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Mind Control Matrix
The Matrix
Also known in philosophy as the Simulacrum.
"Simulacrum (plural: -crums, -cra),
from the Latin simulacrum which means "likeness, similarity", is first recorded in the English language in the late 16th century, used to describe a representation of another thing, such as a statue or a painting, especially of a god; by the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original."
"Simulacrum (plural: -crums, -cra),
from the Latin simulacrum which means "likeness, similarity", is first recorded in the English language in the late 16th century, used to describe a representation of another thing, such as a statue or a painting, especially of a god; by the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original."
 "If you say, I love you, then you have already fallen in love with language, which is already a form of break up and infidelity." "The world is not dialectical - it is sworn to extremes, not to equilibrium, sworn to radical antagonism, not to reconciliation or synthesis. This is also the principle of evil." "What you have to do is enter the fiction of America, enter America as fiction. It is, indeed, on this fictive basis that it dominates the world." "The order of the world is always right - such is the judgment of God. For God has departed, but he has left his judgment behind, the way the Cheshire Cat left his grin." -Jean Baudrillard, inspiration for "The Matrix" |
has long been of interest to philosophers. In his Sophist, Plato speaks of two kinds of image-making. The first is a faithful reproduction, attempted to copy precisely the original. The second is distorted intentionally in order to make the copy appear correct to viewers. He gives an example of Greek statuary, which was crafted larger on top than bottom so that viewers from the ground would see it correctly. If they could view it in scale, they would realize it was malformed. This example from visual arts serves as a metaphor for philosophical arts and the tendency of some philosophers to distort truth in such a way that it appeared accurate unless viewed from the proper angle.Nietzsche addresses the concept of simulacrum in The Twilight of the Idols, suggesting that most philosophers, by ignoring the reliable input of their senses and resorting to the constructs
of language and reason, arrive at a distorted copy of reality.Modern French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. Where Plato saw two steps of reproduction — faithful and intentionally distorted (simulacrum) — Baudrillard sees four: basic reflection of reality, perversion of reality; pretence of reality (where there is no model); and simulacrum, which “bears no relation to any reality whatever.” Baudrillard uses the concept of god as an example of simulacrum. In Baudrillard’s concept, like Nietzsche’s, simulacra are perceived as negative, but another modern philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the avenue by which accepted ideals or “privileged position” could be “challenged and overturned."
"The Matrix makes explicit reference to the work of Baudrillard, especially the 1983 essay "Simulacra and Simulations". Baudrillard assumes the proliferation of images in advanced capitalism, with the expansion of commodities and the relentless advance of technologies of visualization and simulation. In the essay, Baudrillard describes a movement from "representation" (of something real) to "simulation" (with no secure reference to reality). This movement from representation to simulation changes the relation between sign and referent, so that we lose the connection, once presumed to exist, between sign or image and the reality to which both were thought to refer. To develop this argument Baudrillard asks us to think about situations where the simulating sign or image usurps the priority of the reality it is supposed to "serve":
The perfect map as that which duplicates the extent and every detail of the territory of an "empire" (in a Borges parable): as the empire decays, the fragments of the map shows bits of its former grandeur"
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