MovieChat Forums > 2001: A Space Odyssey (1968) Discussion > Part I: Concretization of the Technical ...

Part I: Concretization of the Technical Object

posted 4 years ago by Fandango (534)
7 replies | jump to latest

The concept of the title refers to what Gilbert Simondon wrote in: On the Mode of Existence of Technical Objects. The movement of concretization, according to Simondon, represents the genesis of the technical object—an abstract object becoming concrete. In the film, technical progress is depicted according to a motion of concretization, outlining the change of an abstract technical object turning into a concrete one.

Before the monolith appears, we see Moon-Watcher look up to the stars, indicating the dawn of awareness— “the first intimations of an intelligence that could not possibly fulfill itself for ages yet, and might soon be extinguished forever” (Clarke, 196). With Moon-Watcher gazing at the stars, Kubrick accentuates notions of a paradigm shift, or an evolution. When the monolith appears, a similar catalyst occurs. As the man-ape picks up the bone as a weapon, a crystallization occurs, as the bone shifts and assumes the role of a tool with the hammering gesture depicted by Moon-Watcher; “his motion, clumsy at first, becomes more and more firm, and in doing so the bone becomes the technical object” (Fenwick, 2018: 152). The bone becomes a cinematographic object as it is filmed in slow-motion, culminating in a beautiful cut as the thrown bone transforms into a spaceship. This transition not only highlights the abstract technical object (bone) turning into a concrete technical one (spaceship), but of the “parallel evolution of humankind and technique, from prehistory to the twenty-first century” (Fenwick, 2018: 152). With this, the audience is directed from the end of one stage of evolution to the end of the next stage: from prehistory to the space-age. The abstract object holds many technical possibilities (bone as an instrument, tool, or weapon), whereas the concrete object only holds one role (spaceship and its specified function).

Keeping this in mind, Hal’s malfunction becomes interesting. Tasked with keeping a secret while also fulfilling his function, Hal becomes incoherent towards himself, as the web of lies and schemes do not align with what he was initially built for. This in effect creates a contradiction inside his system. “The concrete technical object is one which is no longer divided against itself, one in which no secondary effect either compromises the functioning of the whole or is omitted from that functioning” (Simondon, 1958: 41). By keeping this secret, HAL will never reach the point of concretization which, for an entity claiming to be “foolproof”, is unbearable. This highlights the “technical manifestation of the uneasiness of an unfinished entity which could not reach its complete internal coherence” (Fenwick, 2018: 187).

The monolith represents the concrete object as well as the phase shift for evolution. It gifts Moon-Watcher the intuition and intelligence to craft tools, spurring the technical evolution of man, and it is shown in the final evolution before Bowman transforms into the Star-Child.

What Kubrick seems to be highlighting is man's ceaseless technical evolution. The final monolith no longer aligns with the stars, but with the room Bowman is in, heralding the next transformation of man. "This progress is unstoppable; it is omnipotent, omnipresent and omniscient. It has all the attributes of the divine. It is inexorable, indestructible, and of course benign. It is not only an all-powerful god, but a good god" (Pearce, 2013).

[–] twinA (4921) 4 years ago

May 3, 2021 Monday 12:50 AM ET

The gift of crafting things together, shaping and molding things as one sees fit, also demonstrates an outward expression of an inward ability; the cognitive awareness for investigation. This extension of the the sensory, or the capability to visualize and calculate patterns and discern real-time options, much like playing against an opponent in a game of chess where the goal is to figure out the next anticipated move before it happens, can determine what is simply analytical (the process of things - what a robot can do best) and mindfulness (what human beings at our best can grasp beyond the instinctive need for self-preservation).

An old saying among high school coaches goes "It's not about how hard you can hit, but how hard you can get hit." To turn towards divine providence is to reflect on our selves. Observing such a view, as to what you describe at the end of your piece above, is to adopt consistency - consistency in the sense a good god gives a us life, helping see its immeasurable value in spite of all troubles, sorrows, and hardships; in contrast to wishing for a better life where worth has yet to be given any meaning. To know that life is good is to make good out of life.

~~/o/

[–] Fandango (534) 4 years ago

The gift of crafting things together, shaping and molding things as one sees fit, also demonstrates an outward expression of an inward ability; the cognitive awareness for investigation. This extension of the the sensory, or the capability to visualize and calculate patterns and discern real-time options, much like playing against an opponent in a game of chess where the goal is to figure out the next anticipated move before it happens, can determine what is simply analytical (the process of things - what a robot can do best) and mindfulness (what human beings at our best can grasp beyond the instinctive need for self-preservation).

It is interesting to note the didactic quality of the monolith object. Some viewers have interpreted its vertical posture as mimicking those of human beings. The monolith can be seen as "Human Being in the fullness of its potential" (Kapferer 2014: 44), with its reappearance during human innovation as a representation of human possibility. The monolith's blackness and non-reflective attribute serves to reify its force as a medium that impels Human Being into itself, from out of which the unrealized becomes realized.

An old saying among high school coaches goes "It's not about how hard you can hit, but how hard you can get hit." To turn towards divine providence is to reflect on our selves. Observing such a view, as to what you describe at the end of your piece above, is to adopt consistency - consistency in the sense a good god gives a us life, helping see its immeasurable value in spite of all troubles, sorrows, and hardships; in contrast to wishing for a better life where worth has yet to be given any meaning. To know that life is good is to make good out of life.

It should be clarified that Pearce's notions were in relation to the aimlessness of progressive thinking, just as HAL 9000 forces the audience to look at the moral implications of technological development.

[–] twinA (4921) 4 years ago

May 3, 2021 Monday 11:40 PM ET

It is interesting to note the didactic quality of the monolith object. Some viewers have interpreted its vertical posture as mimicking those of human beings. The monolith can be seen as "Human Being in the fullness of its potential" (Kapferer 2014: 44), with its reappearance during human innovation as a representation of human possibility. The monolith's blackness and non-reflective attribute serves to reify its force as a medium that impels Human Being into itself, from out of which the unrealized becomes realized.

One's potential never fails unless it is never realized. We can do anything in our power to help something, someone, or anything to succeed. Like planting a garden, we can keep on continuing to water and nurturing what is available to us, what is not originally ours to begin with. And yet, we find ourselves being thankful for what we have been given. Innovation is not only a means of ingenuity but is also a bringing of different aspects into a greater whole; an embodiment - personal completion ('Shabbat').

It should be clarified that Pearce's notions were in relation to the aimlessness of progressive thinking, just as HAL 9000 forces the audience to look at the moral implications of technological development.

A wheel without its axle is not going to work as intended. Even if it could be replaced or fixed, it's no longer the original part it was beforehand, should the new axle be the same in concept or design. Because there is a design, there is also a goal. Some may think prayer has no effect on life but it does change people.

~~/o/

[–] Fandango (534) 4 years ago

Thank you for the insights.

There is of course an additional element to the film that must be considered. I am referring to HAL 9000, which I outlined in the second thread. In relation to our cogitations on human potential and the quality of goodness, HAL is not only a testimonial on the struggle of humanity against artificial intelligence, but of previously explored concepts (i.e., Ex-Machina) of material triumph over the spiritual. The notion that humans control their creation is given doubt, as we see HAL assert a form of will independent from its creator, and a sense of self-preservation that facilitates deceit and murder.

The significance of HAL shutting the pod bay door and trapping Dave is what Carl Freedman referred to as "a treacherous rebellion of machine against humanity." In this moment, we see the material object (HAL; technology as a whole), attempting to assert its primacy over the spiritual (Dave; humanity as a whole).

[–] SteveG (1370) 4 years ago

My biggest takeaway from the opening was that violence and meat eating caused the next step in evolution. But I am not a smart man.

[–] Fandango (534) 4 years ago

That was certainly my interpretation of it as well. In the beginning, we see man-ape on the brink of extinction as it competes with the tapirs for food. After the presence of the monolith, Moon-Watcher begins to see the bone as a tool that can be used for various purposes, such as hunting to obtain food.

Caterina Martino's analysis is rather interesting here:

Moon-Watcher remembers the monolith once it has disappeared, and he visualizes the death of the tapir, which is something that has not happened yet, given that it was a mental image. The image of the tapir that dies, an image repeated twice and corresponding to an inversion between left and right, can be interpreted as a symmetry of past and future. Moon-Watcher connects the bones to the past (the tapir was alive) and to the future (the tapir is alive but can die) due to the memory that the monolith has gifted him.

[–] SteveG (1370) 4 years ago

Ok right on.