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Within the twentieth century there have been two distinct intellectual traditions, each advocating a contrary view concerning the nature of the human mind. In one tradition there is a focus on logic and science with the mind being thought of as analogous to a computer. The mind makes choices, and comes to conclusions, only through the influence of particular causes, whether individual persons are aware of such causes or not. These causes can be such things as particular reasons deliberated over, unconscious fears, experiential input and overwhelming desires. There are a variety of theories about the mind within this tradition, but what is common is the idea that the mind entails a set of determinate relations, and that it is through the interaction of these relations that the mind produces its particular activity.
The other tradition focuses less on science and logic, and more on art and creativity. Within this tradition the activity of the human mind can occur without being strictly determined by prior causes. That is, the mind is thought of as more creative and not bound by reasons, desires and so on. Humans have no determinate nature, and can assess the reasons, desires, fears, etc that are possible influences on them and then decide to act on them or not. The important point of distinction to notice here is that with the former tradition the mind's activity is strictly determined by causes while with the latter it is determined by the agent's ability to choose. The mind is more intuitive, in that it does not always act through the influence of reasons, but instead through some insight which shapes perception and acts to influence choice and action. It therefore advocates a strong theory of the unfettered will that is able to act undetermined by causal influences. Exemplary examples of the latter tradition include art, poetry, irrational behaviour and human imagination.
Within the Matrix movies, then, we have the interaction of these two theories of the mind through the interaction of such characters as Neo, the Architect, the Oracle, and Agent Smith. But, as the third movie develops its plot, it is more than a mere theory of the mind that is developed. Also developed is a specific ontology, and this ontology seems to have its roots in the thought of Plato. For Plato there are three fundamental principles at work in any possible universe. These are the One, the Limited, and the Unlimited. The One simply represents unity as fundamental. If there is to be anything it must first possess unity. How things come to be, though, is through the interaction of the Limited and the Unlimited. Unity must exist, but if we are to have more than just unity something must expand, or develop. Such expansion is spurred by the Unlimited, which we can try to make sense of by thinking of it as unfettered growth. How are we then to have a variety of things, or, more accurately, explain the variety of things? Limits must be put on the Unlimited to generate such variety. A sphere comes to be such by having a circumference. Eventually red ceases and the next colour emerges. The basic idea is that there would be nothing without first having unity. Next we need growth, and if we are to have differentiation, then specific limitations must be placed on this growth in determinate ways.
In the third movie, then, the interplay of the Limited, the Unlimited and Unity come to the forefront; although they have actually been there all along. We see this through the interaction between Smith and Neo, as well as the Oracle and the Architect. That Neo is supposed to be representative of the Unlimited has already been elaborated upon, and if Smith is his opposite, as it is stated in the third movie, then he will naturally be symbolic of the Limited. And we can see that this is the case if we look to Smith's actions, and role, in the second and third films. Smith represents an algorithmic self that continues to produce itself. Eventually Smith eliminates all others, and intends to put the ultimate limit on the world by ending it. With this character, then, it seems that the Wachowski Brothers are saying something about algorithmic interpretations of intelligence. They are saying that such an intelligence would ultimately only produce itself, and that if we are to have the variety of humanity we have now there must be some undetermined aspects that humans can mold through sheer will and creativity. What is most important, though, is the interaction between Smith and Neo, especially their last scene together. If we rely on the interpretation that Neo represents the Unlimited, while Smith represents the Limited, then their interaction will be significant for the maintenance of existence. Certainly this is the case, since through their interaction they are both cancelled out and reality reemerges from destruction. This is because we can interpret Neo, as the Unlimited, as representing -1, while Smith, as the Limited, represents 1. What happens when we bring -1 and 1 together? They cancel one another out, and we get 0, which is the starting point of the number line. The number line is itself symbolic of the continuity of existence.
Thus, humanity and the machine world is saved through the confrontation and unity of Neo and Smith, and an uneasy peace exists between the two groups. Once again this 'uneasy peace' represents the delicate balance between the rational and irrational, or limited and unlimited, aspects of the human animal. That it is the Wachowski Brothers' intention to propose an ontology that relies on the interaction of the Unlimited and Limited is further attested to by the last few scenes of the movie. In these last few scenes we see the Oracle and the Architect talking to one another about what has recently transpired and the peace that has emerged. The Oracle, as it is stated in the movie, is an intuitive program, and therefore is representative of the unlimited aspects of humanity. The Architect is the limited. With this last scene when they are talking to one another we learn of how it was ultimately a battle between these two that we had been observing throughout the movies. The Architect is the epitome of rationality, and accuses the Oracle of playing a dangerous game. The Oracle confesses ignorance of what the outcome was to be, but states that such actions were necessary for real change. Nonetheless, it is through their game - through the tension and interaction of the Limited and Unlimited - that a new reality is brought about. The Matrix 101: The End of this essay |
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