Here’s another intriguing think piece, combining cinema, science, art, philosophy, and a wildly creative imagination, from Doug “Uncola” Lynn at theburningplatform.com:
The screen is dark. Eerie and oddly dissonant music begins to play. The screen remains black. At two-minutes and fifty seconds the music stops, followed by six seconds of silence over the blank nothingness before the Metro-Goldwyn-Mayer MGM logo fills the screen as the symphonically ascending chords and drumbeats of Richard Strauss’ Also Sprach Zarathustra increase in volume. In a view from the moon, the sun rises behind and then above the blue sphere of the earth.
The Dawn of Man
A series of colorful still-shots reveal a primordial sunrise then transition to daylight shots of desert scenes, against the isolated sound of the wind howling. White bones are shown on the dry, rocky ground under mammals resembling pigs that are rooting in near proximity to prehistoric monkey-men. Two separate tribes of the ape-like creatures scream and wildly gesticulate on each side of a watering hole before one side cautiously retreats. An ancient ancestor of the leopard lies prone over the neck of its dead zebra prey; the leopard’s eyes reflective, like mini-suns embedded in the shadow of its skull, ever watching.
The viewer feels a part of the experience, eons ago, sensing the danger and harsh living conditions of multitudinous mammals teeming on the austere earth beneath the strangely serene, ancient sky. The nights appear cold in blue moonlight as the tribe of monkey-men huddle in a cave, listening to the guttural growls of predators nearby. Primeval primates, male and female alike; waiting anxiously, their bloodshot eyes shifting in apprehension.
To continue reading: 2001: A Space Odyssey of Transcendent, or Transcendental, Evolution?