5. About matrices and egregores
The Matrix and “The Matrix” — two opposites · перевод (English) · раздел 6 из 8
Перевод исходного произведения; точность перевода оценивается отдельно.
5. About matrices and egregores
Obviously, subjectively real is that, what one consciously perceives. But objectively real is also that, what is outside the limits of one’s perception. The change in configuration parameters of sense organs, configuration parameters of the biofield system of the organism, changes the conscious perception of the Objective reality, as a result of which the conscious subjective reality perceives (perhaps constantly) that, which it did not earlier. The well-known Russian expression “got drunk till he saw the devil” speaks about exactly this: the subjective reality of a drunk becomes populated with that, which was outside it before.
In the film, the awakening of the protagonist in the supposed “real world” from a dream, generated by the “Matrix”, is the shift of consciousness from one fragment (“cell”) of an enclosing matrix into another fragment. The process of shifting of the conscious from one reality to another is shown as a nightmare.
The protagonist hatches from some “egg”, entwined with connecting feelers penetrating his body, of which there are especially many in the area of the spine; he looks around and sees a horrifying sight: some skyscraper machines, standing in rows, are covered with the same “eggs”, like the one he hatched from, with other people in them. Some monster, apparently belonging to the “immune system: of the “Matrix”, having detected a disturbance in the functioning of Anderson-Neo’s “egg” and having identified him as a “production defect”, removes the feelers from the one who used to be Anderson, and flushes him down the sewer, where he loses consciousness. Another system retrieves him from the sewer, and revives him. After that, in the new reality he receives medical treatment in areas of penetration of the feelers.
If one is touched by this, everything is very touching. If one avoids being touched by it, then arises the question: with what can be correlated the shift of consciousness of the hero from the machine dreamworld into the world of a different reality, in which one supposedly reaches almost unlimited freedom from any matrices?
The subjective reality for the conscious of most is that, which may be called the material world. The world of various natural fields (also called “force fields”) is inaccessible to the conscious perception of most. Nevertheless, it objectively exists, its existence is recorded by means of contemporary scientific instruments, and it has always been directly accessible to the perception of a minority of people. In the past these people have been called “ghost viewers”, nowadays— “extrasenses”. Some from this minority consciously perceive the field (or “spirit”) reality visually, as layered on top of the material world, like on one sheet of photo paper one can print several images. There are also those, who perceive the field and material realities as two different worlds.
When describing the interrelations of subjects with the field reality in words, some extrasenses speak about various “connections” to the person, “tentacles and feelers”, which connect and enter the body through the glowing “eggshell” — the boundary of one’s aura. The “connectors” have a beginning and end, and, accordingly, all those “connected” in their integrity create a system, a functionally specific element of which is each one of them.
Such a system in esoteric sciences, occultism, in the “extrasense” slang is called “egregore”. Since the film does not show, where the ends of the material connecting “feelers-hoses” go, then this system is shown not as a field structure, but as the machine “Matrix” itself, belonging to the material world. As it is said in the film, all of humanity is a source of energy for the Matrix — i.e. people are batteries. With respect to egregores, the position of most is analogous: to feed them with their own energy, needed for the realization of aims of the owners and managers of egregores. Through “connections” each subject gives the egregores his energy, and through the very same “connections” the egregore and its managers influence all those “connected”, consequent of which most of those “connected” are more or less not in control of themselves.
That is, the entire sequence of horrifying images in the film — is not fantasy and is not schizophrenic delusions, but a visualization on the screen of a rather real egregore, which is now controlling the Western regional civilization.
The exit of any individual from under the power of an egregore he despises, as it is correctly shown in the “Matrix”, begins from identifying the “connections” and subsequently removing them. The process of disconnection from an egregore may happen in two stages: at the first stage a third party tears the energetic-informational links between the subject and egregore; at the second stage, when the subject is artificially isolated from the egregore, he is provided information, the character of which excludes the possibility of return to the former egregore. At the same time, an informational commonality with the one providing the information is inevitably established. And if that information is common to a group of people, then automatically the connection to their egregore occurs. A subject, living in society of those like him, cannot avoid connecting to an egregore. But the relation of a subject with egregores, generated by culture, may be different:
● a person may be a captive of an egregore, in the sense that the person’s behaviour is not determined by his own will, but is a continuation of the egregore algorithmics (this applies to egregorial leaders — those, whose will dominates the egregore, but only within the limits of existing egregorial algorithms and informational provisioning, outside the limits of which they cannot go);
● a person may be a manager of an egregore (a manager of an egregore is not tied by its egregorial algorithmics and information provisioning), in relation to which its other members may be captives;
● an egregore may be common to a group of people, none of whom is its captive, and exactly this is the normal state of relations of one’s personal psyche and an egregore.
In relation to the plot of the film, if all “connections” to an enslaving “Matrix” are removed, then the heroes of the film, free from the bad “Matrix”, should be in miraculous harmony without any internal problems and conflicts in their collective. At this point of the film, however, the plot appears to fail.
Due to the fact that the imagination of script writers, producers, and actors lies within the prison of the matrix of the Biblical civilization, and the fact that the authors of the film during its creation turned out to be morally incapable of exiting its walls, they do not have the slightest idea about the nature of any alternative matrix-predetermination and the way of life under its conceptual power. For this reason, the heroes of the film, having been physically freed of the evil “Matrix”, in the supposed “real world” behave exactly like characters living under the power of the “Matrix”. It is useful to correlate with Russian literature, the authors of which worked on helping humanity to not formally, but actually free itself from the power of the biblical matrix: this is why characters in A.S. Pushkin’s “Ruslan and Ludmila”, the novel of N.G. Chernyshevsky “What to do?”, many works of I.A. Efremov, first and foremost — “Bull’s hour” and “Andromeda Nebula”, behave completely different than do most characters in the works of crowd-“elitist” biblical culture. This is an indication that the imagination of many Russian artists was free from the oppression of the Bible in all times.
The script writers and their “extrasense” and occult consultants seem to have forgotten about the main system of “connections”, which essentially turns humanity, carrying the technical civilization, into a parasitic virus on Mother-Earth. This system of “connections” has been well known from ancient times, and even in the times of the stone age this connection was depicted rather artlessly, very clearly and understandably.
What could this mean...?
This is not a primitive analogue of contemporary obscene naturalistic drawings that can be seen on the walls of toilets and elevators. The drawing is an allegory (in modified images of the material world) to the reality, taking place in one of the nonmaterial worlds. Let’s consider it for a moment.
The psyche of any individual is a multicomponent informational system. In particular, the psyche is an informational-metric system, since the psyche is first and foremost algorithmics. Algorithmics is a succession of steps of information processing, which is impossible without different matrices intrinsic to the algorithmics — matrices, which represent various types of “traces” (or “scans”) from the objective all-enclosing measure-matrix — the Highest Predetermination of Life.
The psyche generates the person’s behavior on the basis of that, which in computer terms is named “dataware” (informational provisioning). The dataware of human behavior has several components, and includes:
● instincts of the biological species “Homo Sapiens”;
● habits (skills) acquired from social culture in a ready-to-use state and executed for the most part (like instinctive programs) automatically in perturbing situations;
● products of the individual’s own intellectual efforts;
● intuition, which includes several components:
● results autonomously (from the surrounding environment) created by the work of unconscious levels of the individual’s psyche;
● spiritual (biofield) influence on the psyche by the collective psyche, which the individual partakes in within the spiritual world;
● external delusions and “possession” (i.e. “being possessed”), as a result of field-level influence on the individual of other subjects, both materialised and non-materialized spirits;
● direct guidance from Above.
Behaviour dataware sourced from certain components named above, does not always coincide conflict-free with information provisioning sourced from the other named components. Depending on the individual’s preference, he allows this or that algorithm to realize in his behaviour (both in the material and spiritual worlds), which determines the psyche type of the individual (regardless of whether or not the individual realizes what a psyche type is). As a result of ambiguity in deciding on a preference when a conflict between different components of dataware occurs, in society more or less clearly manifests a tendency to polarization:
● on one pole are those, who (for the most part unconsciously) strives to subordinate everything to the satisfaction of their instinctive needs;
● on the other pole are those, who more or less consciously strive to bring everything into harmony with God’s Providence and live within the course of God’s guidance.
The first are carriers of animal type of psyche structure, and are in essence talking human-like monkeys, trained by the cultural environment of the civilization. The second are at different stages on the path to irreversibly become human beings — carriers of humane psyche type.
Between these two poles are distributed (in the mathematical sense of statistical distribution) all others: various biorobots-zombies, who deny both the freedom of their intellect in defining and solving problems, and intuition, subordinating their will to external influences.
From the zombies one can distinguish a specific group — demonic personalities, who do not reject their intellect and intuition, but reject the guidance from Above and are in a state of intoxication from willfulness — both their own, and that of other materialised and non materialized beings.
With more careful consideration, zombies, including demonic personalities, are all equally carriers of animal psyche type, whose instincts are bound into chains of societal norms or manifest (either directly, or somehow pervertedly) through various masks and veneers in the culture of hedonism[10], subordinating all components of the psyche to extracting pleasure from everything.
Instincts of a biological species are programs of certain aim-oriented behavior of its representatives, not some undetermined instincts “in general”. In the life of any species a dominant role is played by sexual instincts, under the influence of which the population is regenerated in the succession of generations. Algorithms of regenerating the population in all dual-gender species, which humanity is, by their different and functionally specialized fragments are distributed over the representatives of each gender.
Instincts of the “Homo Sapiens” are such, that men with an animal psyche type are psychologically subordinated to women. To regenerate the population of the species, the man is instinctively programmed to service the woman and the children she gives birth to. But this psychological subordination — the dependence of a man with animal psyche type on the “favorability” of the woman towards him — takes place independent of whether or not the two have had sexual relations or not. This allows to understand the direct meaning of the drawing shown earlier: the woman controls the man remotely by means of psychological dependence, based on sexual instincts, of the man on her, which is visually depicted in the drawing as a long connection, like a cable connecting a robot to its remote control terminal.
But the fate of a woman with an animal psyche type is not one to envy. Not one life has been broken by the subordination of women to their instincts, related to well-known attributes of the female body: lust for sexual gratification, which in the biosphere is naturally followed by conception; and maternal instincts, abusing which, children “weave ropes” out of their parents, especially mothers[11].
The fact that such behavior has been well-masked by perverted cultural shells created by civilization, which have covered in the behavior of people that, which is unmistakably manifested in the behavior of March cats, does not change the essence of the problem.
No one can accuse the American cinema of being delicate in questions of publicly displaying the naked human body and various manipulations with sexual organs. The fact that the the “connection” shown in the stone-age drawing is not shown in the movie, speaks to a lack of understanding of its true role in the fate of contemporary civilization by the film’s creators. However, as it is said, “show nature out the door — it will show itself in through the window”, and if the problem really exists, then an artist will, regardless of his wishes, reflect it in his work. Such is the case with the film “Matrix”.
Even though the film does not show the “connection” on the basis of sexual instincts is in scenes of disconnection from “Matrix” feelers and of medical aid to Anderson, the authors of the film have not managed to avoid considering its influence on the fate of the resistance’s battle with the bad “Matrix”. In scenes, where “combat training” of Anderson is shown, among other programs developed by the “real world” programmers in fighting against the “Matrix”, there is an episode which corresponds to exactly this “connection”.
Morpheus and Anderson walk along the street of a city, simulated by the training program. In the monotonous crowd a woman in red walks by them, with her appearance sharply standing out. Anderson, having passed the woman in red, under the guidance of his unconscious automatisms, follows her with his eyes, as his instincts tell him to. But the “woman in red” turns into an “agent” of the “Matrix” and nearly opens fire. The attentive, thinking spectator will understand, that a human — to be free from bad matrices — should have such a structure of unconscious automatism algorithmics, as to not be hostage of instincts, as well as their cultural shells.