Comparison of Themes in the Matrix and Ways of Seeing (Movie Review Sample)

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Comparison of Themes in the Matrix and Ways of Seeing
Introduction
The matrix contains elements of mythology, symbolism, psychology, and philosophy, features which are used to challenge the supremacy of technology in our culture as well as foresee apocalyptic outcome from the use of artificial intelligence. In The matrix, human society is represented as a computer-generated reality which is cultivated to harness and produce energy for computer-generated intelligence. However, the matrix is a synthetic scenario that involves human existence symbolized to represent community subordination contrary to the ruling class or resist. Neo symbolizes the messianic character while Morpheus is both the leader and messenger of the struggle alongside the matrix. A similar lack of control over the progress of their life is elaborated in John Berger’s “Ways of Seeing.” In this article, he outlines a society that is excluded from the realities of the world by the upper class, a fete achieved by the manipulation of history via art. In this manner, The Matrix and “Ways of Seeing” portray the human society to exist in a virtual reality where they have no control over the course of their life, but are tailored to conform to the expectations of the ruling class, man or machine.
The Matrix and “Ways of Seeing”
In the film, Cypher is a traitor of the struggle while agent smith is the program’s epitome of the challenger, tasked with enforcing the law of the matrix. According to the way of seeing, the reproduction of art misrepresents its inherent traits by giving a one-sided perception of the world through the eyes of the artist, and that the holiness adjoining the art makes it unreachable to the masses (Berger 12). Hence, the masses are not only excluded from understanding underlying meaning but fall short of recognizing the cultural entitlement and anthropological content within its meaning and history. The despotic upper class hence continues to influence history through art. Berger stresses the function of the art historian, the good caretaker of art and its matching history that is similar to Wachowki’s agent smith who works to enable the myth of confusion through the matrix itself. The manipulation is orchestrated in what can be termed as conflicting accounts, which are similar in effect and course, where Berger appeals with his leaders to wake up from the sleep of compliance at the dispense of the power class. On the other hand, Wachowski's description illustrates the cruel truth once conformity to the power class regains control.
Berger’s art historian is found in every society as an illustration of the sovereign class that pursues actions to suppress the naive lower class. For instance, agent smith is utilized as a symbolic establishment of the forces prevailing unsuspected human contest, cruel in controlling power. Berger depicts the skill historian whose strength is to codify and shed light concerning the meaning of art, mainly as the power which devaluates the art by utilizing terminology which moves the emotion aggravated by representation from the plane of the survived experience. Because of these similarities the collective identity of the balance in the way of seeing and the matrix arise from the exploitation of visual world to deform the insight of the public with the aim of preserving a cruel class structure, signifying that by shifting people’s opinion one can, as a result, change their reality.
Reproduction remains an influential tool for the historian as well as the agent who dwell in the matrix, since the copying is intended to alter its significance from the original, in a determination to make it unreachable. Apparently, minor changes can have a massive effect regarding how a theme is arranged as it relates to art. Altering the space, building or probably the structure in which a portion of the art is kept might have a critical effect on its relevance when experienced. For example, ways of seeing addresses the subject by emphasizing that the significance of any artistic representation is lost when digital resources replicate the art to facilitate distribution of the material (Berger 11). The claim sensitizes the issue of real value and perceived value which can be illustrated on the social constructs that exist in society (Berger and Thomas 7).
Therefore, by following this approach the agent and the art historian are capable of clouding the reality of the ancient time through presenting a duplicate of an original underneath a fresh context. Similar to the art historian altering, the significance of the innovative is close to unavoidability because of the way in which the art is made accessible to us. Illusions disconnect people from being in a position to examine and analyze essential facts entailing the piece, maintain the piece in query secluded, and ultimately compromise any form of familiarity with the subject. Docents set to refresh people’s memory, to serve as reminders that human beings are simply visitors and not controllers of critical roles. In this manner, the two works elaborate an artistically modified world supersedes the real world, turning humans into puppets of the system, rather than empowering them into seizing, controlling and modifying the universe.
Additionally, obstacles are another layer that alters the significance of the piece from the author’s primary objective, but again to the realization that the visual representations are invisible to a large section of the population that live unaware of influences that shape their existence. As the art historian is capable of showing a piece of art in a vast ornate construction or alter how sophisticated a frame keeps it to change its significance, the matrix agents are keepers of factual representation of the world. The manipulations account for misrepresentation of events, plainly altering the actual depictions of society to contain the masses. For example, agent smith declares to Morpheus at the time of his questioning process:
The ideal world was a nightmare that your archaic cerebrum reserved to raise up from. That is the reason why the matrix was reorganized to this, the climax of your empire. I alter your empire for as quickly as we began thinking for you, it actually turned our empire, which is what this is all about. (Wachowski 96)
For agent Smith and art representations described, it is vital for their description of repletion to influence our narration, thus signifying reality. The ideal version involving the matrix was never willingly embraced by the population for it did not go by conventional history and expectations. Therefore, a description of the real society was formed and awarded a new meaning and background, turning to a tool that survives as a conservatory of the agent’s wish instead of a depiction of our shared personality or recognition (Hitchcock 298). In a parallel form, the art painting takes away the piece of art from the real context by keeping it on a symbolical platform and other at times a literal approach to contain it as well as the broader meaning regarding society’s shared depiction.
The utilization of fabricated narrations concerning our history as implemented by Agent Smith and art historians originate from their aspiration to comprehend the principles of social constructs to validate their point of power and leadership over history and knowledge that they purport is oblivious to ordinary citizens. Therefore, through such means, they form illusions of history that propagate and support a system that favors a selected social class. For example, the case of machines and agents, serve to maintain the supremacy of a specific group. Reflecting on the way of seeing, Berger addresses this issue by his narration:
At the completion, the art of the history is being bewildered for an honored minority is determined to discover the history that can without looking back keep a good reason for the function of ruling classes. (Berger 11).
Therefore, specific strategies are implemented to preserve the interest of a selected group. Notably, the art is an integral part of cultural heritage as well as the recognition of the lessons learned. By restricting access to valuable information, the ruling class can oppress. The outcome that follows is a systematic manipulation through instruments such as art that can exist for generations, endorsing the will of a few; consequently, structuring social order. The ability of a group to sustain oppression over periods extending beyond centuries indicate a generational gap in shaping individuality as new generations are socialized to associate with their family’s background, continuing practices applied. In the long run, the false ideologies taught to a people turn into the perceived truth, making it impossible for the people to identify or consider the possibility of the existence of another version of the same. Such is the case presented in The Matrix, where the human population has become lax, unaware of the virtual reality in which they exist and instead continue enjoying it.
The inability to share unconventional ideas in society and the necessity for holiness arise from the inclusivity regarding both agents of the matrix and art historians. Ultimately, oppression is sustained because of a lack of understanding and mistrust between the groups. The agent understands humanity and the flaws that define the human experience. For instance, climate change and threats to biodiversity due to human activity indicate a gap in knowledge or a failure to be accountable, leading to the danger of extinction. Agent Smith describes masses as a virus and depicts humanity as a disease that influences negative outcomes in the ecosystem. Therefore, the agent considers radical responses as an inevitable intervention.
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