kottke.org posts about 2001
Syfy is doing a 2001: A Space Odyssey sequel miniseries based on Arthur C. Clarke's final book in his four-book Space Odyssey series, 3001: The Final Odyssey. Here's the book's synopsis:
One thousand years after the Jupiter mission to explore the mysterious Monolith had been destroyed, after Dave Bowman was transformed into the Star Child, Frank Poole drifted in space, frozen and forgotten, leaving the supercomputer HAL inoperable. But now Poole has returned to life, awakening in a world far different from the one he left behind -- and just as the Monolith may be stirring once again
Ridley Scott is executive producing and Stuart Beattie (Pirates of the Caribbean, Collateral) will do the heavy adaptational lifting.
From a large collection of photos shot on the set of 2001: A Space Odyssey, two of my favorites:
Those are a pair of smooth criminals right there.
From a new blog, Typeset in the Future, an examination of the typography in Kubrick's 2001: A Space Odyssey.
It's Futura again, with an M borrowed from Gill Sans, and a W that I don't recognize from anywhere.
A trailer for 2001: A Space Odyssey cut to make the movie seem like a big summer blockbuster.
Not quite sure how these are done -- it looks like each vertical slice is representative of the colors in a given frame from the film -- but these moviebarcodes provide a good sense of a movie's tone and color. This one is...any guesses?
It's 2001: A Space Odyssey. An unexpectedly colorful film. BTW, prints are available. Oh and see also Brendan Dawes' Cinema Redux.
Update: Here's how you can make your own (w/ downloadable source code). (thx, @seoulfully)
One of the more common reactions to Stanley Kubrick's 2001: A Space Odyssey is "wait, what the hell happened exactly?" In a 1969 interview with Joseph Gelmis, Kubrick explained the plot in a very straightforward manner:
You begin with an artifact left on earth four million years ago by extraterrestrial explorers who observed the behavior of the man-apes of the time and decided to influence their evolutionary progression. Then you have a second artifact buried deep on the lunar surface and programmed to signal word of man's first baby steps into the universe -- a kind of cosmic burglar alarm. And finally there's a third artifact placed in orbit around Jupiter and waiting for the time when man has reached the outer rim of his own solar system.
When the surviving astronaut, Bowman, ultimately reaches Jupiter, this artifact sweeps him into a force field or star gate that hurls him on a journey through inner and outer space and finally transports him to another part of the galaxy, where he's placed in a human zoo approximating a hospital terrestrial environment drawn out of his own dreams and imagination. In a timeless state, his life passes from middle age to senescence to death. He is reborn, an enhanced being, a star child, an angel, a superman, if you like, and returns to earth prepared for the next leap forward of man's evolutionary destiny.
That is what happens on the film's simplest level. Since an encounter with an advanced interstellar intelligence would be incomprehensible within our present earthbound frames of reference, reactions to it will have elements of philosophy and metaphysics that have nothing to do with the bare plot outline itself.
P.S. Kubrick also stated that HAL was not gay -- "HAL was a 'straight' computer". (via prosthetic knowledge)
After posting the video of the chickens from the Muppets clucking their way through the Blue Danube waltz, I couldn't resist putting it together with the most iconic use of that tune in contemporary culture. Here, then, is Stanley Kubrick's 2001: A Space Odyssey, the Chicken Cordon Bleu Danube cut.
On Stanley Kubrick, George Lucas, Robert Morris, Robert Smithson, Jane Jacobs, 2001, Star Wars, and minimalism: Star Wars: A New Heap.
Kubrick's film presented a future of company men moving with assurance and clear intention toward a godlike minimalist object. Lucas, on the other hand, gave us a slapdash world of knuckleheads pursued by industrial-scale minimalists. Visually, Kubrick's film is as seamless and smooth as the modernist authority it mirrored. Like the mid-century modernists, 2001 associated abstraction with the progressive ideals of the United Nations as embodied by its New York headquarters. Lucas, on the other hand, was a nonbeliever. Even the initially smooth and unitary form of the Death Star was shown, as the rebel fighters skimmed its surface, to be deeply fissured with an ever-diminishing body of structural fragments. These crenulated details suggested a depth and complexity to modern life that modernism's pure geometries often obscured.
A flying saucer had never been a slum before. The immaculate silver sheen of the saucer was reinvented as a dingy Dumpster full of boiler parts, dirty dishes, and decomposing upholstery. Lucas's visual program not only captured the stark utopian logic that girded modern urban planning, it surpassed it. The Millennium Falcon resisted the modernist demand for purity and separation, pushing into the eclecticism of the minimalist expanded field. Its tangled bastard asymmetry made it a truer dream ship than any of its purebred predecessors. It is the first flying saucer imagined as architecture without architects.
In 1962, Arthur C. Clarke was touring Bell Labs when he heard a demonstration of a song sung by an IBM 704 computer programmed by physicist John L. Kelly. The song, the first ever performed by a computer, was called "Daisy Bell", more commonly known as "Bicycle Built for Two" or "Daisy, Daisy". When Clarke collaborated with Stanley Kubrick on 2001: A Space Odyssey, they had HAL sing it while Dave powered him down.
A clip of a 1963 synthesized computer speech demonstration by Bell Labs featuring "Daisy Bell" was included on an album for the First Philadelphia Computer Music Festival. You can listen to it (it's the last track) and the rest of the album at vintagecomputermusic.com. (via mark)
Update: A reader just reminded me that HAL may have been so named because each letter is off by one from IBM, although Arthur C. Clarke denies this. (thx, justin)