The Matrix Books
Showing 1-50 of 169

by (shelved 8 times as the-matrix)
avg rating 4.00 — 16,206 ratings — published 1981

by (shelved 5 times as the-matrix)
avg rating 3.89 — 357,920 ratings — published 1984

by (shelved 5 times as the-matrix)
avg rating 4.23 — 1,705 ratings — published 1992

by (shelved 4 times as the-matrix)
avg rating 3.79 — 672 ratings — published 2003

by (shelved 3 times as the-matrix)
avg rating 3.78 — 278 ratings — published 2004

by (shelved 3 times as the-matrix)
avg rating 3.78 — 1,075 ratings — published 1999

by (shelved 2 times as the-matrix)
avg rating 4.20 — 5,307,216 ratings — published 1949

by (shelved 2 times as the-matrix)
avg rating 3.91 — 32,311 ratings — published 1981

by (shelved 2 times as the-matrix)
avg rating 3.90 — 2,271 ratings — published 2002

by (shelved 2 times as the-matrix)
avg rating 4.11 — 120,274 ratings — published 1969

by (shelved 2 times as the-matrix)
avg rating 4.17 — 3,426 ratings — published 1776

by (shelved 2 times as the-matrix)
avg rating 3.88 — 109,580 ratings — published 1924

by (shelved 2 times as the-matrix)
avg rating 4.09 — 502,527 ratings — published 1968

by (shelved 2 times as the-matrix)
avg rating 4.36 — 667 ratings — published 2000

by (shelved 2 times as the-matrix)
avg rating 3.99 — 2,038,401 ratings — published 1932

by (shelved 2 times as the-matrix)
avg rating 4.13 — 1,452 ratings — published 2004

by (shelved 2 times as the-matrix)
avg rating 4.24 — 1,210 ratings — published 2001

by (shelved 1 time as the-matrix)
avg rating 3.89 — 559 ratings — published 2003

by (shelved 1 time as the-matrix)
avg rating 3.24 — 91 ratings — published 2003

by (shelved 1 time as the-matrix)
avg rating 4.06 — 193 ratings — published 2005

by (shelved 1 time as the-matrix)
avg rating 3.30 — 43 ratings — published 2005

by (shelved 1 time as the-matrix)
avg rating 3.60 — 15 ratings — published 2004

by (shelved 1 time as the-matrix)
avg rating 3.42 — 101 ratings — published

by (shelved 1 time as the-matrix)
avg rating 3.50 — 78 ratings — published 2003

by (shelved 1 time as the-matrix)
avg rating 3.75 — 12 ratings — published 2010

by (shelved 1 time as the-matrix)
avg rating 3.89 — 1,067 ratings — published 1837

by (shelved 1 time as the-matrix)
avg rating 3.86 — 818 ratings — published

by (shelved 1 time as the-matrix)
avg rating 4.29 — 13,763 ratings — published 1887

by (shelved 1 time as the-matrix)
avg rating 4.59 — 122 ratings — published

by (shelved 1 time as the-matrix)
avg rating 3.96 — 804 ratings — published

by (shelved 1 time as the-matrix)
avg rating 4.37 — 5,778 ratings — published 1996

by (shelved 1 time as the-matrix)
avg rating 4.38 — 13,529 ratings — published 2005

by (shelved 1 time as the-matrix)
avg rating 3.99 — 2,908 ratings — published 1942

by (shelved 1 time as the-matrix)
avg rating 3.89 — 50,091 ratings — published 1967

by (shelved 1 time as the-matrix)
avg rating 4.24 — 1,230 ratings — published 1781

by (shelved 1 time as the-matrix)
avg rating 4.25 — 1,380 ratings — published 1788

by (shelved 1 time as the-matrix)
avg rating 4.23 — 125 ratings — published

by (shelved 1 time as the-matrix)
avg rating 4.19 — 2,914 ratings — published 1970

by (shelved 1 time as the-matrix)
avg rating 3.88 — 34,580 ratings — published 1776

by (shelved 1 time as the-matrix)
avg rating 4.05 — 26,759 ratings — published 1835

by (shelved 1 time as the-matrix)
avg rating 3.93 — 1,180 ratings — published 1890

by (shelved 1 time as the-matrix)
avg rating 3.70 — 51,900 ratings — published 1651

by (shelved 1 time as the-matrix)
avg rating 4.52 — 856 ratings — published 2016

by (shelved 1 time as the-matrix)
avg rating 4.50 — 3,726,827 ratings — published 2003

by (shelved 1 time as the-matrix)
avg rating 4.28 — 133,562 ratings — published 2017

by (shelved 1 time as the-matrix)
avg rating 3.73 — 953,471 ratings — published 2023

by (shelved 1 time as the-matrix)
avg rating 4.17 — 3,086,177 ratings — published 2019

by (shelved 1 time as the-matrix)
avg rating 4.17 — 445,062 ratings — published 2018

by (shelved 1 time as the-matrix)
avg rating 3.30 — 2,284 ratings — published 2018

by (shelved 1 time as the-matrix)
avg rating 4.38 — 1,842 ratings — published 2000
“I am the King of the Internet. What color is your bugatti?”
― Andrew Tate: His Many Controversies, His Muslim Life
― Andrew Tate: His Many Controversies, His Muslim Life

“This is why, where art is concerned, the most interesting thing would be to infiltrate the spongiform encephalon of the modern spectator, For this is where the mystery lies today: in the brain of the receiver, at the nerve centre of this servility before 'works of art'. What is the secret of it?
In the complicity between the mortification 'creative artists' inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties.
Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity.
Interface and performance - these are the two current leitmotifs.
In performance, all the forms of expression merge - the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located.
A (non-) event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this total global fact.”
― The Intelligence of Evil or the Lucidity Pact
In the complicity between the mortification 'creative artists' inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties.
Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity.
Interface and performance - these are the two current leitmotifs.
In performance, all the forms of expression merge - the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located.
A (non-) event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this total global fact.”
― The Intelligence of Evil or the Lucidity Pact