A Response to 2001: A Space Odyssey Essay -- 2001 Space Odyssey Essays

A Response to 2001 A Space Odyssey         I love having the sacrilegious Danube waltz in 2001 its my favorite part of the movie. What I find about amusing about it is that it ties in so well with the smoothness of a space mountain chain. In the setoff space scene, anything that is free floating, like the write or the ships themselves, is perfectly in balance with the music. Nothing in orbit is ever rushed, and at no time does it ever falter from its roaring state of existence. The Blue Danube matches this perfectly, and it contrasts sharply with the forced human stellar endeavors that are also present. For example, when the attendant is attempting to walk along the spacecraft aisle, she looks like a toddler who is just learning to walk, and the music that accompanies her is so sublime and unencumbered. scour the pen she is reaching toward looks like a champion athlete in comparison to her awkward movement. On one level, this can be seen as a symbol for the general idea of humans fighting with disposition itself. Humanity has always tried to separate itself from the beasts we have intricate take in customs that involve utensils, we wear clothes that are much more(prenominal) intricate than those that would be required by basic needs, and most importantly, we do everything we can to make our societies totally disconnected from nature. If this message is, in fact, a part of Kubricks statement, then it is directly comparable to Nietzsches ideas on science and technology. Specifically, I refer to the story on science in Thus stave Zarathustra, where Zarathustra discusses the aspect of science that acts as a security blanket for mankind. As a race, we develop theories and inventions to understand our existence and force our e... ... though. Specifically, he makes me dread the scenes that showcase his creations of strife and pain. If Kubrick intended me to raise my blood pressure during the first space-monolith scene, then his use of Ligeti did the trick. Maybe thats exactly what he intended. Maybe he was trying to communicate the anguish that is inherent to the change embodied by the monolith or the incomprehensibility that overwhelms our imaginations if we think too hard about the infinite prolong of space. Or, maybe he just wanted something that made those particular scenes acquire out and appear ripe for interpretation in any of legion(predicate) ways. Either way, regardless of the intelligence at work in the non-Strauss scoring, I still viscerally liked the Strauss and not much else musically. Thats ok, though, because the Blue Danube and the innovation to Thus Spoke Zarathustra are just that good.