![]() ![]() In a paper published by the team in the journal Nature Machine Intelligence on Monday, the authors say that the design is modular, allowing astronauts to use it for a wide variety of purposes in space travel. That’s why a team of researchers at Switzerland’s Ecole Polytechnique Fédérale de Lausanne (EPFL) engineered an origami-inspired robot called Mori3 that can morph itself into nearly any 3D object. Since space will be limited on the rockets, though, whatever bots come with us will have to be flexible both figuratively and literally. However, as NASA and the rest of the world has its sights set on interplanetary exploration-with eventual crewed trips to the moon and Mars-robots will play a much larger role in helping us get there. Several of these are already aboard the station helping crew members with little tasks like taking stock of inventory and recording experiments using its on-board cameras and sensors. For example, NASA’s Astrobee is a cube-shaped bot that zooms around the International Space Station. Kubrick was undoubtably of the "shoot first, ask questions later" school of negotiation.While robots in space might have you thinking of the snarky droids of Star Wars or even the nefarious HAL 9000 from 2001: A Space Odyssey, most of them are much more limited in what they can do. ![]() And even when Kubrick was artistically satisfied with the music he chose, negotiations to procure the rights weren't necessarily smooth.Ģ) Kubrick's associates did obtain licenses from Ligeti's publishers and from record and radio companies, although they were not forthcoming about the pivotal role assigned to the music in the film 3) Ligeti learned about the use of his music not from his publishers but from members of the Bavarian Radio Chorus 4) he attended a showing of the film with stopwatch in hand, furiously scribbling down timings - thirty-two minutes in all North first learned that Kubrick ditched his score at the NYC premiere of the film he was reportedly (and understandably) "devastated". (via Two additional facets to this story. The classical score gives the film a timeless quality, adding to the film's appeal and reputation more than 45 years later. Kubrick was absolutely right to ditch North's 's perfectly fine music but totally wrong for the movie, not to mention it sounds totally dated today. Selections from North's original score were later released publicly. For comparison, the embedded video shows how North's original score would have sounded over the opening credits and initial scene. Although he and I went over the picture very carefully, and he listened to these temporary tracks (Strauss, Ligeti, Khatchaturian) and agreed that they worked fine and would serve as a guide to the musical objectives of each sequence he, nevertheless, wrote and recorded a score which could not have been more alien to the music we had listened to, and much more serious than that, a score which, in my opinion, was completely inadequate for the film.Īnd so the temporary music became the iconic score we know today. Then, in the normal way, I engaged the services of a distinguished film composer to write the score. When I had completed the editing of 2001: A Space Odyssey, I had laid in temporary music tracks for almost all of the music which was eventually used in the film. Well, with a little more care and thought, these temporary music tracks can become the final score. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you're editing a film, it's very helpful to be able to try out different pieces of music to see how they work with the scene. However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. From an interview with Kubrick by Michel Ciment: As production progressed, Kubrick began to feel that the temporary music he used to edit the film was more appropriate. North had previously done scores for A Streetcar Named Desire, Spartacus, Cleopatra, and Who's Afraid of Virginia Woolf? and later received an honorary Oscar for his lifetime of work. ![]() During the production of 2001: A Space Odyssey, Stanley Kubrick commissioned well-known film score composer Alex North to do the score for the film. Space oddity: song rejected by Kubrick for 2001 released after 52 years Stanley Kubrick asked a young publicist to write a track for his movie, but didn’t use it. ![]()
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