2001
Packaging edition of "2001: A Space Odyssey" and minimal posters.
PROJECT DEVELOPED AT ESAPA
(Escuela Superior de Arte del Principado de Asturias)
THE SENTINEL
"My mind was beginning to function normally, to analyze and to ask questions. Was this a building, a shrine-or something for which my language had no name? If a building, then why was it erected in so uniquely inaccessible a spot? I wondered if it might be a temple, and I could picture the adepts of some strange priesthood calling on their gods to preserve them as the life of the Moon ebbed with the dying oceans, and calling on their gods in vain.
I took a dozen steps forward to examine the thing more closely, but some sense of caution kept me from going too near. I knew a little of archaeology, and tried to guess the cultural level of the civilization that must have smoothed this mountain and raised the glittering mirror surfaces that still dazzled my eyes."
— Arthur C. Clarke
"I think in a film like 2001, where each viewer brings his own emotions and perceptions to bear on the subject matter, a certain degree of ambiguity is valuable, because it allows the audience to "fill in" the visual experience themselves. In any case, once you're dealing on a nonverbal level, ambiguity is unavoidable. But it's the ambiguity of all art, of a fine piece of music or a painting - you don't need written instructions by the composer or painter accompanying such works to "explain" them.
"Explaining" them contributes nothing but a superficial "cultural" value which has no value except for critics and teachers who have to earn a living. Reactions to art are always different because they are always deeply personal."
— Stanley Kubrick
