupfer, and Doug Norman. Thanks also to Ben Armintor, Kari Banta, Sarah Paetsch, Michael Smith, Kevin Thomas, Matthew Tucker and many others for productive conversations about branding and marketing, comics universes, popular entertainment, and persistent world gaming. Some of my most useful, and most entertaining, discussions about the subject matter in this dissertation have been with my brother, Adam Craft. I also want to thank my parents, Donna Cox and John Craft, and my partner, Michael Craigue, for their help and support. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Bruno Mölder
ISSN 0234-8160 wmm KOIK ON KOKKU ... MATRIX? Bruno Mölder: Kas me oleme ajud purgis? Tanel Tammet: Kas me märkaksime endast targemat arvutitsivilisatsiooni? Jüri Eintalu: Kas filosoofia teab, mis homne toob? Slavoj Zižek: Meie tegelik passiivsus versus virtuaalne kõikvõimsus. Unenäod ja luupainajad Mehis Heinsaare ja Matt Barkeri novellides. Arvustuse all on Andres Herkeli, Aare Pilve ja Kadri Tüüri mõttemasinad. Katrin Kivimaa: maalikunstnik Alice Kask. Piret Bristoli ja Kirsti Oidekivi luulet. • Eesti Kirjanike Liidu ajakiri. Ilmub alates 1986. a. juulist. 18. aastakäik. September, 2003 Nr. 9. SISUKORD Robert Graves Läbi luupainaja 1 Slavoj Žižek Matrix: perversiooni kaks kulge 66 Mehis Heinsaar Vennad uneluses 2 Jüri Eintalu Matrix: filosoofial juhtmed Matt Barker Malmkurat 16 seinast väljät 87 Piret Bristol Luulet 29 Bruno Mölder Matrix purgis 95 Kirsti Oidekivi Luulet 34 Tansl Tammet Matrix, skynet ja sõda Jaak Rand Harilik pealkiri 39 teispoolsusega 106 Mart Kangur Jaak Rand 47 Eksinud... 49 Lotmanieux 53 Vaatenurk Ulo Mattheuis Mõttemasinaga sakraalajas 111 Katrin Kivimaa Meesaktid lõuendil j& Jaanus Adamson Ideaal ja iha 117 vineeril: Alice Kase viimaste maalide Märt Väljataga Subjektiga vastu tõlgendamise projekt 64 ideoloogiamüüri 125 Kujundus: Jüri Kaarma © "Vikerkaar", Fotod Alice Katse maalidest: Toomas Kohv 2003. Esikaanel: ALICE KASK. Kükitav Tagakaanel: ALICE KASK. Näoga mees. Oli, lõuend. 145x210 cm. 20Q2. mees. Õli, lõuend. 145x210 cm. 2003. ROBERT GRAVES Läbi luupainaja Inglise keelest tõlkinud Märt Väljatagu Ärgu sind kunagi lakaku lummamast Koht, kuhu sa ennast mõnikord unistad, Kaugel kõikidest unenägudest, Ega ka need, keda leiad sealt eest, kuigi harva Võid nende seltsi sa istet võtta - Nood taltsutamatud, elavad, õrnad. Kas pole sa kohanud neid? Keda? Nad aja On mähkinud nagu jõe ümber oma maja, Nii et ajaloo teed mööda sinna ei pääse Neid loendama või nimetama. -
BEFORE the PHILOSOPHY There Are Several Ways That We Might Explain the Location of the Matrix
ONE BEFORE THE 7 PHILOSOPHY UNDERSTANDING THE FILMS BEFORE THE PHILOSOPHY I’m really struggling here. I’m trying to keep up, but I’m losing the plot. There is way too much weird shit going on around here and nothing is going the way it is supposed to go. I mean, doors that go nowhere and everywhere, programs acting like humans, multiplying agents . Oh when, when will it end? – SparksE The Matrix films often left audiences more confused than they had bargained for. Some say that their confusion began with the very first film, and was compounded with each sequel. Others understood the big picture, but found themselves a bit perplexed concerning the details. It’s safe to say that no one understands the films completely – there are always deeper levels to consider. So before we explore the more philosophical aspects of the films, I hope to clarify some of the common points of confusion. But first, I strongly encourage you to watch all three films. There are spoilers ahead. The Matrix Dreamworld You mean this isn’t real? – Neo† The Matrix is essentially a computer-generated dreamworld. It is the illusion of a world that no longer exists – a world of human technology and culture as it was at the end of the twentieth century. This illusion is pumped into the brains of millions of people who, in reality, are lying fast asleep in slime-filled cocoons. To them this virtual world seems like real life. They go to work, watch their televisions, and pay their taxes, fully believing that they are physically doing these things, when in fact they are doing them “virtually” – within their own minds. -
Mystic River, Clint Eastwood, 2003
Université Inter-âge | Cycle film noir | Séance du 14/05/2018 / Cyrielle VINCENT Mystic River, Clint Eastwood, 2003 Générique technique Générique artistique Réalisation : Clint Eastwood Sean Penn : James “Jimmy” Markum Scénario : Brian Helgeland, d’après le roman Tim Robbins : Davide “Dave” Boyle Mystic River de Dennis Lehane Kevin Bacon : Inspecteur Sean Devine Musique : Clint Eastwood, Kyle Eastwood Laurence Fishburne : Sergent Whitey Powers Production : Clint Eastwood, Judy Hoyt, Robert Marcia Gay Harden : Celeste Boyle Lorenz, Bruce Berman Laura Linney : Annabeth Markum Société de production : Warner Bros, Malpaso Production, Village Roadshow Pictures, NPV Eli Wallach : M.Loonie Entertainment Emmy Rossum : Catherine “Katie” Markum Photographie : Tom Stern John Doman : le Conducteur Montage : Joël Cox Jonathan Togo : Pete Décors :Henry Bumstead Connor Paolo : Sean (jeune) Costumes : Deborah Hopper Tori Davis : Lauren Devine Kevin Conway : Theo Pays de production : Etats-Unis Kevin Chapman : Val Savage Sortie le 23 mai 2003 (France) et le 8 octobre 2003 (Etats-Unis) Tom Guiry : Brendan Harris Couleurs / Durée : 137 minutes / 35 mm Spencer Treat Clark : Raymond “Ray” Harris Jr. Andrew Mackin : John O’Shea Graphiste de l’affiche de Mystic River : Bill Adam Nelson : Nicolas “Nick” Savage” Gold (3 janvier 1921 - 20 mai 2018) Robert Wahlberg : Kevin Savage Jenny O’Hara : Esther Harris 1 Université Inter-âge | Cycle film noir | Séance du 14/05/2018 / Cyrielle VINCENT Clint Eastwood (né en 1930) Clinton Elias Eastwood Junior, plus connu Il est également très marqué par le cinéma sous le simple nom de Clint Eastwood, est un parlant qui à marqué son enfance. Il découvre réalisateur, acteur, compositeur et producteur Howard Hawks, John Wayne, John Ford et An- américain, né le 31 mai 1930 à San Francisco, thony Mann qui auront une grande influence sur Californie. -
MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political, -
A Critical Assessment of Virtual Reality Technologies for Modeling, Simulation, and Training
Rowan University Rowan Digital Works Theses and Dissertations 6-15-2021 The matrix revisited: A critical assessment of virtual reality technologies for modeling, simulation, and training George Demetrius Lecakes Rowan University Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Electrical and Computer Engineering Commons Recommended Citation Lecakes, George Demetrius, "The matrix revisited: A critical assessment of virtual reality technologies for modeling, simulation, and training" (2021). Theses and Dissertations. 2914. https://rdw.rowan.edu/etd/2914 This Dissertation is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. THE MATRIX REVISITED: A CRITICAL ASSESSMENT OF VIRTUAL REALITY TECHNOLOGIES FOR MODELING, SIMULATION, AND TRAINING by George Demetrius Lecakes, Jr. A Dissertation Submitted to the Department of Electrical and Computer Engineering Henry M. Rowan College of Engineering In partial fulfillment of the requirement For the degree of Doctor of Philosophy at Rowan University March 5, 2021 Dissertation Chair: Shreekanth Mandayam, Ph.D. Committee Members: Nidhal Bouaynaya, Ph.D. John Schmalzel, Ph.D. Amanda Almon, M.F.A, C.M.I Ying (Gina) Tang, Ph.D. © 2021 George Demetrius Lecakes, Jr. Dedication I would like to dedicate this dissertation to my two sons, Georgie and Arthur. Acknowledgements The material within this dissertation took the better part of twenty years to complete, and there were many who helped along the way. First, I would like to acknowledge my advisor, Dr. -
Breaking the Code of the Matrix; Or, Hacking Hollywood
Matrix.mss-1 September 1, 2002 “Breaking the Code of The Matrix ; or, Hacking Hollywood to Liberate Film” William B. Warner© Amusing Ourselves to Death The human body is recumbent, eyes are shut, arms and legs are extended and limp, and this body is attached to an intricate technological apparatus. This image regularly recurs in the Wachowski brother’s 1999 film The Matrix : as when we see humanity arrayed in the numberless “pods” of the power plant; as when we see Neo’s muscles being rebuilt in the infirmary; when the crew members of the Nebuchadnezzar go into their chairs to receive the shunt that allows them to enter the Construct or the Matrix. At the film’s end, Neo’s success is marked by the moment when he awakens from his recumbent posture to kiss Trinity back. The recurrence of the image of the recumbent body gives it iconic force. But what does it mean? Within this film, the passivity of the recumbent body is a consequence of network architecture: in order to jack humans into the Matrix, the “neural interactive simulation” built by the machines to resemble the “world at the end of the 20 th century”, the dross of the human body is left elsewhere, suspended in the cells of the vast power plant constructed by the machines, or back on the rebel hovercraft, the Nebuchadnezzar. The crude cable line inserted into the brains of the human enables the machines to realize the dream of “total cinema”—a 3-D reality utterly absorbing to those receiving the Matrix data feed.[footnote re Barzin] The difference between these recumbent bodies and the film viewers who sit in darkened theaters to enjoy The Matrix is one of degree; these bodies may be a figure for viewers subject to the all absorbing 24/7 entertainment system being dreamed by the media moguls.