Believing in Fiction I
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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. -
Religious Diversity in a New Australian Democracy
94 Managing Religious Diversity Religious Diversity in a New Australian Democracy Rowan Ireland La Trobe University Religious Diversity, Disintegration and Democracy Just as the mainstream established Christian religions in Australia decline at various rates and in various ways, new religious groups flourish. The variety of these groups is astonishing, to many disconcerting. They include not only the New Religious Movements that burst on the scene from the 1960s to the 1980s- the likes of the Church of Scientology, the Hare Krishnas, the Moonies - but at least five other types of new groups. These are: New immigrant and ethnic community (NIEC) religions; New Christian conversionist groups, especially Pentecostals; and overlapping these New fundamentalist or charismatic groups within Catholicism, Judaism and Islam; New cults, centred around therapies and/or gurus and /or celebrities and/or ritual practices; and overlapping these New Age spirituality networks. Now these types, as suggested by my nervous phrase, 'overlapping these', are not good classifiers: each type is internally diverse, and placement of particular groups in one type is often going to be problematic. All of which underlines the simple point I'm making with the list: that increasing diversity or pluralism is one of the key features of the contemporary religious scene in Australia - not secularisation, not scandal, but increasing diversity. In this paper I want to explore answers to some questions about the social and political significance and consequences of increasing -
The Matrix Trilogy's Postmodern Movie Messiah
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 7 October 2005 He is the One: The Matrix Trilogy's Postmodern Movie Messiah Mark D. Stucky [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stucky, Mark D. (2005) "He is the One: The Matrix Trilogy's Postmodern Movie Messiah," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. He is the One: The Matrix Trilogy's Postmodern Movie Messiah Abstract Many films have used Christ figures to enrich their stories. In The Matrix trilogy, however, the Christ figure motif goes beyond superficial plot enhancements and forms the fundamental core of the three-part story. Neo's messianic growth (in self-awareness and power) and his eventual bringing of peace and salvation to humanity form the essential plot of the trilogy. Without the messianic imagery, there could still be a story about the human struggle in the Matrix, of course, but it would be a radically different story than that presented on the screen. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 Stucky: He is the One Introduction The Matrix1 was a firepower-fueled film that spin-kicked filmmaking and popular culture. -
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. -
Using Communications Theory to Explore Emergent Organisation in Pagan Culture*
ARSR 24.2 (2011): 150-174 ARSR (print) ISSN 1031-2943 doi: 10.1558/arsr.v24i2.150 ARSR (online) ISSN 1744-9014 Using Communications Theory to Explore Emergent Organisation in Pagan Culture* Angela Coco* Southern Cross University Abstract Pagan culture presents a paradoxical case to the traditional frameworks and methodologies social scientists have used to describe religious organi- sation. A key factor influencing Paganism’s emergence has been its adop- tion of online communications. Such communications provide a means of coordinating activities in and between networks accommodating diverse beliefs and practices and the ability to avoid overarching hierarchical organisation. These characteristics have led theorists to label Paganism as a postmodern religion, signalling the possibility of a different kind of social organisation from that evidenced in modern religions. Karaflogka (2003) distinguishes between two aspects of the move online, religion in cyberspace and religion on the Internet. While the Internet may be an online place for cybercovens and for performing cyber rituals, the analysis in this paper focuses on the interweaving of online and offline communic- ative practices. I suggest that communications theories, as outlined in Wenger’s ‘communities of practice’ model (1998) and Taylor and Van Every’s (2000) communications mapping, afford frameworks for exploring the inter-connectedness of online/offline interactions and a means of identifying emergent organisation in the Pagan movement. The analysis focuses on a particular feature of Pagan organisation, the accommodation of both group-oriented and solitary pagans. Keywords Pagan, communication theory, information and communication technologies, Pagan organisation, postmodern religion * I would like to offer my thanks to the anonymous reviewers of this paper whose constructive suggestions motivated considerable improvements. -
The Matrix Revolution, Part I
The Matrix Revolution, Part 1 by Ben Sibelman with an excerpt from The Matrix and excerpts from two versions of The Matrix Reloaded script, by Larry and Andy Wachowski (Bold text in the excerpts indicates added material. Strikeouts and ellipses indicate skipped material.) Sources The Matrix transcript: http://www.ix625.com/matrixscript.html The Matrix Reloaded draft script: http://www.imsdb.com/scripts/Matrix-Reloaded,-The.html The Matrix Reloaded shooting script: http://www.horrorlair.com/movies/scripts/matrixreloaded.pdf The Matrix, its sequels, and all related characters, plots, images, and concepts are the property of the Wachowski brothers, Warner Brothers, and/or Village Roadshow Pictures. Consequently, this script cannot be used for commercial gain. It is free for your use and may be copied and distributed at will. SCENE 1 Total blackness. NEO (V.O. from the end of The Matrix) I know you're out there. I can feel you now. Down into the black screen comes a single column of glowing green symbols. It is quickly joined by many others as the camera closes in. NEO (cont’d) I know that you're afraid. You're afraid of us. You're afraid of change. 19 of the columns terminate in the letters of “THE MATRIX REVOLUTION.” The camera passes through the U, which extends back into a canyon of smaller symbols with gaps in its walls. 1 NEO (cont’d) I don't know the future. I didn't come here to tell you how this is going to end. I came here to tell you how it's going to begin. -
The Matrix Explained
The Matrix Explained http://www.idph.net 9 de fevereiro de 2004 2 IDPH The Matrix Esta é uma coletânea de diversos artigos publicados na Internet sobre a trilogia Matrix. Como os links na Internet desaparecem muito rapidamente, achei que seria in- teressante colocar, em um mesmo documento, as especulações mais provocati- vas sobre a trilogia. Cada um dos artigos contém o link onde o artigo original foi encontrado. Estas referências, em sua maior parte, foram obtidas no Google (http://www. google.com), buscando por documentos que contivessem, em seu título, as palavras “matrix explained”; intitle:"matrix explained" Infelizmente, estão todos em inglês. Em português existem dois livros muito bons sobre os filmes: • MATRIX – Bem-vindo ao Deserto do Real Coletânea de William Irwin Editora Madras • A Pílula Vermelha Questões de Ciência, Fiilosofia e Religião em Matrix Editora Publifolha Quem sabe vivemos mesmo em uma Matrix. Ao menos é o que diz um dos artigos do do livro “A Pílula Vermelha”. Espero que gostem ... http://www.idph.net IDPH 3 Matrix – Explained by Reshmi Posted on November 12, 2003 14:39 PM EST To understand “The Matrix Revolutions” we’re gonna have to go all the way back to the beginning. A time that was shown in the superior Animatrix shorts “The Second Renaissance Parts I & II. In the beginning there was man. Then man created machines. Designed in man’s likeness the machines served man well, but man’s jealous nature ruined that relationship. When a worker robot killed one of its own abusive masters it was placed on trial for murder and sentenced for destruction. -
The Encyclopedia of New Religions Bibliography
The Encyclopedia of New Religions Bibliography The following bibliography has been constructed to enable readers to explore selected topics in greater depth. Rather than present a long uncategorized list, which would have been unhelpful and potentially confusing, the classification of literature mirrors the format of the book. (Classifying new religions and spiritualities is a notoriously difficult problem, and it should not be thought that groups that have been bracketed together do not have important differences.) In a few instances a movement may be relevant to more than one section; hence readers are advised to look in other sections if they cannot instantly locate the sought material. Anyone who compiles a bibliography on new spiritualities has to make choices, since there is a vast array of literature available. While endeavouring to include a good range of material and viewpoints, we have omitted material that we consider to be badly inaccurate or misleading. However, some religious movements have been virtually neglected by writers and hence the material indicated below is the best available. For some groups there is virtually no literature apart from their own writings. While we have aimed to incorporate material on the grounds of accessibility, quality, up-to-dateness, popularity and prominence, inclusion here does not necessarily imply endorsement by the editor or individual authors. At the end of each section a selection of websites has been provided. However, it should be noted that, whilst these were all available at the time of writing, and whilst we believe them to be relatively reliable, unlike books, websites can literally disappear overnight. -
The Matrix Agent Brown: She Got Out
(Street) The Matrix Agent Brown: She got out. A transcript by Tim S. ([email protected]) Agent Smith: It doesn't matter. Editted by dew Agent Jones: The informant is real. Agent Smith: Yes. (Cellular) Agent Jones: We have the name of their next target. Cypher: Yeah. Agent Brown: The name is Neo. Trinity: Is everything in place? Agent Smith: We'll need a search running. Cypher: You weren't supposed to relieve me. Agent Jones: It has already begun. Trinity: I know, but I felt like taking your shift. Cypher: You like him, don't you? You like watching him. (Neo's Home--Apartment 101) Trinity: Don't be ridiculous. Neo: What? What the hell?... Follow the white rabbit?... Who is Cypher: We're going to kill him, do you understand that? it? Trinity: Morpheus believes he is the One. Choi: It's Choi. Cypher: Do you? Neo: Yeah. Yeah. You're two hours late. Trinity: It doesn't matter what I believe. Choi: I know, it's her fault. Cypher: You don't, do you? Neo: Got the money? Trinity: Did you hear that? Choi: Two grand. Cypher: Hear what? Neo: Hold on. Trinity: Are you sure this line is clean? Choi: Hallelujah. You're my savior, man. My own personal Jesus Cypher: Yeah, of course I'm sure. Christ. Trinity: I better go. Neo: You get caught using that... Choi: Yeah, I know. This never happened. You don't exist. (Heart O' The City Hotel--Room 303) Neo: Right. Cop: Freeze, Police. Hands on your head. Do it. -
Born to Be On-Line: Cyberpunk, Cyborgs and the Matrix Trilogy
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi 2006 / Cilt: 23 / Say›: 1 / ss. 257-267 Born to Be On-line: Cyberpunk, Cyborgs and the Matrix Trilogy Kader YILMAZ* Abstract Films of science fiction, such as The Matrix (1999), and its sequels The Matrix Reloaded (2003) and The Matrix Revolutions (2003), are often categorized as cyberpunk which is a subgenre of contemporary science fiction. As typical examples of this type of science fiction, The Matrix and its sequels illustrate the concern of cyberpunk to envision a near future world where information technologies reign supreme, and shape the lives and affairs of societies including the lives and the very existence of individuals. More specifically, The Matrix trilogy depicts a future world that is populated with cyborgs, or posthumans, and run by a globally networked artificial intelligence called the matrix. In this respect these films do not only speculate on a highly technological near future but also on mankind`s changed existence in this environment. Especially, the image of the cyborg serves as a means to address the issue of the human and machine interface in these films. More importantly, the cyborg, or the post-human, in The Matrix and its sequels is not only emblematic of the human and machine interface but also of man’s very dependence on this technology as a means to survive in a highly mechanized environment. This paper argues that The Matrix and its sequels subvert the man vs. technology dichotomy and speculate on the altered existence of humans by envisioning and affirming the coexistence of man and the machine in the near future. -
The Matrix, Metaphors, and Re-Imagining Education Alison Cook-Sather Bryn Mawr College, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship, Research, and Creative Work at Bryn Mawr College | Bryn Mawr College... Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Education Program Faculty Research and Education Program Scholarship 2003 Movements of Mind: The Matrix, Metaphors, and Re-Imagining Education Alison Cook-Sather Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/edu_pubs Part of the Educational Assessment, Evaluation, and Research Commons Custom Citation Cook-Sather, Alison. "Movements of Mind: The Matrix, Metaphors, and Re-Imagining Education." Teachers College Record 105 (2003): 946-977. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/edu_pubs/8 For more information, please contact [email protected]. Movements of Mind: The Matrix , Metaphors, and Re-imagining Education Teachers College Record 105, 6 (August 2003), 946-977. Alison Cook-Sather Bryn Mawr College, [email protected] “Free your mind.” This exhortation becomes a refrain in the Wachowski brothers’ film, The Matrix (Silver, 1999), a visual study of movements of mind. Set sometime around the year 2199, the movie follows Morpheus, the leader of an underground resistance movement, as he guides the young hero, Neo, to a startling recognition: that what he believes to be reality at the end of the 20 th century is in fact a computer-generated dream-world called the Matrix. This “prison for [the] mind,” as Morpheus describes it, was created not only to contain and control human beings but also to turn them into a source of energy to power the very construct that contains and controls them. -
Reassessing the Matrix/Reloaded
Journal of Religion & Film Volume 7 Issue 2 October 2003 Article 6 October 2003 Reassessing The Matrix/Reloaded Julien R. Fielding University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Fielding, Julien R. (2003) "Reassessing The Matrix/Reloaded," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 6. Available at: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/6 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Reassessing The Matrix/Reloaded Abstract Much has been written about Larry and Andy Wachowski's film The Matrix and on practically every angle: from philosophical precedents to the realities of artificial intelligence. Religious scholars, oo,t have thrown their hats into the academic ring, expounding on the Gnostic, Buddhist and Christian aspects found therein. But as many have discovered, the Wachowski brothers are syncretists, pulling bits from here and there and then mixing it all together in a science fiction-martial arts stew. They do this so thoroughly that when one tries to impose a singular religious paradigm on top of the film(s), slotting in the characters one-by-one, it seems to work only until put back within the context of the film(s). It is then when everything begins to unravel. Even though scholars have done it time and time again employing one religious worldview to understand The Matrix and The Matrix: Reloaded simply does not work.