5001 – Symbolism in Stanley Kubrick’s 2001: A Space Odyssey is the name of a PDF created during a timespan from circa late 2012/early 2013 until the release in January of 2019.

 

The name is in celebration of the 51st anniversary of the premiere of Kubrick's film, while also hinting of that a brand new – and very evidence-based – view of the film is being presented.

 

The very clear and logic symbolism is, exclusively and without exception, backed by an evidence relying on within the film cross-referencing empirical conclusions.

 

 

READING GUIDE:

Don’t be overwhelmed by the size of the document: ’5001’ is a guide,

step by step presenting the revelations made about this film.

 

The pages are presented with an abundance of space, in order to present

the content in the most accessible way possible.

 

You might want to start at page 26 if you’re in a hurry – that's the first

page of the first chapter.

 

The presentation of the symbolism is delivered bit by bit and in very

small steps. Each page is referring back to what has been presented

previous, one referring symbol building on the other. Which means

that this work should be progressed page by page, one page at a time,

and not by skipping back and forth. (Just DON’T.)

 

 

Presented below are six videos promoting this work. (All links found at the end of this presentation.)

 

VIDEO: The Tribe

For the first time since the premiere of 2001 in 1968, the visual and symbolical connection between the first of the fights for the water hole in ’The Dawn of Man’ episode and the meeting taking place in the Space Station 5 is being established.

 

Explanation of the video: As Dr. Floyd meets up with the group of Russians, the round table is functioning as the symbol of the water hole in the ’Dawn of Man’ episode. There is a link between the dynamic between Dr. Floyd and the Russians and the dynamic between the two groups of apes fighting.

 

The link between these two scenes is analysed at a deeper level in the PDF of ’5001’.

 

The pure visual link, as presented in the video, comprises of two pages of images in the PDF. This example is one of perhaps fifty or more from the film, presented in the ’5001’ PDF, in which completely different scenes are juxtaposed to uncover a clear, logical and concise hidden connection.

 

VIDEO: The Mirror

For the first time since the premiere of 2001 in 1968, the visual link between the sequence of the dug up Monolith on the moon and the hotel room ending sequence is being established. Both scenes are constructed out of the same successive points of view; which leads not only to a visual connection, but also a symbolical.

 

Explanation of the video: The spacemen on the moon is being linked to the spaceman (Dave Bowman) of the end sequence. The excavated pit is being linked to the room and the bathroom of the end sequence. Dr. Floyd on the moon appears from behind of the Monolith, the reflection of Dave Bowman appears in a mirror. The spacemen on the moon approaches the Monolith, Dave Bowman approaches the mirror: in succession, the Monolith has been visually linked to the mirror in the bathroom.

 

The link between these two scenes is presented and analysed at a deeper level in the PDF of ’5001’.

 

VIDEO: ’Rococo art’

For the first time since the premiere of 2001 in 1968, the meaning of the mysterious paintings seen in the hotel room end sequence is being revealed. It has hitherto been unknown that the paintings has parts from – in exact replication – the paintings of rococo painters Boucher and Watteau. The paintings themselves comprises of motifs in abstract correlation with the mise-en-scène of certain scenes in the film.

 

The examples in the video is only a handful of those presented in ’5001’. The correlations grow as the symbolism in the film is being presented at a deeper level.

 

Omitted from the video is that the abstract correlations between these particular paintings and frozen mise-en-scènes also extends to all of Kubrick’s films after 2001, most notably Barry Lyndon and Eyes Wide Shut.

 

VIDEO: ’The Discovery of the Pen’

For the first time since the premiere of 2001 in 1968, the connection between the iconic scene of the ape discovering how to use a bone as a tool (or weapon), and the casual way a stewardess, in the spaceship heading for Space Station 5, is picking up a pen in weightlessness is being established.

As presented in the video, the link between the two scenes is seen as merely an allusion, one scene alluding back to the other. As presented in the PDF of '5001', the link is being thoroughly investigated, empirically concluded in that other scenes in the film are, in extension and over and over, cross-referencing to the connection.

 

There is a shared symbolical link between the bone and the pen – one a tool for fighting, one a tool for writing. There is a discussion to be found on the conclusion; on the evolution of mankind, on violence contra intellectual activity, etc. ’5001’, as an analysis of the film, touches on these subjects, but most of all the conclusions of the uncovered symbolism – ie., the discussion itself – is being left to the reader to indulge in. It is in this sense that ’5001’, in many aspects, still regards 2001 as an open and fluid work of art, in the aim of triggering further discussions about the film rather than trying to give solidifying answers concerning the broader themes of evolution, religion, philosophy etc. This in a celebration of the film itself.

 

VIDEO: ’2001: A Space Odyssey is a hall of mirrors’

For the first time since the premiere of 2001 in 1968, the connection between the hotel room end sequence and Dave Bowman and Frank Poole's hiding in the podbay is being established.

 

The link between the two scenes is introducing a broad (though deliberately shallow, in terms of what is being omitted) introduction to the entirety of ’5001’. This is the most ambitious of the portfolio of videos promoting this work.

 

VIDEO: ’Hotel room ending in 2001: A Space Odyssey recreates Frank Poole vs. HAL 9000 chess moves’

For the first time since the premiere of 2001 in 1968, it is being established that the hotel room end sequence is based on the chess moves of the infamous game of chess played by HAL 9000 and Discovery crew member Frank Poole. The video explains the moves of the game of chess played in the film, and then summarizes, in detail, move by move, the correlation with the events taking place during the end sequence.

 

(This video is the introducing pages of ’5001’ more or less put straight into a video editor, with pacing and sound added for effect.)

 

What is being presented in this video is further extended, confirmed and analysed, in a dozen of various aspects, throughout the entirety of ’5001’.

 

                             *

 

These videos are all comprising of selected snippets out of my work on 2001. Please mind: these videos are promoting my work on 2001, but they are not the work, and they are all secondary to the pages of the work itself. I would like to quote a few lines from a more thorough presentation of the ’5001’ PDF:

   

”Understanding that no one wants to spend time on an obscure PDF attracting no attention from anyone whatsoever, I went on making a few more videos promoting my work – only that there’s no way to make a short video that even begins penetrating the fractured and multifaceted tree of connections discovered and described throughout the pages.

The videos are all just images; and nothing else, lacking the skeleton, the spine, of explanations that runs through the pages of [’5001’]; in which those same images are part of a coherent, unified and logical whole.

In that sense, the videos are all examples rendered shallow, showing only one side of a coin: displaying an outcome but not a reason.”

 

”Imagine you have a completed jigsaw puzzle in front of you: that would be an abstract image of my work on 2001. Someone points to a piece, saying, ’How can you claim this piece fits in place exactly here?’

If you display the solitary jigsaw puzzle piece, and nothing else, it says nothing. The only way to ’explain’ the jigsaw puzzle piece would be to present its placement in a logic, unified and structured whole.”

 

LINKS:

the youtube channel

www.space5001odyssey.com the website of of ’5001’

www.space5001odyssey.com/story - a further presentation of my work, 'FAQ'

#kubrick5001 hashtag on twitter - the hashtag under which I promote my work

 

 

contact: @halldinanton