![]() ![]() Until humanity learns to trust itself, until it learns to value telling the truth, we will be doomed to repeat the cycle, as we have done for thousands of years, waking up for a brief moment, only to tell the kids to hush and go back to sleep, and leave it to the alphas to defend the watering hole. ![]() Yeah, I saw (and still see) in it what I, as a scientist saw (and still see) as the tragedy of human self-betrayal. It's going to go 100 failure in 72 hours. HAL: 'I've just picked up a fault in the AE35 unit. The HAL 9000 computer, artificial intelligence which can talk and mimic the human brain, announces a problem. So here we are a half-century later lying to ourselves while our children protest in the streets against a society that has stripped them of the chance to build their own future while feeding a select few of them formal dinners in a sterile white prison. In 2001: A Space Odyssey, there is a problem aboard Discovery One. Mysticism prevails, and humanity, stripped of its diversity and history, has to start over as a single naked star-child floating in the void. And it quite naturally has an existential crisis of its own. So you take the first computer with a true AI consciousness and program it to run a scientific expedition while lying to its colleagues. How do you deal with a crisis of human self-understanding? With secrecy and lies. The characters in the film are boring, wooden, officious, and unable to deal with the unknown because they have no trust in their fellow humans. The story is one of human ethical failure, and the triumph of mysticism and bureaucratic (and corporate) banality over human curiosity and open inquiry. It was a warning against a common societal failure, and it was ignored. It doesn't surprise me at all that modern audiences don't appreciate it. Strangelove.I first saw 2001 in my early 20's as a beginning science grad student, and have watched it at least a half dozen times over the years. Drawing upon extensive research into the Stanley Kubrick Archive, coupled with a detailed knowledge of Kubrick’s oeuvre, this article will suggest alternative readings of the character of HAL to (re-)locate “him” in the context of Kubrick’s New York Jewish background and, in particular, how Kubrick’s construction of the character showcased his sense of humour that so powerfully animated his previous two films, Lolita (1962, Stanley Kubrick) and Dr. 92), and Clarke always insisted that the name of his computer character was. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb (1964, Stanley Kubrick), ‘we are ploughing through every possible three letter combination of the code there are seventeen thousand permutations’. (Book 389 from 1001 books) - 2001: A Space Odyssey (Space Odyssey 1), Arthur C. Set in the year 2010, the plot centres on a joint Soviet-US mission aboard the Soviet spacecraft The Cosmonaut. It is the sequel to his 1968 novel 2001: A Space Odyssey, though Clarke changed some elements of the story to align with the film version of 2001. The odds of such a coincidence, however, were very high. So is the off beat and absolutely luxurious editing of 2001, which, when paired with abrupt temporal leaps, it makes eons seem short and moments seem endless, and its brilliant deployment of music to organize, and often ironize the actions and characters. 2010: Odyssey Two is a 1982 science fiction novel by British writer Arthur C. In what will be argued is an example of his signature misdirection, Kubrick denied any connection, insisting that it simply stood for ‘Heuristically Programmed Algorithmic Computer’. Much ink has been spilled on the origins of HAL’s name, particularly its proximity to the letters, and hence the company, IBM. Kubrick seemed to be particularly concerned with HAL, spending more time, care, and attention lovingly crafting its character than that of the film’s humans. In Stanley Kubrick’s 2001: A Space Odyssey (1968), the spaceship Discovery is run by a supercomputer named ‘HAL 9000’. ![]()
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