In relation, French philosopher Jean
Baudillard examines the relationships based on the significations of symbols
and representations in society, constructing simulations ‘perceived to be
reality’ (Baudillard, J, (1998). Baudillard studies how
every individual in a consumerist society, has the choice to escape in “that
which never hides the truth, but hides the fact that there is none”. (Baudillard, J, (1998). As for the Matrix, Morpheus offers Neo (the
main protagonist) a chance to accept the ‘hyperreal’ in the form of a blue pill
to enter the world of fantasy. (Image 3) A world imprisoned form the real – the
Matrix. The term hyppereal was first coined by Budilard through core texts
Simulacra and Simulation (1983); it is the product of the distortions of the
real through endless simulations in the context of radio, newspaper, television
and film. Semiotician Umberto Eco discusses the notion of simulations and
counterfeit realities in a contemporary society through his essay ‘Travels in
the Hyper Reality’, this essay specifically delves in on the artificial
landscapes of the imaginable in America for example Disneyland.  His suggestion is that American cultural
impact enshrines hyperreality, all these landscapes create a fictional reality
that is often more detailed than the actual reality. The outcome of this pseudo
reality is that the duplicate becomes so real and appreciated, there is less
focus on the original the truth. “The pleasure of imitation, as the ancients
knew, is one of the most innate in the human spirit: but here we not only enjoy
a perfect imitation, we also enjoy the conviction that imitation has reached
its apex and afterwards reality will always be inferior to it”. (Eco, U. (1990). Pg. – (45-47).