Neo: Right now, we're inside a computer program?
Morpheus: Wild, isn't it?

What if reality was false and your nightmares were true? Is the present the past and the future happening now?

Thomas Anderson begins examining these questions. Anderson begins having doubts about reality. He has lived in the year 1999 until he is contacted by the enigmatic Morpheus, who leads him into an alternative dimension. Now it is 200 years later, and the World has been laid waste and taken over by advanced artificial intelligence machines. Anderson questions whether he is actually in a present day city, or wired up with millions of others, blissfully unaware into a massive virtual framework ("Matrix") in the future. The computers have apparently created a false version of 20th Century life to keep humans enslaved, while AI machines draw power from their bodies.

If this is true, Anderson must inevitably question his identity and purpose. Is everyone else around him trapped like he is, or are they just computer projections? Most poignantly who put him here and what will they do if they realise he suspects the "truth"? Anderson is subsequently both persued relentlessly by "Agents" (computers who adopt human form and infiltrate the Matrix) and hailed by Morpheus as "The One” destined to lead humans to overthrow the machines and reclaim their existence.

This essay's primary function is to examine an "intersection" processed from developing a creative "animation" between Deleuzo-Guattarin concepts and the film The Matrix (1999). In this investigation it is the attempt to adopt a strategy according to a Deleuzo-Guattarian mechanism, to proceed by enfolding these conceptual intersections with the material in the program.

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 "a moment", 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.

The Matrix as an experience bends our concepts of what is real and what is not. The film starts, and gives us no time to establish orientation; it is already exploding our sense of "reality." From the first section, we cannot be sure if we are in dream or real-time scenes, or something else altogether. This is a perfectly effective disorientating device, since it is the way that Thomas Anderson feels as his experience/perception goes beyond the bizarre and into destruction.

All being is perception (ontologically) and the object of perception is always imperceptible. Perception no longer resides in the relation of subject to object, but alternatively in the movement serving as the limit of that relation. Perception finds itself confronting its own limit. The prehension of one by the other, the passage from one to other. Perception is becoming, is metamorphosis, and is being itself. Being becoming is the interval of substance the returning/repetition of component transformations, forever synchronizing periods and rhythms in the passage between states.

Morpheus: Have you ever had a dream, Neo, that you were so sure was real? What if you were unable to wake from that dream? How would you know the difference between the dream world and the real world?