“A world without rules and controls, without borders or boundaries.”: Matrixism, New

Mythologies, and Symbolic Pilgrimages

John W. Morehead

Western Institute for Intercultural Studies

USA

In 1999 a film appeared in theaters that would make an interesting contribution not only to

science fiction cinema, but also in a number of areas beyond it as its impact reverberated

beyond the silver screen. The film was The Matrix. It told the story of Thomas Anderson, a

young computer programmer by day, computer hacker by night under the alias “Neo.” For

Anderson things do not quite seem right in the world, and a part of his quest for resolving his

unease is finding the mysterious figure of Morpheus, another computer hacker, considered a

terrorist by government authorities. As the story unfolds it is Morpheus who finds Anderson.

He offers him an opportunity to find out the answers to his questions and existential angst,

and in particular, what the mysterious “matrix” is. Although it is nearly impossible for

Anderson to accept, he comes to learn that what he had assumed to be reality is a “computer-

generated dream world,” a virtual simulation created by a race of machines. Instead of living

their daily lives as they assume through their experiences of “reality,” human beings are

grown in farms and plugged neurologically into the simulated reality of the matrix as a means

of control so that they can provide an energy source from their bodies for the machines.

Later, very reluctantly, Anderson comes to accept that he is indeed Neo, the chosen One,

prophesied to come and set humanity free from its bondage. As the story reaches its climax,

Neo learns to control, and eventually reshape the matrix according to his own will, and lead

the battle against the machines in order to save the human race.

The Matrix was a success with viewers as its writers and directors, Andy and Larry

(now Lana) Wachowski, brought together a number of influences, including cyberpunk,

comic books (especially Japanese manga), mythology, martial arts and wire-work fighting

from Asian cinema, to create a dynamic science fiction thriller. The success of The Matrix

would spawn two other films which formed a trilogy, including The Matrix Reloaded (2003)

and The Matrix Revolutions (2003). It also produced The Animatrix (2003), a collection of

nine animated shorts in the style of Japanese anime that explored aspects of The Matrix

storyline and broader narrative. It also spawned three video games including Enter the Matrix

(2003) and The Matrix: Path of Neo (2005) for console systems, and The Matrix Online

(2005), a massively multiplayer online game for Internet play.

The Matrix also had a significant impact in other areas of popular culture beyond film

and videogames. In philosophy it raised questions related to epistemology, how we know

what we know and take for granted as real in daily life (e.g. Irwin (ed.) 2002; Lawrence 2004;

Grau 2005; Irwin (ed.) 2005). In so doing it incorporated philosopher Jean Baudrillard’s ideas

related to symbols, signs, and simulations of reality or hyper-reality (Baudrillard 1994;

Messler 2006; Henley 2010)1. The Matrix also touched on religion. Given the complex and

multilayered aspects of The Matrix, it is not surprising to find divergent readings of the

religious aspects of its narrative. This includes writers who see elements of the Christian

story reflected in the film in the form of Neo as a Christ-figure prophesied to provide

deliverance and who would later seemingly rise again from the dead (Seay & Garrett 2003),

others who recognize these elements but who also see Buddhist ideas (Ford 2000), still others

who see both Buddhism and Gnosticism in the film, (Flannery-Dailey & Wagner 2001) and

some who engage in Muslim (Hamid 2005), Taoist (Lawrence 2004), and Hindu Vedanta

(Lännström 2005) interpretations.

The incorporation of aspects from differing religious traditions in The Matrix trilogy,

and cinema’s provision of “sacred content that can be used by audience members for play and

serious reflection” (Laderman 2009, p. 21), even as religious phenomena “which can compete

with the Bible and other religious texts in the imaginative and practical lives” (Laderman

2009, p. 21) of individuals, have come together to birth a new expression of spirituality. The

film trilogy has become the metaphorical inspiration for the formation of a new religious

movement based in part upon its mythic narrative, a hyper-real spirituality (Possamai 2007)

1 Apparently Baudrillard has stated that the Wachowskis have misunderstood his thesis, and

this has become the focus of academic discussion.

called Matrixism. Before exploring a few facets of this interesting spirituality I will paint a

thumbnail sketch by way of an overview.

Summary of Matrixism

The origins and description of the varying expressions of Matrixism must be pieced together

from Internet sites and interactions with those who helped create it 2. Although Matrixism

surfaced in its public manifestation in 2004, it claims a longer history going back to 1911

with a connection to the Bahá’í Faith. The Bahá’í Faith is traced to its founder Bahá’u’lláh

(1817-1892), who is considered the last of several Messengers from God (Smith 1999)3.

These include Abraham, Moses, Buddha, Krishna, Zoroaster, Jesus Christ, and Muhammad.

Matrixism points to Bahá’u’lláh’s son, ‘Abdu’l-Baha, who made references to “the matrix” in

various speeches which were later published in book form (Abdu’l-Baha 2007). These

references are said to include sayings such as, “In the beginning of his human life man was

embryonic in the world of the matrix” (Original at

2 Sources for understanding Matrixism are threefold. They include “Michael X,” one of the

original and primary “authors” of the religion, and the original website at

http://geocities.com/matrixism, which is now defunct, although a portion of this original

website is archived at http://www.newmatrixism.com/archives.php. Michael X created the

“Matrixism: The Path of the One” website and served as its webmaster. However, as of

February 2010 he is no longer affiliated with Matrixism. Michael X’s website was followed

by another expression of this spirituality, “Matrixism: Science and Philosophy of the

Matrix,” at http://www.matrixism.org/. This site is maintained by an individual who goes by

the name “henreman.”. Finally, there is “The New Matrixism: Following the Path of the One

to Enlightenment,” at http://www.newmatrixism.com. Matrixism also has a Facebook page,

but the website URL provided there was not active at the time of the writing of this essay.

3 Also see http://www.bahai.org/

http://www.geocities.com/matrixism/scrollofmatrixism.jpg). Those who identify with

Matrixism, calling themselves Matrixists, Pathists (newmatrixism.com FAQ), Futurists, or

Redpills (matrixism.org FAQ), see such references as points of connection between the

Bahá’í Faith, the religious significance of The Matrix films’ narrative as metaphor, and the

spirituality of Matrixism. In this way Bahá’íism is understood by Matrixists as a predecessor

of Matrixism, much like Christianity arose as a sect out of Judaism, and Islam arose in

connection with reactions to Christianity and Judaism (Michael X 2009).

Moving from the history of Matrixism to its beliefs and practices, Matrixism involves

holding to The Four Tenets, the first three understood as coming from The Matrix, and the

final tenet coming from common religious experience and a connection to “a mystic text of

the Bahá’í religion.”(Michael X 2009). These include: “1. Belief in the prophecy of The One”

(newmatrixism.com Home), a messianic figure like The Matrix’s Neo who was prophesied in

works of fiction and the world’s religions; “2. Acceptance of the use of psychedelics as

sacrament” (newmatrixism.com Home), “3. Recognition of the semi-subjective multi-layered

nature of reality,” a reference not to the belief in a literal matrix computer simulation

controlling human beings (the computer simulation of The Matrix is viewed as a “metaphor

for the rules, norms and values of society,” as well as to the hyper-reality of the media age)

(Original at http://geocieies.com/matrixism/faq.html; website now unavailable), but rather a

recognition that reality has more depth and complexity than is commonly understood; (Ibid)

and, “4. Adherence to the principles of one or more of the world’s religions until such time as

the One returns” (Ibid).

Ritual is found within Matrixism in two forms. As described in the second of The

Four Tenents, the first ritual is in the use of psychedelics, which are understood as a means of

accessing various aspects of the “multi-layered nature of reality,” as well as enabling

glimpses of and communion with the divine, which must be experienced directly (Michael X

2009). Computer hacking also functions as a ritual. Through hacking it is believed the

individual experiences hyper-reality through active and creative participation (Michael X

2009).

Additional elements of Matrixism include its two holy days of April 19 as Bicycle Day which

commemorates Albert Hoffman’s experimental use of psychedelics, and November 22 as the

Day of Remembrance and Reflection, the anniversary of the day of the deaths of Aldous

Huxley, C. S. Lewis and John F. Kennedy (Matrixism: Path of the One FAQ page at

http://www.geocities.com/matrixism/faq.html, website no longer available). Matrixism also

has a symbol associated with it, 赤, the Japanese Kanji symbol meaning “red,” which first

appeared in the Enter the Matrix video game. The meaning of this color symbolism refers to

the scene in The Matrix where Morpheus presents Thomas Anderson with a red pill which, if

swallowed, represents his desire to accept truth wherever it leads in his awakening to the

hyper-reality of the matrix.

Matrixism is a spiritual pathway with an international following. The original website

allowed Matrixists to register their email addresses as a means of declaring themselves

followers of this spiritual pathway. From 2004 to 2008 over two thousand people declared

themselves to be Matrixists. The registration form for the website was later closed and the

original author of Matrixism considered the spirituality a decentralized movement with an

unknown number of adherents. More recently several websites report 16,000 followers of

Matrixism, but no information is presented as to how this figure is arrived at.

In 2008 another website surfaced claiming to represent Matrixism (matrixism.org), and still

another expression surfaced called “The New Matrixism” (newmatrixism.org) the same year.

Both of these forms took most of the material and concepts from the original Matrixism

website with minor modifications. In terms of the relationship between the original form and

the more recent expressions, the first new expression from 2008 claims “no relationship with

the so called ‘original’ Matrixism” (henreman 2010). The website for The New Matrixism

states that it is “merely a refinement of what was presented on the website [for the original

expression of Matrixism] in 2004.” Some of the refinements involve an attempt to address

what was seen as “unclear and confusing,” including a move away from the original form of

Matrixism’s repudiation of pornography and professional sports (newmatrixism.com FAQ -

How does the ‘New Matrixism’ compare with the ‘Old Matrixism’?). Although those

associated with the original expression of Matrixism consider it a decentralized religion,

friction has existed between the various forms, not only with one expression alleging no

connection to other expressions altogether, but also in those connected to the original form

alleging plagiarism by those who created the Matrixism.org website (Michael X 2008).

With a basic portrait of this spirituality in mind I now turn attention to consideration

of aspects that help provide a greater understanding of not only Matrixism, but also other

hyper-real religions as significant aspects of the contemporary spiritual quest in the Western

world. In so doing I bring together two research projects of mine, including new religious

movements or minority religions, as well as science fiction as a form of the quest for the

sacred.

In the discussion that follows I will draw upon the proposal of Irving Hexham and

Karla Poewe regarding the significance of myth in understanding new religions, coupled with

the work of other scholars who suggest that science fiction is an especially significant source

of mythic inspiration for our time. Then I will consider how science fiction mythic narratives

provide new religions like Matrixism with the imaginative tools necessary to engage in

practices similar to more traditional religions. By drawing upon Jennifer Porter’s exploration

of fan participation at Star Trek conventions as a form of pilgrimage in fulfillment of an

embodied ideal, combined with the thesis of Roger Aden on participation in imaginative

narratives of alternative worlds that allow adherents to transcend and critique the habitus of

daily life as well as grand narratives of culture, I will suggest that the symbolic pilgrimage of

Matrixism parallels pilgrimage as found in more traditional religions, yet also differs in that

they take place primarily in the realm of the sacred imagination.

Myth, New Religions, and Science Fiction

Irving Hexham and Karla Poewe (1997) have suggested that myths are important to an

understanding of new religious movements. Indeed, in their view myths function as the

“operating systems of new religions” (Hexham & Poewe 1997, p. 69) where they are

intimately connected to primal spiritual experiences. In addition, they claim that myths are

significant to the “thought patterns and behavior in our postmodern, hi-tech world [which is]

deeply symbolic.” (Hexham & Poewe 1997, p. 73).

Scholars define myth variously, but Hexham and Poewe define it as “a story with

culturally formative power. This definition emphasizes that a myth is essentially a story—any

story—that affects the way people live.” (Hexham & Poewe 1997, p. 69; emphasis in

original). They go on to state that what is important in this understanding of myth “is not the

story itself but the function it serves in the life of an individual, a group or a whole society.”

(Hexham & Poewe 1997, p. 69; emphasis in original). Two aspects of Hexham and Poewe’s

definition of myth stand out. First, as Hexham and Poewe state, a myth may or may not be

historically or scientifically true, but rather than focusing on this understanding of myth in

dismissive fashion as scholars tend to in the post-Enlightenment period, this is not the best

way in which to define the topic. Regardless of whether it is “true,” the significance of myth

is found in the powerful ways in which these mythic stories impact people’s lives. Second,

emphasis is placed on the function of myth for individuals as well as larger groups, and with

this consideration in mind more traditional sources for myth in the form of cultures and

religious traditions are complimented by popular culture serving as a potent reservoir for

mythic ideas.

After defining myth for the purposes of their discussion of new religions Hexham and

Poewe remind us that in our modern society there are no overarching myths that provide a

common basis for shared belief (Hexham & Poewe 1997, p. 80). They acknowledge the

continued significance of the Christian myth for the West, particularly America, but they

recognize “most Westerners no longer find in Christianity the basic imaginative and

mythological framework by which they understand their place in the world.” (Hexham &

Poewe 1997, p. 83). This loss of mythic inspiration and narrative context through Christianity

has left a variety of mythic fragments that exist in the West, which are then scooped up and

combined into a more coherent whole resulting in the creation of new mythic narratives. This

includes a process which Hexham and Poewe describe as “box-myth-making,” (Hexham &

Poewe 1997, p. 68), the construction of a “myth within a myth” (Hexham & Poewe 1997, p.

68), which involves not only the incorporation of several mythic fragments woven together,

but also the inclusion of a meaningful personal myth wrapped within a larger cosmic myth.

Hexham and Poewe continue their discussion by identifying differing types of

“personal mythological fragments” as well as “fragmented cosmic myths.” (Hexham &

Poewe 1997, p. 84). In their typology two mythic fragments are applicable to a discussion of

Matrixism, including the personal mythological fragment of “pseudoscientific myths,”

(Hexham & Poewe 1997, p. 84) and the fragmented cosmic myth of “decline and

transformation.” (Hexham & Poewe 1997, p. 89). Pseudoscientific myths are “science-

fiction-type stories that reduce people’s skepticism and their resistance to explain primal

experiences in essentially occult terms.” (Hexham & Poewe 1997, p. 84). As an example of a

pseudoscientific myth Hexham and Poewe point to the Star Trek television program of the

1960s. They argue that the futuristic scientific and evolutionary framework of the program

allowed the producers of the program to portray “strange happenings” in a way that was

acceptable to viewers. This included things which in some contexts might be viewed as

paranormal or supernatural, but which were interpreted in a more scientific sense due to the

futuristic possibilities presented by science fiction.

Hexham and Poewe also state that science fiction “provided a bridge between

personal and cosmic myths.” Turning from the personal mythological fragment of

pseudoscientific myths to the cosmic mythological fragment of decline and transformation,

these are defined as “elements of popular mythology that provide a cosmic dimension to

personal myths by expressing pessimism concerning modern society. They are generalized

stories about the decline of civilization and the end of the world.” (Hexham & Poewe 1997,

p. 89).

These two mythological fragments come together to provide an insight into

understanding the power of the mythic narrative of The Matrix films for Matrixists.

Beginning with an application of the personal myth fragment of pseudoscience, The Matrix

and its sequels scoop up a number of myths from a variety of sources and weave them

together in a credible fashion. As James McGrath has stated:

The Wachowski brothers retell older stories, or rather, use motifs distilled from

older stories and myths, and this is clearly something that has been done before

– one thinks of Jung’s archetypes, George Lucas’ use of Joseph Campbell’s

ideas of universals in world religions and mythology in Star Wars. But they also

do something significantly different. Unlike Lucas and many authors in the

fantasy genre, the Wachowskis find a way to weave ancient myths into a new

story which does not involve the same suspension of disbelief that stories of

miracles, myths, and monsters do. They envisage a scientifically plausible world

in which the implausible elements of traditional religious and mythic stories can

be retold believably (McGrath n/d).

Through a credible science fiction narrative The Matrix trilogy combines a number of mythic

fragments for a high-tech age that increasingly interacts with computers, the Internet, and

other expressions of cyber-reality. This then enables the viewer to engage the myths with a

sense of real possibility and then to incorporate them into a personal narrative.

As part of the construction of box myths the personal myth of pseudoscience enables

readers to engage the various mythic fragments within the trilogy and to extract those of

interest which are then reformulated and connected via a science fiction framework to the

larger cosmic myth fragment of decline and transformation. “Myths of transformation bring

together a profound mistrust of modern science with a deep respect for science myth and a

belief in the immanent cosmic transformation of human beings.” (Hexham & Poewe 1997, p.

90).

Both of these elements are exhibited within The Matrix trilogy through the concern of

human beings about technology that holds them captive, and the possibility that human

beings might transform themselves, at least through the One, as a means a means of battling

the machines.

Popular culture is filled with expressions of the decline of civilization, whether from

atomic war, contagion, zombie plague, or more recently, ecological disaster. The Matrix

trilogy presents its own vision of the end of the world through warfare between humans and

machines with humans “scorching the sky” in attempt to deprive the machines of the sun as

their power source. This depiction of the decline of civilization in The Matrix trilogy may be

understood as an expression of postmodern apocalyptic that brings together the differing

strands of concern about the end of the world at the hands of human beings as well as

machines (Rosen 2008).

The expression of the myth of pessimism and the decline of civilization is clearly

present within The Matrix trilogy, but what of transformation? The transformational aspect

may be seen in two ways. First, as a result of the apocalyptic war with the machines human

civilization has not only declined, but has also been transformed, even if it exists in the form

of a computer-generated simulation as a means of forcing human beings into slavery. Second,

those human beings who have been extracted from the matrix and awakened to the true

nature of reality have experienced their own personal transformation and fight a battle with

the machines, headquartered in Zion as the human city of hope, working toward the defeat of

the machines and a transformation for all of humanity. The Matrix trilogy may be understood

then as incorporating the cosmic myth of decline and transformation.

At this point in the analysis we are now in a position to consider the

significance of an application of myth to new religious movements in general, as well as to

hyper-real religions such as Matrixism. In one sense the emergence of new religions in the

modern era reflects, in part, an attempt to re-enchant the world with sacred stories and

meanings (Partridge 2004). Those new religions that spring out of the major world religions

take the central myths of those faiths as their point of departure with subsequent

modification. With other new religions, like the Church of Scientology (Chryssides 1999) and

the Raëlian Movement International (Chryssides 2003) for example, the “secular” stories or

myths of science, technology, and human psychology are appropriated as a point of departure

and are reworked with a mix of ancient and modern mythmaking. Scientology takes up

elements of psychology and esotericism and allies this with mythic fragments from science

fiction (Hexham & Poewe 1997, p. 92) to generate a new trajectory on human origins so that

we might experience our full human potential through the “tech” of the various personal

auditing sessions and courses that can be taken. The Raëlians take up the process of cloning

and rework it to incorporate variations on the Judeo-Christian myth of origins from Genesis

and then combine this with UFO and alien myths (Hexham & Poewe 1997, p. 91) in order to

arrive at an understanding of cloning as a vital step in human evolution in keeping with our

origins and destiny with alien civilizations in the cosmos.

Just as myth sheds light on facets of new religions it also helps us understand the new,

hyper-real religion of Matrixism. The Matrix trilogy incorporates a number of mythic

elements which function as sources for metaphorical inspiration. The various mythic strands

are drawn upon in the creation of personal box myths. The personal myth fragment of

pseudoscience depicted through science fiction presents a credible form for considering new

ideas related to new ways of seeing need in order to recognize the “multilayered nature of

reality.” This personal myth is connected to the cosmic myth fragment of cultural decline and

transformation expressed as pessimism regarding human being’s slavery to the system and

inability to recognize the multilayered and mediated reality around us. Personal

transformation comes as the individual “wakes up” to the truth of the real world and becomes

empowered to control it.

Myth thus provides a significant aspect for consideration for those exploring new

religions and hyper-religions, a largely neglected aspect with great research potential.4

Scholars would do well to reconsider this research trajectory.

It is also worth noting that science fiction represents an important genre for mythic

expression in late modernity. In his volume on the changing spirituality of the 1960s

(Ellwood 1994), Robert Ellwood includes a number of helpful illustrations in the text which

he refers to as “counterpoints.” One of these is titled “New Mythologies, Easy Rides in Space

and Time.” This small section looks at the religious or spiritual significance of science fiction

4 Myth is helpful not only for understanding those new religions with close ties to popular

culture, but also those such as the Church of Jesus Christ of Latter-day Saints wherein the

overarching myth of evolution is combined with mythic fragments from Protestantism

resulting in a new mythic structure within which the Latter-day Saint situates their own

personal narrative.

and fantasy in the late 1960s and quotes Michel Butor to the effect that “science fiction is ‘the

normal form of mythology of our time.’” (Ellwood 1994, p. 309). Ellwood discusses “the

creation of new mythologies from the fabrics of science fiction and fantasy,” and he notes

that the “time of shifting religious imagination” of the Sixties “may yet turn out to be among

the most far-reaching developments of the decade.” (Ellwood 1994, p. 309). In a more recent

volume by Ellwood, an introduction to myth in religion, he maintains the significance of

myth not only for an understanding of religion in general, but also for science fiction and

fantasy as modern expressions of myth (Ellwood 2008). These sentiments have been echoed

by other writers exploring modern mythology in connection with science fiction (Perlich &

Whitt 2010; Voytilla 1999; Wagner & Lundeen 1998; Whitt & Perlich 2008), and scholars

like Em McAvan have argued for the significance of this in what he terms the “fantastic

postmodern sacred”:

The postmodern sacred then consists of texts that are consumed in part for their

spiritual content, for an experience of the transcendent ambivalently situated on

the boundary of formal religious and spiritual traditions. The postmodern

sacred is everywhere once one begins to look for it, for popular culture is rife

with the detritus of millennia of religious tradition. Because of the suspension

of the usual rules of the “real world” in their textual universes, the postmodern

sacred occurs most of all in the literary and visual genres of science fiction,

horror and fantasy (what I have termed the “fantastic postmodern sacred”…

(McAvan 2010)5.

5 McAvan develops this more fully in his 2007 PhD dissertation, “The Postmodern Sacred:

Popular Culture Spirituality in the Genres of Science Fiction, Fantasy and Fantastic Horror,”

Murdoch University, Perth.

Given the increasing popularity and success of science fiction and fantasy at the cinema box

office, in television, and literature it is likely that this will continue to function as a mythic

reservoir for religious and spiritual exploration (Cowan 2010).

Science Fiction, Religion and Pilgrimage

In the preceding section I argued that a consideration of myth brings an important facet to our

understanding of new religions, including hyper-real religions such as Matrixism, and that

science fiction should be understood as a significant form of mythic expression with spiritual

possibilities for our time. In this final segment I will address science fiction narratives as a

forum for spiritual exploration that can result in expressions of religion that resemble more

traditional forms of religiosity. I will explore the process of religious pilgrimage by bringing

two differing research trajectories together in application to Matrixism. First, I will consider

Jennifer Porter’s contention that fan participation at Star Trek conventions can be understood

as an expression of pilgrimage for some attendees who are seeking participation in the

science fiction franchise’s sacred ideals. I will also explore Roger Aden’s thesis regarding

participation in fantastic narratives which enables fans to transcend the habitus of daily life

and the failed grand narratives of culture as they seek sacred places of imagination. The result

is a form of symbolic pilgrimage that is similar to pilgrimage in more traditional religions.

Star Trek Conventions and Pilgrimage

A chapter by Jennifer Porter in a volume on the anthropology of pilgrimage and tourism

stands out in relation to the religious significance of science fiction with its exploration of fan

culture at Star Trek conventions (Porter 2004). Although the television series was only on for

three seasons in the late 1960s, and did not do well in the ratings at the time, it developed a

devoted fan following, and in syndication the number and devotion of fans grew over time.

One of the results of this was the development of conventions held throughout the United

States, a phenomenon that has continued since the first gathering in 1972 (Jindra 1994).

Today fans come together from around the world, often in costumes representing their

favorite characters from the various installments of the Star Trek franchise, whether human or

alien, who celebrate the vision set forth by the program’s creator Gene Roddenberry. Probing

for depth in this pop-culture experience, Porter begins her discussion of Star Trek convention

attendance as pilgrimage by reminding readers that anthropologist Victor Turner told his

students to take note of the significance of science fiction, because in this genre one finds the

“futuristic frameworks [for] expressing mythic and liminal states and concerns.” (Porter

2004, p. 160). Porter finds both “mythic and liminal states” in her exploration of the

academic literature on pilgrimage combined with fieldwork at Star Trek conventions with

fans.

Although Star Trek conventions are usually considered a form of secular

entertainment, Porter argues that participation in these events can be understood as something

deeper, specifically as a form of pilgrimage or sacred journey. She supports this assertion by

drawing attention to anthropologist E. Alan Morinis who states that even a secular journey

can be understood as pilgrimage if the “journey [is] undertaken by a person in quest of a

place or a state that he or she believes to embody a valued ideal.” (Porter 2004, p. 161).

Morinis also states that these destinations “share being an intensified version of some ideal

that the pilgrim values but cannot achieve at home.” (Porter 2004, p. 161). Further, these

journeys can be understood as “sacred,” and “it is the pursuit of the ideal (whether deified or

not) that defines the sacred journey.” (Porter 2004, p. 161) The ideal that many Star Trek fans

pursue is the “doctrine of IDIC–an acronym for Infinite Diversity in Infinite Combination.”

(Porter 2004, p. 165).

The IDIC doctrine or ethic was first presented in the third season of the original

series. It arose out of Gene Roddenberry’s humanistic philosophy, and it refers to the idea of

tolerance in the midst of diversity, exemplified in the racial and even planetary species

makeup of the original crew of the Starship Enterprise that included characters made up of

men and women, whites, an African American, an Asian, a Russian, and an alien Lieutenant

Commander from the planet Vulcan. The tolerance in the midst of diversity symbolized

within the Enterprise crew was then projected outward as an ideal of the United Federation of

Planets, of which the Enterprise’s crew was a part, as they explored the universe and

encountered various alien races and civilizations. This IDIC ethic is embraced by fans

attending conventions and is so significant that Porter characterizes it as the “’root paradigm’

of Star Trek fandom.” (Porter 2004, p. 165).

With the IDIC ethic in mind this then becomes the ideal which fans seek as a form of

pilgrimage in keeping with Morinis’ definition discussed above as “the pursuit of a place or

state in which intensified ideals not attainable at home are embodied.” (Porter 2004, p. 167)

Yet even with the significance of the travel of a fan from home to the convention site as a

part of the definition of pilgrimage Porter questions the “centrality of ‘place,’ or ‘space’” in

the definition and suggests that scholars focus more on “nongeographically centered

pilgrimage” or “decentered space” (Porter 2004, p. 167) as an important alternative concept

in defining pilgrimage. In this regard Porter concludes that “it is not space or place but rather

fandom that represents the true center of the convention pilgrimage process.” (Porter 2004, p.

168). In her conclusion, Porter discusses the need to reconsider the concept of travel and

centered space in relation to pilgrimage studies:

If one relocates the object of scholarly attention from the space and the journey as

integral frames to pilgrimage processes, however, and focuses instead on the

participants as the “sacred center,” the scope of pilgrimage studies suddenly becomes

much more broadly defined (Porter 2004, p. 173).

Imaginative Journeys and Sacred Pilgrimage

This shift in emphasis from travel to geographical places to the internal dynamics in the fan

as primary in defining sacred pilgrimage is significant, and becomes an even more important

concept when considered in connection with Roger Aden’s thesis regarding fan cultures and

symbolic pilgrimages to alternative visions of promised lands (Aden 1999).

Aden lays down a theoretical foundation for his thesis with a discussion of the habitus

and grand narratives. By habitus Aden refers to Pierre Bourdieu’s concept that he defines as

“our collective, cultural sense of place that is forged through the reproduction of history.”

(Aden 1999, p. 3). This habitus functions as a set of rules, “an unwritten set of norms,

behaviors, expectations, that a culture deems commonsensical.” (Aden 1999, p. 3). These

rules operate in conjunction with grand narratives that have served as a foundation for

American life, and in which Americans situate their experiences. Aden identifies two primary

narratives, including the idea of America as sacred garden, and also a secular paradise

connected to technological progress (Aden 1999, p. 4). With the rise of modernity the garden

image has given way to the narrative of technological utopia. Yet in spite of the hope put in

this narrative, during this same period increasing doubt has arisen that has eroded confidence

in grand narratives in general, and especially that of secular technological utopia. As Aden

writes, “The promised land of technological paradise has not only failed to deliver on its

vision of economic plenitude, it contributes to our growing sense of displacement as members

of a social community.” (Aden 1999, p. 35).

This sense of dissatisfaction with the narrative of technological paradise, has led to

various rhetorical responses, one of which involves the creation of “a collection of

postmodern narratives in which we find a multiplicity of changing places through play.”

(Aden 1999, p. 45). These narratives are popular stories of the imagination that function as

“alternative visions of places that matter.” (Aden 1999, p. 8). In the examples of these popular

stories explored by Aden, one of them is The X-Files television program, an extremely

popular and influential program defined variously as science fiction or horror, usually

involving the paranormal and which regularly critiqued the government and accepted national

narratives, and also suggested that reality is far broader and mystical than commonly

understood. Aden argues that when an individual explores and participates in various

imaginative narratives from popular culture that this represents a “symbolic pilgrimage, those

purposeful, playful, repeated journeys in which we imagine ourselves leaving the material

world of habitus to enter the symbolic world of promised lands.” (Aden 1999, p. 10). Like

Porter, Aden also interacts with Victor Turner’s thinking, in this case considering pilgrimage

in connection with the communitas that is experienced as a result of the journey to a sacred

symbolic place in the company of others. Aden says this participation in “ritualistic journey

of the mind to spiritually powerful places” (Aden 1999, p. 8) results in symbolic community

which can provide a sense of spiritual fulfillment not only through interactions with other

fans, but also “through our construction of these symbolic communities in a transcendent

plane that exists above the material moorings of our habitus.” (Aden 1999, p. 95; emphasis in

original).

Having considered Star Trek conventions in connection with the pursuit of the

embodied ideal of the IDIC ethic as a form of pilgrimage, and participation in imaginative

narratives and fan cultures as a form of symbolic pilgrimage, I will combine aspects of the

insights from these ideas and make application to an understanding of Matrixism.

Just as fans of Star Trek embrace a particular valued ideal imparted by science fiction,

so do those who follow the pathway of Matrixism. In the latter case the ideal is one of

critique and liberation. The critique comes in the form of the grand narrative of technological

progress, and this results liberation

in the form of new perceptions and a new understanding of the “multilayered nature

of reality.” As discussed at the beginning of this essay, this new understanding incorporates a

number of beliefs and practices as the outworking of the ideals of Matrixism. And since, as

Porter argues, the individual making the quest represents the “sacred center” rather than the

journey to a geographical place in pursuit of an embodied ideal, Matrixists may be

understood as engaging in some form of pilgrimage. This idea is strengthened when

connected to the idea of symbolic pilgrimage through imaginative narratives.

Matrixists share in the general dissatisfaction with the grand narrative of

technological utopia, even going so far as to consider whether the tools of our alleged

freedom instead confer some level of illusion and imprisonment. As a result they look to the

Matrix films as an imaginative story that critiques the habitus of daily life, those unwritten

rules and assumptions of culture, as well as the narrative of technological utopia. But The

Matrix films not only provide a means of critique, but also present an imaginative narrative

through which an individual can transcend the habitus and dominant cultural narrative in

order to enter into an alternative world of promise. Participation in this imaginative narrative

results in symbolic pilgrimage enjoyed not only by the individual, but may also come in

connection with others who connect via online forums.6 To the extent that the individual

develops as sense of connection to others pursing the same understanding of reality through

Matrixism it may be that feelings of and a form of communitas results. Through a new

perspective on reality and participation in the community of like-minded individuals,

however small and mediated by cinema and cyberspace, Matrixism provides a vision of an

alternative world in which an individual can find ultimate fulfillment.

Conclusion

6 Those following the pathway of Matrixism may connect with like-minded individuals

online through places like The New Matrixism Forum,

http://www.newmatrixism.com/forum/general-chat, or the Matrixism Facebook page,

http://www.facebook.com/group.php?gid=2237867490.

What are we to make of new expressions of the sacred and spirituality like Matrixism?

During the course of my research in sharing with a few individuals about my findings and

reflections on this topic, it was not uncommon to encounter expressions of incredulity. Most

people find the idea of Matrixism absurd, and question whether those who identify with it

really take it seriously. Such people argue that surely pop-culture and a science fiction trilogy

cannot be legitimate sources for religious inspiration, and no religion founded upon such

elements are to be taken seriously. This reaction on a popular level is often shared by

academics, particularly theologians, as relayed by Gary Laderman in his discussion of new

and alternative forms of religion in popular culture:

I can hear my New Testament and Systematic Theologian colleagues reading

this with skepticism if not disgust – and indeed I’ve encountered these kinds of

reactions in public forms. “Surely anyone identifying their religion as Jedi is just

being silly,” they say. Or “How do you know this is genuine religion and not just

some passing fancy?” I imagine after the death of Christ members of the early

Christian community faced the same kind of incredulity and disdain.

My response: Welcome to the twenty-first century, when sacred matters are not

limited to the monotheists or confined by conventional religious traditions. Bono

and Warren Buffet, Master Yoda and Obi Wan Kenobi are legitimate and

guiding religious lights whose words and actions stir the imagination and rally

the faithful in ways those of us who study religion are only beginning to

understand (Laderman 2009).

I can’t say it better than Laderman. Religious and spiritual expressions like Matrixism,

particularly those inspired by narratives of the fantastic, including science fiction, fantasy,

and even horror, represent new and vibrant forms of religiosity that will likely continue to

have great appeal for individuals in the future. It is the responsibility of scholars, and I hope

even theologians, to sympathetically understand them and how they make connections to the

sacred.

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