It looks like you're using an Ad Blocker.
Please white-list or disable AboveTopSecret.com in your ad-blocking tool.
Some features of ATS will be disabled while you continue to use an ad-blocker.
Solve et Coagula
fire, AIR, water
Source ~ Secret Fire: The Relationship Between Kundalini, Kabbalah, and Alchemy - Mark Stavish, M.A.
The Three Essentials are the alchemical principles of Sulpher, Mercury, and Salt. Like the “Elements” these principle concepts are to be thought of a “Philosophical” and not literally as chemical elements or compounds. The Alchemical Sulphur, or Soul, of a things predominates in the animating principles of energy (Fire) and intelligence (Air); Alchemical Salt, or the physical body of a thing, predominates in unconscious forces, psychic, and instinctual intelligence (Water) and solid matter (Earth); Alchemical Mercury, or general life force, predominates in intelligence (Air) and instinctual forces, and psychic energy (Water), as such it is the link, or bridge, between the higher forces of Sulphur and the lower body of matter.
Monolith - The One Stone
Let's begin with a description of the film so that we can place everything in context. The film opens with a magical sun-earth-moon alignment. We are just at the end of a lunar eclipse. The sun is pulling away from the alignment. The shot is taken from just beyond the moon's point of view. It shows the earth rising over the moon, with the sun rising over the earth. The soundtrack is the 'World Riddle' theme from Strauss' 'Thus Spoke Zarathustra'. Right away Kubrick is showing the viewer the relationship between the philosopher Friedrich Nietzsche and the film, between transformation and extinction. The Zarathustra essays by Nietzche are his most revealing and magical.
Alchemy the process of transmutation of the spirit goes through four stages or realms. Kubrick also breaks the film into the four aspects. In the 'green language' or the 'language of the birds' of alchemy, many of the messages and writings can be broken down into this type of four-part transmission.
The soundtrack is playing Ligeti's 'Requiem' and 'Lux Aeterna', which sounds like a psychedelic Gregorian chant. This is a religious and spiritual moment of great importance. Kubrick is not hiding this in any way.
The leader of the ape men, the first murderer, howls victoriously and throws his bone into the air. This is where Kubrick magically transforms the bone into a spaceship and rejects all of human history in one-twenty-fourth of a second. In his audacity, Kubrick is telling us that all of history is meaningless. He dispenses all of civilization as if it were insignificant. And, in a way, that is the complete point. He is telling us that the ape men's encounter with the monolith and whatever is about to happen in this film is vastly more important than all of the wars, famines, births, marriages, deaths, disasters, discoveries and art of the last 4 million years.
He shows us that this humanity, imprinted by technology, television and the disappearance of nature, is also now void of emotions or feelings. Humanity has become the same as the machines that surround them.
The scene on the moon has been cloaked in the darkness of night until now. But now the sun rises just over the horizon. It's light strikes the black monument for the first time since it has been buried, presumably four million years ago. As the light strikes the monument it suddenly emits a high pitched signal that pierces through the ears of the men. Interestingly Kubrick has shown the earth setting opposite of the rising sun. It is subtle, but there is a lunar eclipse going on at the precise moment that the monument begins to emit it's signal
And so the gamble of the monolith has paid off to a certain degree. It intervened in our history to teach us about tools. Now at the very end of the age, at the very end of the millennium, mankind has accomplished much. But at what cost? Kubrick is content to show that the cost of this gift is our souls. Whatever we have gained from the gift of toolmaking, we have lost just as much through the slow death of our souls. As we replace nature with technology, we also replace our souls and individuality with a hive-like mentality.
Bowman is now Odysseus, like the title assumes. Like Odysseus, Bowman must go as far away from home as is possible. He must face monsters and experience things that he does not understand. All of this must be done before he can return home. Earth, or home, is a long way off now. Bowman is just following orders and he must now investigate the strange monolith that is circling Jupiter. Like Odysseus, Bowman will be transformed by this voyage beyond all recognition. When, and if, he does return, Bowman will be the wisest of all - for he was the one brave enough to enter the waters of eternity - and come back home to tell us about it.
This is humanity's initiation. Bowman is our representative in this process. He is the first man through. In this experience of passing through the monolith, or the single stone, Bowman is shamanically transformed by a completely psychedelic experience. Real information is being passed to Bowman by the monolith. This information is experiential and shamanic.
The fourth and last sequence in the movie concerns the voyage to the infinite. In this chapter Bowman experiences a universe far more vast and unbelievable than any mortal man has ever conceived. In the final realm of the Kabbala the seeker can swim in the ocean of the mind of God - which is represented by the sephireh named Kether. This state of awareness is a Sammadi-state from the yogic tradition. It can only be attained by very few people. In the case of the film, the final realm of the Tree of Life can be only attained by one man and this can be done only with the help of the monolith, or the stone. Bowman - the furthest out and the loneliest person in the universe - is that man.
Bowman has been to the end of the universe and back. He knows that he is in a prison of his own design, which is the meaning of the last few scenes in the hotel-like room. Bowman's ultimate realization that he is trapped is made symbolically by Kubrick with the breaking of the wine glass. Even after all that he has been through Bowman still makes mistakes. The wine glass is like a zen koan that illuminates the mind in a flash. His own fallibility thrusts the scene towards it's climax as the old man dies on the bed and sees the monolith for the last time. The Great Work of the stone is complete. There is now a man, a human, who understands the greater universe. This man also understands that he is trapped in a jail that his own consciousness has designed. With the realization of his own fallibility, and his own trapped spirit, he is finally liberated from the realm of the hotel prison, or the world of illusion. In that instant he understands what the book of stone is trying to tell him. He lifts his hand in a gesture of understanding. And in that moment he is transformed - without dying - into the Starchild.
Originally posted by pepsi78
reply to post by timewalker
Good movies, the two series. I enjoyed them very much. I advice anyone to see these two movies who holds interest in their spirituality.
I also must say you made a very nice thread about all of this.
edit on 20-9-2011 by pepsi78 because: (no reason given)
Originally posted by Astyanax
reply to post by Frira
Nicely analyzed, though I’m not sure you didn’t take it a bit too far with that ‘machines undergoing primal awakening’ bit. What is true about 2001, though, is that the machines are a lot sexier than any of the humans in the story.
edit on 20/9/11 by Astyanax because: of if.
t is important to not underestimate Arthur C. Clarke's important contributions to 2001. After all the script is ostensibly based on his short story The Sentinel. Written in 1953, it tells the story of a group of astronauts who discover an artifact on the moon that is left by an alien race. Truthfully though the movie is more properly based on Clarke's novel Childhood's End. This fabulous novel is a science fiction treatment of an essential Gnostic ideal. There can be no doubt that Kubrick had read Childhood's End and understood it's significance. By aligning himself up with Arthur C. Clark, Kubrick was able to bring in these Gnostic, alchemical ideas through the convention of science fiction.
It has always been a mystery as to where Arthur C. Clarke came up with the idea for Childhood's End. He insists that he knew nothing of gnosticism or ancient magical traditions when he wrote the book that many have proclaimed to be the best ever in the genre of science fiction. Whatever Clarke wants us to believe is not the subject of this essay. Suffice to say that Clarke was a well read individual. It appears odd that he wouldn't have known of the Gnostic traditions. Kubrick, however, proves that he knows what he is doing at every step and this is the real reason why he is not talking about the film to anyone.