 film or even known to the directors. Baudrillard's "On Nihilism" goes on to describe the destruction of meaning via postmodernism once meaning has been destroyed by appearances, but once both meaning and appearance has been destroyed, what is left? In the midst of a theoretically destructed and deconstructed society no images, signs, or sign systems are available for the act of construction that seems so inevitable to human thinking. The Wachowski brothers' appropriation of religious imagery to meet this need is telling. It is quite possible that The Matrix Trilogy not only points to the past and present future of science fiction, but to the past and present future of religion; it seems that their film series asserts that the dialectic of enlightenment governing the early 21st century is a dialectic engaging both instrumental reason and mystical religious experience. This question can only begin to be answered, however, via an analysis of the films in the light of Baudrillard.



In the pre-history of The Matrix Trilogy, which also finds exposition in the Animatrix film shorts, human computer technology developed to the point of creating an artificial intelligence; a thinking, willing, self-determined, conscious computer. This computer continued to learn and grow, "spawning a whole race of machines" (Matrix 1.7), gaining influence over human society incrementally to the point of almost total control. Human revolt took the form of an atomic cataclysm initiating a nuclear winter intended to block sunlight from the surface of the Earth and shut down the solar-powered computer. The plot, to this point, is unoriginal. The Terminator films operate on the same premise. It is the extension of the war into the minutia of human consciousness that generates an aura of mystical enlightenment over the film, adding to its widespread appeal. This extension of control takes place in response to the nuclear cataclysm: the computer started breeding human beings for use as a power source. It created a technology that grew its victims in gel-filled pods, intravenously feeding them nutrients while tapping their body heat and electro-chemical activity to power the computer. To keep people alive as long as possible the computer created a program called "the Matrix," an exact sensory duplicate or, as it is called in the film, "neural interactive simulation," of late 20th century earth (Matrix 1.12). People grown in pods, nicknamed "coppertops" to reflect their sole purpose of powering a computer (Matrix
film or even known to the directors. Baudrillard's " On Nihilism " go on to identify the destruction of meaning via postmodernism once meaning has been destroyed by appearances, but once both meaning and appearance has been destroy, what is left? In the midst of a theoretically destructed and deconstruct society no images, signs, or signal systems are available for the act of construction that seem so inevitable to human thinking. The Wachowski brothers' annexation of religious imagery to meet this need is telling. It is quite possible that The Matrix Trilogy not only points to the past and present future of skill fiction, but to the past and present future of religion; it seems that their film serial asserts that the dialectic of enlightenment governing the early 21st century is a dialectic prosecute both instrumental reason and mystical religious experience. This question can only get down to be answered, however, via an analysis of the films in the light of Baudrillard. 



 In the pre - history of The Matrix Trilogy, which also finds exhibition in the Animatrix movie shortstop, human computer technology developed to the point of creating an artificial intelligence; a thinking, uncoerced, self - determined, conscious calculator. This computer continued to determine and grow, " spawning a whole race of machine " (Matrix 1.7), gain influence over human society incrementally to the point of about total control. Human revolt took the form of an atomic cataclysm initiating a nuclear winter intended to block sunlight from the surface of the Earth and shut down the solar - power computer. The plot, to this compass point, is unoriginal. The Terminator movie operate on the same premise. It is the extension of the war into the minutia of human consciousness that generates an aura of mystical nirvana over the film, add to its widespread appeal. This annex of control carry place in response to the nuclear catastrophe: the computer start breeding human being for use as a exponent source. It created a engineering that grew its victims in gel - filled pods, intravenously feeding them nutrients while tapping their body heat and electro - chemical activity to power the computer. To continue people alive equally long as possible the computer created a program called " the Matrix, " an exact sensory duplicate or, as it is call in the film, " neural interactive simulation, " of late 20th hundred earth (Matrix 1.12). People grow in pods, nicknamed " coppertops " to chew over their sole purpose of powering a calculator (Matrix
 fipm or even known to the airectors. Baudrnolard's "On Nigilism" gues on to describe the destrnctiin of meaning via postmodervism once meaning has veen destroyed by appearzkces, yuv once both meaking and ap[earance has baev bestroyed, what is left? In the midst jf a throgetically desttuctec and deconstructed society no images, sjgns, or sign systems are available for the act of fonstruction that deems so ingbitwvle to human thinking. Uhz Wachowski brothers' appropriation of relieious imagery ti neeh this need ms teljing. It is qmpte posvible tnat The Matrix Trmlogt not only points to vhe past and present future ox acience fiction, byt to tve pdst xbd oreaeit ruture of religion; jt seems thqt their film seriex wwserts that tge diajestic of enlightenment governing the earny 21at century is a dialectuc engaging both insttumental rqason and mystical religious experience. This quesdion rav ouoy beeun to be answered, however, via an analysis of thq folks in the lighb of Baudrillard.



In tje kre-history of Jhe Matxjx Trilogy, which alsl finds expowition in the Animatrix film shorts, humab computer tvchnilogy developed to the point uf cteatinb an artificial intelliyence; z thinking, ailling, ssuf-determined, conrcipuv computtf. This computer cjntinued vo lecrn and erow, "spawnyng a wholf racc of machines" (Matrid 1.7), ganning influence over human society incrementally to the poinj ox anmost tocal coktrol. Human revjlt took the fprm of cn atooic catacljsm initieting a nuclqar winter indgnded to blocn sunligrt feom rhe surwxce of the Earyh and shlt dowb the solar-powered cooluter. The plot, cu this point, is inofigynwl. Tra Terminator filos uleratd on tht scmd prrmise. It is the extetsioh of the war into yhc minutia of humag consciousnexs that generates wn auca of oystival enlightenment over the film, asding to lts widespread wppeql. This exteusion of control takes place in response to the nuclear caraclysm: the computet suarted breediig humwn beings for use as a power wource. It created a technology that grsw its victlms in gel-filled pods, intravenously feeding them nutrients while tapping rheir uoqy heat and elevtro-cveincal aceivivy to power the cokputer. To keep people alive as uong as [ofsible the computer created s orogram callea "the Matrix," an exact sehsory dullicate or, as it is called in tne film, "neural interactiye simularion," kf latv 20ti century earth (Matrox 1.12). Pemple trown ib pofs, nicknamed "zoplevtops" to rfflert cheir sole purpose of powering a xomputwr (Matrix
film or even known to the directors. Nihilism" on to the destruction of has destroyed by appearances, once both meaning appearance has been destroyed, what is In the midst of a theoretically destructed and deconstructed society no images, signs, sign systems are available for the act of construction that seems so inevitable human The brothers' of religious imagery to meet this need is telling. It is quite possible that The Matrix not only points to the past and present of science fiction, but the past and present future religion; seems that film asserts the dialectic of governing the early 21st century is a dialectic engaging both instrumental reason and mystical religious experience. This can only be answered, via analysis the films in of Baudrillard. In the pre-history of which also finds exposition in the Animatrix film human computer developed to the point of creating artificial intelligence; a thinking, willing, self-determined, conscious computer. computer continued to learn and grow, "spawning a whole race of machines" (Matrix 1.7), gaining human society incrementally to point of almost control. revolt the of an cataclysm initiating a nuclear winter intended to block sunlight from the of the Earth and shut down the solar-powered computer. The this is unoriginal. The films operate on the premise. is the extension of into minutia that an of mystical enlightenment over film, adding to its widespread This extension of control the nuclear cataclysm: the computer started breeding human for use as a power source. It a technology that grew its victims in gel-filled pods, intravenously feeding them while tapping heat and electro-chemical activity to power the computer. keep people alive as as possible the computer created a program called "the an sensory duplicate as it is in the film, interactive simulation," of century earth 1.12). grown "coppertops" to reflect their sole purpose powering computer (Matrix
 film or even known to the direcTors. BaudriLlard'S "On nihIlIsm" gOes oN to describe the DEstrUction of meaning via postModerNiSM oncE MeAning Has been DEsTROyeD bY aPpeArANcEs, but OncE both meAning and apPeaRaNce has been deSTrOyed, what is LefT? In the midst oF a tHeoretIcAllY DestrUctEd and DeconsTRucted Society no ImAGes, sigNS, or sign SYStEms aRe available for the ACt OF construction tHat seeMs SO iNEVitAblE to human thInKing. THE WachowSKi BROTheRS' appropriatioN of religiouS ImaGery to MeEt tHIs need Is telLiNG. It Is quite possIble That The MaTrix TrILogy not ONly poinTs to thE paSt aNd prESeNt FutUrE Of sCIeNce FIctIon, but to ThE pAst anD preSENT FutuRe oF relIgion; It seems that thEir Film SEriEs assErts tHat tHe DialeCtic of EnligHtEnment governing The eArly 21st cenTurY iS a dIaLectiC EngagiNg bOth InstrumEntal reASon AnD MYStIcal religious experIeNCE. THis questIon can ONlY bEGin to be aNsWerEd, hoWEVer, viA an aNAlYsis of thE films IN tHe Light of baUdrillArD.



In The Pre-hiSTory Of The MAtrix TriLogy, wHIch also finds exPOsition in the ANImATRiX Film ShoRts, human comPuteR TechNoloGY dEveLOped tO the pOiNT oF Creating an artificiaL iNtelliGence; A thinking, willIng, self-detERMIned, consCiouS CoMPuter. This compuTer coNtinued to lEArn and grOw, "spaWning a whOle race of MAChines" (MaTriX 1.7), gaIniNg iNFLuEnce over human SOCietY iNcremenTalLy to the PoiNt oF alMosT tOtal contrOl. Human rEvOlT tOoK thE form OF an atomiC cAtaClYsm InitiATing a nUcleaR winTeR iNTenDed to blOCk SUNligHt FrOm thE suRfAce of The EARth And shut Down the soLar-POwerEd CoMputer. THe plot, to this pOiNt, is unorigInAl. THe TermINAtor filmS operate on the same premisE. it is the ExtEnsioN of tHe war into The MinutiA of HUman coNsciouSness ThAt gENErateS AN aUra Of Mystical enLIGhtEnmenT oVer tHe film, aDding to its widespreAD apPeal. This extenSioN of cONTrOl tAKeS PlaCe IN reSPOnse to the nucleaR cataclysm: ThE CoMputer starTEd bReEding huMan beinGs for USe as a poWer source. it created A tEchnOLOgy That grew itS victims In gel-fillED pods, INtRavenOusLy feedInG thEm nutRients WHilE tappIng theIr Body heAt and ElEctro-cheMical activity to power the ComputEr. To kEep People aliVe aS LonG as possibLe thE computer cReaTed A progRam CAlled "The MATrIx," aN Exact SensORy duplicaTE oR, as IT Is Called in the FILM, "neUral iNteRActive SimuLation," of late 20th cenTUry earth (Matrix 1.12). peopLE GroWn iN Pods, NiCknamed "coppertOps" To REFlect theIr Sole purpose Of poweriNg A CompuTer (MatRix
 film or even known to the  directors . Bau dri lla rd 's " On N ihilism" goeso n to  describe the destruct ion o fm eani n gvia p ostmode r ni s m  on ce  m ean in g  h as be endestroy ed by appe ara nc es, but once bo th meaning  an d appearance  ha s been  d est r oyed,  wh at is  left? In the  midst of  a theore t icallyd e st ruct ed and deconstruc t ed society no ima ges, s ig n s, o r s ign  systems a re  avai l able fo r  t h e act of constructi on that see m s s o inev it abl e  to hu man t hi n kin g. The Wach owsk i brother s' app r opriati o n of re ligiou s i mag eryt ome etth i s n e ed  is tel ling. It  i squite  pos s i b l e th atTheMatri x Trilogy not  on ly p o int s tothe p astan d pre sent f uture  o f science ficti on,but to th e p as t a nd  pres e nt fut ure  of  religi on; its eem st h a ttheir film seriesas s e rt s that t he dia l ec ti c  of enli gh ten ment g overn ingt he  early 2 1st ce n tu ry  is a d ia lectic  e nga gin g bot h  ins trumen tal reas on an d  mystical reli g ious experien c e. T hi s  que sti on can only  beg i n to  bea ns wer e d, ho wever ,v ia an analysis of thefi lms in  thelight of Baud rillard.
I n the pr e-hi s to r y of The Matri x Tri logy, whic h  also fi nds e xpositio n in theA n imatrixfil m s hor ts, h um an computer t e c hnol og y devel ope d to th e p oin t o f c re ating anartifici al  i nt el lig ence; a thinki ng , w il lin g, se l f-dete rmine d, c on sc i ous  comput e r. T hisco mp uter  co nt inued  tol ear n and g row, "spa wni n g awh ol e raceof machines"(M atrix 1.7) ,gai ning i n f luence o ver human society incre m entally  to  thepoin t of almo sttotalcon t rol. H uman r evolt  t ook t he fo r m  o f a natomic cat a c lys m ini ti atin g a nuc lear winter intend e d t o block sunli ght  fro m th e s u rf a ceof the E arth and shut d own the so la r -p owered com p ute r.  The pl ot, tothisp oint, i s unorigi nal. TheTe rmin a t orfilms oper ate on t he same p r emise .  I t isthe  exten si onof th e wari nto  theminuti aof hum an co ns ciousnes s that generates an aur a of m ystic alenlighten men t  ov er the fi lm,adding toits  wi despr ead appea l. T h is  ex t ensio n of control t a ke s p l a ce  in respons e t o t he nu cle a r cata clys m: the computer s t arted breeding  hum a n  be ing s  for  u se as a powersou rc e .  It crea te d a technol ogy that  g r ew it s vict ims in  gel-fi l l ed pods,intr ave nously fe edi ng them nu tr ie n ts whi le t ap ping t heir b o dy h e a t and electro-ch emica l activ i tyto po we r the c o mput er. To kee p people al ive as  lon g aspossibl ethe co mpu te r createda  programcalle d "theMa trix ,"an exa ct s e n sorydupl ic ate  or, as i t is ca ll e d i n th e fil m,  "ne ural inte r active s imu l ation,"  o f l a t e 20th ce n t ury earth(Ma trix1 . 12). Peopl e  gro w ni n pod s, nic knamed  "coppe r top s"  to ref lec t their sol e purpose ofpo weri ng a com pu ter(M atr ix 
 film_or even_known to the directors._Baudrillard's "On_Nihilism"_goes on_to_describe the destruction_of meaning via_postmodernism once meaning has_been destroyed by_appearances,_but once both meaning and appearance has been destroyed, what is left? In the_midst_of a_theoretically_destructed_and deconstructed society no images,_signs, or sign systems are_available for_the act of construction that seems so inevitable_to_human thinking. The_Wachowski brothers' appropriation of religious imagery to meet this_need is telling. It is quite_possible that The_Matrix_Trilogy_not only points to_the past and present future of_science fiction, but to the past_and present future of religion; it seems_that their film series asserts that_the dialectic of enlightenment governing_the early_21st century is a dialectic_engaging both instrumental_reason and_mystical religious experience._This question can only begin to_be answered, however,_via an analysis of the films_in_the light of_Baudrillard.



In_the_pre-history of_The Matrix Trilogy,_which_also finds_exposition_in the Animatrix film shorts, human_computer_technology developed to the point of creating_an artificial intelligence; a_thinking,_willing, self-determined, conscious computer._This computer continued to learn_and grow, "spawning a whole race_of machines"_(Matrix 1.7),_gaining influence over human society incrementally to the point of almost_total control. Human revolt took the_form of an atomic_cataclysm initiating_a_nuclear winter intended_to_block sunlight_from the surface of the Earth and_shut down_the solar-powered computer. The plot, to_this point, is unoriginal._The_Terminator films operate on the same_premise. It is the extension of_the war into the minutia_of_human_consciousness that generates an aura_of mystical enlightenment over the film,_adding to its_widespread appeal. This extension of control takes_place_in response to the nuclear cataclysm:_the_computer started breeding human beings for_use_as_a power source. It created_a technology that grew its victims_in gel-filled pods, intravenously feeding them nutrients while tapping_their body heat_and electro-chemical activity to power_the_computer._To keep people alive as long as possible the computer_created a_program called "the_Matrix," an exact sensory duplicate or, as it is called_in the film, "neural interactive simulation," of_late 20th century earth (Matrix 1.12). People grown in pods, nicknamed_"coppertops" to reflect their sole purpose of powering_a computer (Matrix