last updated March 12th, 2006 and is permanently morphing...
(11 K'an (Lizard) / 2 K'umk'u - 24/260 - 18.104.22.168.4)
matrix (mâ´trîks) noun
plural matrices (mâ´trî-sêz´, màt´rî-) or matrixes
1.A situation or surrounding substance within which something else originates, develops, or is contained: "Freedom of expression is the matrix, the indispensable condition, of nearly every form of freedom" (Benjamin N. Cardozo).
3.Anatomy. a. The formative cells or tissue of a fingernail, toenail, or tooth. b. ground substance.
4.Geology. a. The solid matter in which a fossil or crystal is embedded. b. Groundmass.
5.A mold or die.
6.The principal metal in an alloy, as the iron in steel.
7.A binding substance, as cement in concrete.
8.a. Mathematics. A rectangular array of numeric or algebraic quantities subject to mathematical operations. b. Something resembling such an array, as in the regular formation of elements into columns and rows.
9.Computer Science. The network of intersections between input and output leads in a computer, functioning as an encoder or a decoder.
10.Printing. a. A mold used in
stereotyping and designed to receive positive impressions
of type or illustrations from which metal plates can be cast. Also
called mat2. b. A metal plate used for casting typefaces.
11.An electroplated impression of a phonograph record used to make duplicate records.
[Middle English matrice, from Old French, from Late Latin mâtrìx, mâtrìc-, from Latin, breeding-animal, from mâter, mâtr-, mother.]
mold: mold, matrix, mint
number: vector, matrix, tensor, quaternion
surroundings: medium, matrix
print type: flong, matrix
matrix (mâ'triks) noun
An arrangement of rows and columns used for organizing related items, such as numbers, dots, spreadsheet cells, or circuit elements. Matrices are used in mathematics for manipulating rectangular sets of numbers. In computing and computer applications, matrices are used for the similar purpose of arranging sets of data in table form, as in spreadsheets and lookup tables. In hardware, matrices of dots are used in creating characters on the screen as well as in print (as by dot-matrix printers). In electronics, matrices of diodes or transistors are used to create networks of logic circuits for such purposes as encoding, decoding, or converting information. grid.
Neo: "I thought it wasn't real?"
Morpheus: "Your mind makes it real..."
lines sampled in 604 track _Fishbone_ MP3 (192k) by Mumbo Jumbo
"Hi. It's me. I know you're out there. I can feel you now. I imagine you can also feel me. You won't have to search for me anymore. I'm done running. Done hiding. Whether I'm done fighting, I suppose, is up to you. I believe deep down, we both want this world to change. I believe that the Matrix can remain our cage or it can become our chrysalis, that's what you helped me to understand. That to be truly free, truly free, you cannot change your cage. You have to change yourself. When I used to look out at this world, all I could see was its edges, its boundaries, its leaders and laws. But now, I see another world. A different world where all things are possible. A world of hope. Of peace. I can't tell you how to get there, but I know if you can free your mind, you'll find the way."
- original last monologue by Neo, in the end of the shooting script NOT used in the first _Matrix_
Matrix Mechanics in Quantum Theory
German physicist Werner Heisenberg, developed a different mathematical analysis known as matrix mechanics. According to Heisenberg's theory, the analysis was not an equation but a matrix: an array consisting of an infinite number of rows, each row consisting of an infinite number of quantities. Matrix mechanics showed that there were an infinite number of matrices that represented the position and momentum of an electron inside an atom.
Yet, Neo has sliced into that specific chapter with a knife, cutting out its substance and inserting instead a copy of his own software. Neo is rejecting Baudrillard's message, implicitly asserting that he can and will rebel against the system in order to achieve his enlightenment or "gnosis." This is an adumbration of what is to come in Reloaded and Revolutions. For Neo will discover that the organized escape of humans from the Matrix into Zion is simply a transfer from one virtual world to another, in precisely the manner anticipated by the Architect of the Matrix. But Neo will find a way to break out of this seemingly nihilistic prison. - Ray Kurzweil
dark dub track _Simulacra_ MP3 by Meat Beat Manifesto off of _Subliminal Sandwich_ on Play It Again (1996)
INT. ROOM OF POTENTIALS (MATRIX) - DAY
As they enter the Oracle's apartment, you see a rack of collectable spoons on the wall.
The music playing in the background is _I'm Beginning to See the Light_ MP3by Duke Ellington.
Neo enters and finally understands the attention given to his age. The Potentials are all little children.
The room feels at once like a Buddhist temple and a kindergarten class. The children's heads are either shaved or thick with dreadlocks. Some are playing, others meditating or practicing their gift.
Neo watches a little girl levitate wooden alphabet blocks. A skinny BOY holds a SPOON which sways like a blade of grass as he bends it with his mind.
Neo crosses to him, sits.
The Boy smiles as Neo picks up a spoon and tries to imitate him. Despite his best efforts, Neo cannot make it bend.
Do not try to bend the spoon that's impossible, instead only try to realize the truth.
Neo watches as it curls into a knot.
What truth ?
There is no spoon !
There is no spoon ?
Then you will see that is not the spoon that bends, only yourself.
Neo nods, again holding up his spoon.
He concentrates. The spoon begins to bend just as the Priestess touches his shoulder.
The Oracle will see you now.
Spoon Boy smiles.
Matrix, The (1999)
Genre: Action / Thriller /Sci-Fi
Tagline: On April 2nd, the Fight for the Future Begins
Plot Outline: A computer hacker suddenly learns from mysterious rebels that his whole reality is not what it appears to be at all
Cast (in credits order)
Keanu Reeves .... Thomas A. Anderson/Neo
Laurence Fishburne .... Morpheus
Carrie-Anne Moss .... Trinity
Hugo Weaving .... Agent Smith
Joe Pantoliano .... Cypher/Mr. Reagan
Gloria Foster .... Oracle
Marcus Chong .... Tank
Julian Arahanga .... Apoc
Matt Doran .... Mouse
Belinda Mcclory .... Switch
Ray Anthony Parker .... Dozer (as Anthony Ray Parker)
Paul Goddard .... Agent Brown
Robert Taylor .... Agent Jones
Marc Gray .... Choi
Ada Nicodemou .... DuJour
Denni Gordon .... Priestess (as Deni Gordon)
Rowan Witt .... Spoon Boy
Bill Young .... Lieutenant
David O'Connor .... FedEx Man
Jeremy Ball .... Businessman
Fiona Johnson .... Woman in Red
Harry Lawrence .... Old Man
Steve Dodd .... Blind Man
Luke Quinton .... Security Guard
Lawrence Woodward .... Guard
Michael Butcher .... Cop Who Captures Neo
Bernard Ledger .... Big Cop (as Bernie Ledger)
Robert Simper .... Cop
Chris Scott .... Cop
Andy Wachowski .... Window cleaner
Larry Wachowski .... Window cleaner
Barrie M. Osborne
Original music by
Film Editing by
Production Design by
Costume Design by
Carol Hughes .... unit production manager
Colin Fletcher .... assistant director
Bruce Hunt .... second unit director
James McTeigue .... assistant director
Dane A. Davis .... sound designer, supervising sound editor
Barbara Delpuech .... assistant sound editor
David Lee .... production sound mixer
Barbara S. Way .... assistant sound editor
Al Arthur .... effects animator: Manex Entertainment
Carol Ashley .... composite supervisor
Lynne Cartwright .... visual effects supervisor: Animal Logic
Steven Demers .... lead shader writer
David Dulac .... CG artist/colourist: Animal Logic
Kent Estep .... bullet time technical director: Manex Visual Effects
Matthew Ferro .... visual effects producer
Lindsay Fleay .... CG artist: Animal Logic
John Gaeta .... visual effects supervisor
Ben Gunsberger .... CG artist: Animal Logic
Michael Hemschoot .... CG creature animator (digital compositor)
Paul Katte .... animatronic prosthetics
Mary Leitz .... lead compositor
Justen Marshall .... CG artist/programmer: Animal Logic
Bob McCarron .... makeup special effects
Mark Nettleton .... composite supervisor
Nick Nicolaou .... animatronic prosthetics
Grant Niesner .... CG designer/animator
Jamie Pilgrim .... lead animator
Dan Piponi .... science officer
Declan Quinn .... CG animator
Barnaby Robson .... visual effects compositor
Daniel P. Rosen .... visual effects compositor
John E. Sasaki .... Bullettime composite supervisor
Greg Shimp .... film recorder operator: Manex Visual Effects
Lewis Siegel .... technical director
Janek Sirrs .... associate visual effects supervisor
Daniel Sunwoo .... CG animator: Bullet Time Team
Paul Taglianetti .... visual effects line producer
John Tissavary .... technical supervisor
Jason Wardle .... CG technical director
Glenn Boswell .... stunt co-ordinator
Todd Bryant .... stunts
Michael Corrigan .... stunts
Lou Horvath .... stunts
Dwayne McGee .... stunts
Chad Stahelski .... stunts
Mick Van Moorsel .... stunts
Woo-ping Yuen .... stunt co-ordinator
Jason Bentley .... music supervisor
Phil G. Bloom .... assistant to executive producer
Justin Burdine .... data/resource manager
Godric Cole .... set designer
Jules Cook .... assistant art director
Michael Dawson Crawford .... post-production accountant (uncredited)
Geofrey Darrow .... conceptual designer
Ross Emery .... director of photography: second unit
Judith Harvey .... set designer
Mo Henry .... negative cutter
Jacinta Leong .... set designer
Sarah Light .... set designer
Paul Moyes .... electrician
Craig Nersesian .... set-production co-ordinator (uncredited)
David Orr .... color timer
Phil Pastuhov .... wescam operator
Andrew Powell .... set designer
Deborah Riley .... set designer
Greg Shimp .... film recorder operator
Mark Weingartner .... technical consultant: bullet time
Steven J. Winslow .... camera technician; assistant camera: Wescam camera
Shun-Yee Yuen .... assistantkung fu choreographer (as Eagle Yuen)
Woo-ping Yuen .... martial arts instructor
Village Roadshow Productions [us]
Groucho II Film Partnership
Warner Sogefilms, S.A. [es] (Spain)
Warner Bros. GmbH [de] (Germany)
Warner Bros. [us]
Mass.Illusions, LLC [us]
DFILM Services [au]
Makeup Effects Group Studio (animatronic prosthetics)
Manex Visual Effects
MPAA: Rated R for sci-fi violence and brief
Runtime: USA:136 / UK:136 / Australia:136 / Germany:136 / Japan:136
Color: Color (Technicolor)
Sound Mix: DTS / Dolby Digital / SDDS
Certification: USA:R / UK:15 / Germany:16 / Hong Kong:IIB / Italy:T / Netherlands:16 / Australia:M / Norway:15 / Portugal:M/12 / Spain:18 / Sweden:15 / New Zealand:M / France:U
"_The Matrix_ (1999) is structured by questions of multiplicity, time as the multiplicity of the eternal return, and subject as the kind of multiplicity that one finds suspended over the fracture of time. Deleuzo-Guattarian multiplicity is an assemblage that changes dimensions and mutates constantly, according to its own lines of fight. Real time is not concerned with the passing present, it starts when the present stops, it affects itself not with itself, but with becoming, and emerges as pre-time from a fracture between times.
Repetition is the power of the rhythmic idea that produces differences/intensities/disparities as its own excess. As the repetition of the future it has nothing to do with the return to the past. It begins with metamorphosis and forgetting - "Chaosmos" - a between chaos and order where structures form and dissolve. It is subject to its own rhythms that account for the intensities and original differences produced by repetition. In this complex the subject is the fracture between the virtual (idea/multiplicity) and the actual (individual/multiplicity) and the folding of one into/over the other. The human subject/identity is being suspended over the fracture of time.
The idea is repetition, Intensity produced by varying its metric. Leaving no memory behind, but passing back through chaos/oblivion, and re-emerging from the "crack/fissure time (ideas congregate in the fractured space and emerge from its environs, and the idea also "interiorizes" the crack/fissure and its satellite constituents) through the filtering screen of remembrance. It is correspondingly inherent of the predicate at issue and an absolute opening - the outside - because of its Mobius topology. Inside out, thinking ahead of itself, leaving itself behind, encountering singularities, it draws and binds and strategically diagrams the thinking line, folding the point.
Reality now would appear to exist in "amoment", a synergy of kaleidoscopic instants producing a mutable location - a proliferation of magnificent signs bathed in the light of their absence of explanation. Time can run simultaneously on different levels and at alternative speeds and directions."
FROM: the matrix: what is
by Adrian Gargett, Ph.D.
references to _Through
The Looking Glass_ by Lewis Carroll:
references to _Neuromancer (1984) by William Gibson
Neo: And why would a program be
The Oracle: Maybe it breaks down. Maybe a better program is created to replace it - happens all the time, and when it does, a program can either choose to hide here, or return to The Source.
Neo: The machine mainframe?
The Oracle: Yes. Where you must go. Where the path of The One ends. You've seen it, in your dreams, haven't you? The door made of light?
Architect: The function of the
One is now to return to the Source, allowing a temporary dissemination
of the code you carry, reinserting the prime program. After which, you
will be required to select from the Matrix 23
individuals - 16 female, 7 male - to rebuild Zion. Failure to comply
with this process will result in a
cataclysmic system crash, killing everyone connected to the Matrix,
which, coupled with the extermination of Zion, will ultimately result
in the extinction of the entire human race.
Neo: You won't let it happen. You can't. You need human beings to survive.
Councillor Hamann: Almost no one comes down
here, unless, of course, there's a problem. That's how it is with
people - nobody cares how it works as long as it works. I like it down
here. I like to be reminded this city survives because of these
machines. These machines are keeping us alive, while other machines
are coming to kill us. Interesting, isn't it? Power to give life, and
the power to end it.
Neo: We have the same power.
Councillor Hamann: I suppose we do, but down here sometimes I think about all those people still plugged into the Matrix and when I look at these machines, I.. I can't help thinking that in a way, we are plugged into them.
Neo: But we control these machines, they don't control us.
Councillor Hamann: Of course not, how could they? The idea's pure nonsense, but... it does make one wonder just... what is control?
Neo: If we wanted, we could shut these machines down.
Councillor Hamann: Of course... that's it. You hit it! That's control, isn't it? If we wanted, we could smash them to bits. Although if we did, we'd have to consider what would happen to our lights, our heat, our air.
Neo: So we need machines and they need us. Is that your point, Councillor?
Councillor Hamann: No, no point. Old men like me don't bother with making points. There's no point.
Neo: Is that why there are no young men on the Council?
Councillor Hamann: Good point.
Neo: Why don't you tell me what's on your mind, Councillor?
Councillor Hamann: There is so much in this world that I do not understand. See that machine? It has something to do with recycling our water supply. I have absolutely no idea how it works. But I do understand the reason for it to work. I have absolutely no idea how you are able to do some of the things you do, but I believe there's a reason for that as well. I only hope we understand that reason before it's too late.
begins with choice.
Merovingian: No. Wrong. Choice is an illusion, created between those with power, and those without. Look there, at that woman. My God, just look at her. Affecting everyone around her, so obvious, so bourgeois, so boring. But wait... Watch - you see, I have sent her dessert, a very special dessert. I wrote it myself. It starts so simply, each line of the program creating a new effect, just like poetry. First, a rush... heat... her heart flutters. You can see it, Neo, yes? She does not understand why - is it the wine? No. What is it then, what is the reason? And soon it does not matter, soon the why and the reason are gone, and all that matters is the feeling itself. This is the nature of the universe. We struggle against it, we fight to deny it, but it is of course pretense, it is a lie. Beneath our poised appearance, the truth is we are completely out of control. Causality. There is no escape from it, we are forever slaves to it. Our only hope, our only peace is to understand it, to understand the `why.' `Why' is what separates us from them, you from me. `Why' is the only real social power, without it you are powerless. And this is how you come to me, without `why,' without power. Another link in the chain. But fear not, since I have seen how good you are at following orders, I will tell you what to do next. Run back, and give the fortune teller this message: Her time is almost up. Now I have some real business to do, I will say adieu and goodbye.
Architect: Hello, Neo.
Neo: Who are you?
Architect: I am the Architect. I created the Matrix. I've been waiting for you. You have many questions, and though the process has altered your consciousness, you remain irrevocably human. Ergo some of my answers you will understand, and some of them you will not. Concordantly, while your first question may be the most pertinent, you may or may not realize it is also the most irrelevant.
Neo: Why am I here?
Architect: Your life is the sum of a remainder of an unbalanced equation inherent to the programming of the Matrix. You are the eventuality of an anomaly, which, despite my sincerest efforts, I have been unable to eliminate from what is otherwise a harmony of mathematical precision. While it remains a burden assiduously avoided, it is not unexpected, and thus not beyond a measure of control. Which has led you, inexorably... here.
Neo: You haven't answered my question.
Architect: Quite right. Interesting. That was quicker than the others.