Hawt and cool at the same time.... dang. Now I'm wondering if its possible to create new "Games" with the flexiglasstic... Could it record dreams? That would be a easy way to make gameworlds while you sleep >.> ... could be interesting ^^
Hawt and cool at the same time.... dang. Now I'm wondering if its possible to create new "Games" wit
hm i can imagine it can record dreams. dunno how fleshed out it can be or interactive.....since that still probably require programming and defining how stuff would react...i dunno maybe the dream can do all that :D
hm i can imagine it can record dreams. dunno how fleshed out it can be or interactive.....since tha
At least it provides the main graphic stuff.. which is usually the most difficult to make.. .. but then again why not just tap into the memory of the wearer, creating a image from what is there already. Try not thinking of a purple ewaphant... now you are thinking of a purple ewaphant!
At least it provides the main graphic stuff.. which is usually the most difficult to make.. .. but t
You mean Johann Strauss's The Blue Danube (1866), Richard Strauss's Thus spoke Zarathustra (1896), Aram Khachaturian's Gayane (1941-'57), Györgi Ligeti's Atmospheres (1961), or Ligeti's Lux Aeterna (1966)?
You mean Johann Strauss's The Blue Danube (1866), Richard Strauss's Thus spoke Zarathustra (1896),
You mean Johann Strauss's The Blue Danube (1866), Richard Strauss's Thus spoke Zarathustra (1896), Aram Khachaturian's Gayane (1941-'57), Györgi Ligeti's Atmospheres (1961), or Ligeti's Lux Aeterna (1966)?
You mean Johann Strauss's The Blue Danube (1866), Richard Strauss's Thus spoke Zarathustra (1896),
Ah yes, that's Strauss's Thus spoke Zarathustra, which Kubrick put in there for the Nietzschean reference.
Thus spoke Zarathustra originally was an 1883-'85 book by Friedrich Nietzsche which centrally dealt with Nietzsche's idea of the Übermensch, which is the "superman" that will come "after man", just as "man came after ape". In 1896, Strauss put the beginning of his symphony, where both the sun and the philosopher Zarathustra rise to a monumental day of fundamental grandness, based on Nietzsche's book to the tone poem made world-famous by Kubrick in 2001.
Kubrick, however, uses Strauss's tone poem not only for a literal dawn, but rather, as we can see by the caption Dawn of Man in the beginning of the film, relating it to Nietzsche's notion of the Übermensch "that will come after man", directly alluring with the film's first scene to Nietzsche's analogy of the transition "from ape to man".
Kubrick thus uses Thus spoke Zarathustra in counterpoint and contrast to The Blue Danube. Thus spoke Zarathustra in the film accompanies two scenes of rise, dawn, transcending, ascension, and transition from one fundamental level to the next, first from ape to man, then in the end from man to Übermensch. The Blue Danube (heard for the "space ballett" sequence of man-made ships and satellites gracefully dancing in perfection and harmony in outer space, introducing the 1999 scene on the moon where they find the monolith on the moon and hold a conference about its nature), however, is used when we see the end point of a line where highest perfection and harmony have been reached but everything has become mechanic and sterile, and a fundamental quantum leap to a pioneering, ground-breaking new and higher level in its raw infant state is required for any further growth, which in turn is represented by Thus spoke Zarathustra that is as majestic as the pioneering step to the next level.
Ah yes, that's Strauss's Thus spoke Zarathustra, which Kubrick put in there for the Nietzschean ref
The Blue Danube in the 1999 "space ballett" sequence represents Nietzsche's state or age of the "last man" prior to the rise of the Übermensch. At the perfect and harmonic but basically lifeless and ultimately moribund state of "last man" (who is also represented by the perfect but lifeless HAL ultimately doomed to fail in all his man-made perfection and cold logic), a fundamental quantum leap to the next level is required, which Kubrick in turn represents with Thus spoke Zarathustra where in the end, Dave Bowman turns into the Star Child, the infant stage of the Übermensch, man's superior successor.
The Blue Danube in the 1999 "space ballett" sequence represents Nietzsche's state or age of the "la
Oh, fear not, I just explained the most important cryptic symbols in the movie and what Kubrick tried to say with them. The movie is so philosophical, I could say all that and only saying little about the plot itself which Kubrick uses to drive his points home, so you can still see the movie without any of the plot twists spoilt for you.
It also helps to read the original books (2001, 2010: Odyssee Two, 2063: Odyssee Three, and 3001: The Final Odyssee) by Arthur C. Clarke after seeing the movie. Many people can't make sense of the plot because they don't care about the novels. At least the first one was written before the movie came out. The original seed to 2001 was The Sentinel, a short story Clarke had written back in the 1950s. Kubrick then came up to Clarke to tell him to expand the themes contained in it into a novel, and they both turned that novel Clarke had written upon Kubrick's suggestion into the screenplay for the movie together and only released the novel as "The book accompanying the film" even though it was really first.
There's two famous quotes by Kubrick about the movie. One is that people are free to speculate about 2001 all they want, in the other he denies any significance to the books that explain the plot if not the philosophical background. But I've also read reasonings as to why we can't really trust Kubrick on the latter.
Oh, fear not, I just explained the most important cryptic symbols in the movie and what Kubrick trie
Would you be willing to add a slide without Raine? I mean no disparagement to her with this request; I'm merely curious to see the full sun and comet tail ^^
She is radiant with those highlights, gorgeous. Would you be willing to add a slide without Raine?
