Man and Sin by Piet Schoonenberg (1964) 1.5F2

[What art?  How about the three movies series entitled The Matrix?

Consider the quandary facing the Architect of the Matrix. The fact that there is an equal sign (“=”) in the Architect’s self-construction means that a remainder on the one side of its equation must be balanced with a remainder on the other side.

The imbalance in the Matrix consists of one remainder destabilizing the other remainder and visa versa.  The remainder itself is generated by acquisitive mimesis.  People choose to leave the Matrix.  However, once the remainder is balanced on the other side of the Architect’s equations, conflictual mimesis begins.  The programs themselves want to escape the Matrix.  They do not want to be deleted.  They want freedom.

The initial destabilization stems from the inability to predict human action – that is – the acts that situate human choice – once the human chooses to be free.  If a person chooses to belong to the Matrix, then the architect can mathematically account for all the person’s behaviors.  If not, then a remainder ripples through the Matrix, small but compounding with other ripples, eventually precipitating the crisis depicted in the movies.

So the question becomes: Are the Architect’s equations equivalent to mortal sins?

The answer is: The Architect is composed of the equations.  Can equations commit mortal sins?  No, but they can animate them.

By analogy, angels are what they do.  And what do they do?  They symbolize order.  They cannot commit mortal sins, but they can animate them, just as the Architect animates a Matrix of total deception based on mathematical equivalence.]