ece2d501-004f-4e61-87e7-8ece098bee8eenworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-04-10T08:17:20+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user446b9999-8a78-45c8-b558-c875d4aee362<value>Trette Menn</value>2019-03-25T14:38:29+00:00Y-m-d\TH:i:sP2021-04-10T08:17:20+00:00Y-m-d\TH:i:sP0011/creative-work/trette-mennen1node7cabc003-bc75-434b-8ce2-e71d4a9727afNOnode584a8e50-afbe-4f90-be4c-96101014d6e2taxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term440a67c5-82be-4906-87dc-ffce1c1b6233«De har f.eks.,» sa han, «ingen forestilling om, hvordan et fremtidig aftenselskap vil arte seg.» Og han fortalte, hvorledes gjestene, efter å ha inntatt et fyrstelig aftensmåltid – «à 50 øre pr. kuvert, viner iberegnet» – ved kaffen ville få ihende et «program for aftenens nydelser», som oversatt i nutidens sprog ville se omtrent sådan ut: Théâtre francais: Den gjerrige. Grand Opéra: Don Juan. Opéra comique: Barberen i Sevilla. Théâtre d’Eden: Grand Ballet. Circus Renz: Forestilling. St. Peterskirken: Stor aftenmesse med prosesjoner. House of Commons: Aftenmøte; stor tale av Gladstone. Philharmonie: Bülow-konsert. osv. osv. «Så kommer den elskverdige vert og spør enhver især: har De truffet Deres valg? Hvilket stykke vil De se; hvilken opera vil De høre? – Hvorpå enhver innretter seg ved sin telefon og sitt skjermbrett – De forstår: det brett som opptar de fotografiske øyeblikksbilleder av vedkommende stykke, således at man ikke blott ører hva som sies, men også ser hva som foregår, hver bevegelse, hvert minespill… I mellomaktene spaseres der da og utveksles inntrykk. Den ene jubler over de spanske danserinner på Edenteatret, mens den annen dør av begeistring over Gladstone’s speech… Det blir en underholdning!» (Arne Garborg, Trette menn, 1891, s. 218-219)

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basic_text_editor
taxonomy_term21789815-9286-4c11-bdb1-f9921745b2af0taxonomy_termdd951d1c-96fd-4892-8ce6-0de1ad9f5d7ataxonomy_term791bba71-1937-4481-8f9c-a8b4be6a48fdThis novel from 1891 is about bohemian Gunnar Gran, society, love, religion. The only reference to machine vision is in the description of an imaginary "screen" that would allow dinner guests to view concerts, speeches and plays performed in other cities in real time. It is notable for its early prediction not just of television but of individual "tablets" (skjermbrett) for viewing. 

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taxonomy_term16ee0ef9-e552-4342-8de3-62a460cfea481891-01-01
ece2d501-004f-4e61-87e7-8ece098bee8eenworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-04-10T08:17:20+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user446b9999-8a78-45c8-b558-c875d4aee362<value>Trette Menn</value>2019-03-25T14:38:29+00:00Y-m-d\TH:i:sP2021-04-10T08:17:20+00:00Y-m-d\TH:i:sP0011/creative-work/trette-mennen1node7cabc003-bc75-434b-8ce2-e71d4a9727afNOnode584a8e50-afbe-4f90-be4c-96101014d6e2taxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term440a67c5-82be-4906-87dc-ffce1c1b6233«De har f.eks.,» sa han, «ingen forestilling om, hvordan et fremtidig aftenselskap vil arte seg.» Og han fortalte, hvorledes gjestene, efter å ha inntatt et fyrstelig aftensmåltid – «à 50 øre pr. kuvert, viner iberegnet» – ved kaffen ville få ihende et «program for aftenens nydelser», som oversatt i nutidens sprog ville se omtrent sådan ut: Théâtre francais: Den gjerrige. Grand Opéra: Don Juan. Opéra comique: Barberen i Sevilla. Théâtre d’Eden: Grand Ballet. Circus Renz: Forestilling. St. Peterskirken: Stor aftenmesse med prosesjoner. House of Commons: Aftenmøte; stor tale av Gladstone. Philharmonie: Bülow-konsert. osv. osv. «Så kommer den elskverdige vert og spør enhver især: har De truffet Deres valg? Hvilket stykke vil De se; hvilken opera vil De høre? – Hvorpå enhver innretter seg ved sin telefon og sitt skjermbrett – De forstår: det brett som opptar de fotografiske øyeblikksbilleder av vedkommende stykke, således at man ikke blott ører hva som sies, men også ser hva som foregår, hver bevegelse, hvert minespill… I mellomaktene spaseres der da og utveksles inntrykk. Den ene jubler over de spanske danserinner på Edenteatret, mens den annen dør av begeistring over Gladstone’s speech… Det blir en underholdning!» (Arne Garborg, Trette menn, 1891, s. 218-219)

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taxonomy_term21789815-9286-4c11-bdb1-f9921745b2af0taxonomy_termdd951d1c-96fd-4892-8ce6-0de1ad9f5d7ataxonomy_term791bba71-1937-4481-8f9c-a8b4be6a48fdThis novel from 1891 is about bohemian Gunnar Gran, society, love, religion. The only reference to machine vision is in the description of an imaginary "screen" that would allow dinner guests to view concerts, speeches and plays performed in other cities in real time. It is notable for its early prediction not just of television but of individual "tablets" (skjermbrett) for viewing. 

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taxonomy_term16ee0ef9-e552-4342-8de3-62a460cfea481891-01-01
906f3382-a9eb-4adc-9ca4-b02a3ea88600enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-09-08T12:21:18+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user9253a06e-cca9-4065-ae8c-d4d2113dfee9<value>The Machine Stops</value>2019-03-12T07:41:14+00:00Y-m-d\TH:i:sP2021-09-08T12:21:18+00:00Y-m-d\TH:i:sP0011/creative-work/machine-stopsen1nodea3b69d57-82d5-42ab-b3bc-5977ec1bbfcenodebc64ab7c-63e1-4296-b39c-cb598d6d6f96node24d4fb5f-6143-41d3-9a89-45084d67216fGBnode6ba0e267-4a0c-49be-83ee-d16f311230a2mediaa8a3caae-1560-41ed-a4fc-bd4d123f5acdtaxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_termbb7eb27e-2c6e-4cb2-b7fe-b0363cdc09f8taxonomy_term21789815-9286-4c11-bdb1-f9921745b2af1taxonomy_term791bba71-1937-4481-8f9c-a8b4be6a48fdtaxonomy_termb6c56049-db69-469f-846b-8909063d7ae2taxonomy_term62833fd3-3e21-4d62-840a-7333cc0cdbc7taxonomy_termda7f4c29-b985-4c3c-a912-f66e0bc5a2e4taxonomy_termc75f40e5-3fb7-4d4b-84b8-dc9c1f650d9dThis is an example of very early machine vision, since it was published about a century ago (1909) in The Oxford and Cambridge Review. As a part of our project we will have different research approaches, one being within narratives so it is only natural to share this iconic sci-fi novella here.

It is set in a subterranean earth, where the whole of the earths population is living inside “the machine”. The story follows the dialogue between a mother and a son, where their means of communication seems to be via something similar to Face time, or Skype. The humankind lives isolated in confined spaces, where every basic desire is taken care of by the machine. The society is no longer interested in what is outside their own rooms, especially not on the surface of the earth, but the son Kuno has begun dreaming about what it is like out there? Beyond the borders of the machine:

“The truth is … that I want to see these stars again. They are curious stars. I want to see them not from the air-ship, but from the surface of the earth, as our ancestors did, thousands of years ago.”

This is a visionary story where Forster has predicted technologies that we are using in our everyday life today such as the constant use of Internet, Instant messaging, face chatting and having robots in your house. The author reflects a worry for the future of humankind, especially regarding our dependence upon technology.

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taxonomy_term64eb0773-87f1-473c-921a-a043be4d9fcetaxonomy_term1e07206e-df3c-45cf-8135-f566839bae3btaxonomy_term66cb87e3-78b4-42b5-8ae2-c27b2082aaaataxonomy_termccb277b8-7291-4fa3-9b5e-ad4ce135623ataxonomy_terme6e09da9-caeb-4fd0-bd2f-ac24a2083283http://www.feedbooks.com/book/2073/the-machine-stopsThe Machine Stops1909-01-01
906f3382-a9eb-4adc-9ca4-b02a3ea88600enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-09-08T12:21:18+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user9253a06e-cca9-4065-ae8c-d4d2113dfee9<value>The Machine Stops</value>2019-03-12T07:41:14+00:00Y-m-d\TH:i:sP2021-09-08T12:21:18+00:00Y-m-d\TH:i:sP0011/creative-work/machine-stopsen1nodea3b69d57-82d5-42ab-b3bc-5977ec1bbfcenodebc64ab7c-63e1-4296-b39c-cb598d6d6f96node24d4fb5f-6143-41d3-9a89-45084d67216fGBnode6ba0e267-4a0c-49be-83ee-d16f311230a2mediaa8a3caae-1560-41ed-a4fc-bd4d123f5acdtaxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_termbb7eb27e-2c6e-4cb2-b7fe-b0363cdc09f8taxonomy_term21789815-9286-4c11-bdb1-f9921745b2af1taxonomy_term791bba71-1937-4481-8f9c-a8b4be6a48fdtaxonomy_termb6c56049-db69-469f-846b-8909063d7ae2taxonomy_term62833fd3-3e21-4d62-840a-7333cc0cdbc7taxonomy_termda7f4c29-b985-4c3c-a912-f66e0bc5a2e4taxonomy_termc75f40e5-3fb7-4d4b-84b8-dc9c1f650d9dThis is an example of very early machine vision, since it was published about a century ago (1909) in The Oxford and Cambridge Review. As a part of our project we will have different research approaches, one being within narratives so it is only natural to share this iconic sci-fi novella here.

It is set in a subterranean earth, where the whole of the earths population is living inside “the machine”. The story follows the dialogue between a mother and a son, where their means of communication seems to be via something similar to Face time, or Skype. The humankind lives isolated in confined spaces, where every basic desire is taken care of by the machine. The society is no longer interested in what is outside their own rooms, especially not on the surface of the earth, but the son Kuno has begun dreaming about what it is like out there? Beyond the borders of the machine:

“The truth is … that I want to see these stars again. They are curious stars. I want to see them not from the air-ship, but from the surface of the earth, as our ancestors did, thousands of years ago.”

This is a visionary story where Forster has predicted technologies that we are using in our everyday life today such as the constant use of Internet, Instant messaging, face chatting and having robots in your house. The author reflects a worry for the future of humankind, especially regarding our dependence upon technology.

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taxonomy_term64eb0773-87f1-473c-921a-a043be4d9fcetaxonomy_term1e07206e-df3c-45cf-8135-f566839bae3btaxonomy_term66cb87e3-78b4-42b5-8ae2-c27b2082aaaataxonomy_termccb277b8-7291-4fa3-9b5e-ad4ce135623ataxonomy_terme6e09da9-caeb-4fd0-bd2f-ac24a2083283http://www.feedbooks.com/book/2073/the-machine-stopsThe Machine Stops1909-01-01
3370e65b-d622-42e8-833e-0ba0c680f205enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-06-12T09:15:28+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user446b9999-8a78-45c8-b558-c875d4aee362<value>Man With a Movie Camera</value>2020-05-18T11:45:20+00:00Y-m-d\TH:i:sP2021-06-12T09:15:28+00:00Y-m-d\TH:i:sP0011/creative-work/man-movie-cameraen1nodee973f686-eb8b-4674-aaf9-1a97841c8128node19a8a129-2e6d-44e3-ad31-f36dc23d3777UAnodeafb03418-844f-42b9-b4f5-cfb214ea50dbnodec9ec8301-aa22-4165-ba10-c456ac0f775ataxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term0a42628e-925e-48b1-a8e8-7ecb7916df7aI am kino-eye, I am mechanical eye, I, a machine, show you the world as only I can see it…. My path leads to the creation of a fresh perception of the world I decipher in a new way a world unknown to you. (from Vertov's manifesto)

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taxonomy_term21789815-9286-4c11-bdb1-f9921745b2af0taxonomy_term791bba71-1937-4481-8f9c-a8b4be6a48fdtaxonomy_terma73953c0-6ccf-499a-9d52-f9e485fcc469taxonomy_term49197039-4ac2-4be6-a45d-0818cd35e2d3Classic documentary movie by the Soviet filmmaker Dziga Vertov with Elizaveth Svilova as editor and Mikhail Kaufman as cameraman. The movie camera is a central "character" in this visual archive of life. The movie is often seen as an example of the kino-eye which Vertov described in his manifestos. 

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taxonomy_termd2230c52-b3d3-46a4-b38b-81fe7842b0d7taxonomy_term2ff31a16-a301-44bd-8201-339a065d0864taxonomy_term3d3fd87c-0974-4e24-a4ad-1cff21cb7a991929-01-01
3370e65b-d622-42e8-833e-0ba0c680f205enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-06-12T09:15:28+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user446b9999-8a78-45c8-b558-c875d4aee362<value>Man With a Movie Camera</value>2020-05-18T11:45:20+00:00Y-m-d\TH:i:sP2021-06-12T09:15:28+00:00Y-m-d\TH:i:sP0011/creative-work/man-movie-cameraen1nodee973f686-eb8b-4674-aaf9-1a97841c8128node19a8a129-2e6d-44e3-ad31-f36dc23d3777UAnodeafb03418-844f-42b9-b4f5-cfb214ea50dbnodec9ec8301-aa22-4165-ba10-c456ac0f775ataxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term0a42628e-925e-48b1-a8e8-7ecb7916df7aI am kino-eye, I am mechanical eye, I, a machine, show you the world as only I can see it…. My path leads to the creation of a fresh perception of the world I decipher in a new way a world unknown to you. (from Vertov's manifesto)

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taxonomy_term21789815-9286-4c11-bdb1-f9921745b2af0taxonomy_term791bba71-1937-4481-8f9c-a8b4be6a48fdtaxonomy_terma73953c0-6ccf-499a-9d52-f9e485fcc469taxonomy_term49197039-4ac2-4be6-a45d-0818cd35e2d3Classic documentary movie by the Soviet filmmaker Dziga Vertov with Elizaveth Svilova as editor and Mikhail Kaufman as cameraman. The movie camera is a central "character" in this visual archive of life. The movie is often seen as an example of the kino-eye which Vertov described in his manifestos. 

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taxonomy_termd2230c52-b3d3-46a4-b38b-81fe7842b0d7taxonomy_term2ff31a16-a301-44bd-8201-339a065d0864taxonomy_term3d3fd87c-0974-4e24-a4ad-1cff21cb7a991929-01-01
a2921431-3d2a-4b08-bdb3-2c717ac3ba98enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-06-12T09:07:42+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user4372e475-184a-499f-a888-21a11a466a2a<value>Nineteen Eighty-Four</value>2019-03-27T13:05:20+00:00Y-m-d\TH:i:sP2021-06-12T09:07:42+00:00Y-m-d\TH:i:sP0011/creative-work/nineteen-eighty-fouren1nodea6975259-8f8b-46dc-85b3-102bf043382bnodeb8b6bf12-1475-49fd-85a0-cc20aa95649eGBnode96173a49-e850-4983-8ff3-ca47a5f7dc27taxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term440a67c5-82be-4906-87dc-ffce1c1b6233“If both the past and the external world exist only in the mind, and if the mind itself is controllable - what then?” 

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taxonomy_term9ac94332-f441-49ad-9fc8-4b4b09fc57791taxonomy_termd7af7574-e004-45fd-8f20-0edf400bf9a3taxonomy_termf46689ea-6e96-491f-ade6-cc593884912ataxonomy_termc75f40e5-3fb7-4d4b-84b8-dc9c1f650d9dIn the novel, Great Britain ("Airstrip One") has become a province of a superstate named Oceania. Oceania is ruled by the "Party", who employ the "Thought Police" to persecute individualism and independent thinking.[4] The Party's leader is Big Brother, who enjoys an intense cult of personality but may not even exist. The protagonist of the novel, Winston Smith, is a rank-and-file Party member. Smith is an outwardly diligent and skillful worker, but he secretly hates the Party and dreams of rebellion against Big Brother. Smith rebels by entering a forbidden relationship with fellow employee Julia.

(Description from Wikipedia.)

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taxonomy_term1e07206e-df3c-45cf-8135-f566839bae3btaxonomy_terme6e09da9-caeb-4fd0-bd2f-ac24a2083283taxonomy_term30f6022b-5fcf-4e9c-a379-cdaf88e8bb971949-01-01
a2921431-3d2a-4b08-bdb3-2c717ac3ba98enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-06-12T09:07:42+00:00Y-m-d\TH:i:sPuser446b9999-8a78-45c8-b558-c875d4aee3621user4372e475-184a-499f-a888-21a11a466a2a<value>Nineteen Eighty-Four</value>2019-03-27T13:05:20+00:00Y-m-d\TH:i:sP2021-06-12T09:07:42+00:00Y-m-d\TH:i:sP0011/creative-work/nineteen-eighty-fouren1nodea6975259-8f8b-46dc-85b3-102bf043382bnodeb8b6bf12-1475-49fd-85a0-cc20aa95649eGBnode96173a49-e850-4983-8ff3-ca47a5f7dc27taxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term440a67c5-82be-4906-87dc-ffce1c1b6233“If both the past and the external world exist only in the mind, and if the mind itself is controllable - what then?” 

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taxonomy_term9ac94332-f441-49ad-9fc8-4b4b09fc57791taxonomy_termd7af7574-e004-45fd-8f20-0edf400bf9a3taxonomy_termf46689ea-6e96-491f-ade6-cc593884912ataxonomy_termc75f40e5-3fb7-4d4b-84b8-dc9c1f650d9dIn the novel, Great Britain ("Airstrip One") has become a province of a superstate named Oceania. Oceania is ruled by the "Party", who employ the "Thought Police" to persecute individualism and independent thinking.[4] The Party's leader is Big Brother, who enjoys an intense cult of personality but may not even exist. The protagonist of the novel, Winston Smith, is a rank-and-file Party member. Smith is an outwardly diligent and skillful worker, but he secretly hates the Party and dreams of rebellion against Big Brother. Smith rebels by entering a forbidden relationship with fellow employee Julia.

(Description from Wikipedia.)

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basic_text_editor
taxonomy_term1e07206e-df3c-45cf-8135-f566839bae3btaxonomy_terme6e09da9-caeb-4fd0-bd2f-ac24a2083283taxonomy_term30f6022b-5fcf-4e9c-a379-cdaf88e8bb971949-01-01
722cabbf-424d-4b14-9b1c-f408e7a83227enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-04-23T12:46:51+00:00Y-m-d\TH:i:sPuser5ebc1a24-0c2e-4292-afa4-3ef37d024a031user3ed45fc1-01a8-4627-9e0b-8a59e1ac349f<value>2001: A Space Odyssey (novel and film)</value>2020-11-19T11:50:18+00:00Y-m-d\TH:i:sP2021-04-23T12:46:51+00:00Y-m-d\TH:i:sP0011/creative-work/2001-space-odyssey-novel-and-filmen1node3b63f83c-dadc-4813-a84c-62b83cf2c701node2ffa20fc-dad4-4591-bde0-8f51fba43051node418c3e08-2e50-45b1-a1bd-32b382d63cc1node965cdbe5-051b-4040-ade5-70065759029cnodee532e7c0-c99b-44a5-b8b0-7872281cdceanodea24e6c67-da10-4c75-9451-6c0076dd61aanode76327fbc-eff6-43f4-a6e4-660cfd473070node5ea40619-d3ec-41b2-86be-3823f0ad5ea9GBUSnodec87a254e-2285-409a-98ce-ef9e94ae646fnode378688cb-482d-4dfb-9a23-9e02c9ecdecenodef233a20d-613c-4f19-824d-64d54be1e71bnode503a8b88-7d6a-4234-bc07-f14e0d13d804node9d245f1b-8f67-422a-a8dc-e65fe0c21881nodea41ed1bb-efde-4531-acce-526b1a429503nodec379ea23-b733-4582-8d3c-bdbf1960b7b5node057a7cea-a626-440d-b18b-636d2d800d69nodede66b59b-df49-45fe-803d-31e92d9e42c1The three main sentiments in my interpretation of the book are neutral, flawed and hostile. The reason for this is that, in the beginning, the crew is mostly neutral to the presence of the AI, and it is perhaps even perceived as helpful. As the book progresses, the AI is perceived by the crew as flawed (when he starts giving inaccurate data), and eventually as hostile (when it kills 4 crewmen and is terminated by Bowman). Another reason to include flawed is an entire chapter from HAL's (AI's) perspective, where HAL's logic becomes clear to the reader; the AI hasn't suddenly turned evil, but is conflicted, desperately wanting for the project to succeed, and seeing the human crew as an obstacle to that.I added Dangerous to the sentiments as it is even killing not only Threatening but also risky and unsafe (Linda).Merged the novel and film together as discussed on 16.4.2021. I also added sentiments and topics from film that were different from the novel. And added one character from film that was not in the novel. Removed the referenced tech that is not mentioned in the situations (Linda)After merging the film and novel there are still some things that needs to be discussed in the situation e.g. how HAL is logged as tech and character, otherwise some of the film situations do not have tech. etc. (Linda)taxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term0a42628e-925e-48b1-a8e8-7ecb7916df7ataxonomy_term440a67c5-82be-4906-87dc-ffce1c1b6233taxonomy_term9ac94332-f441-49ad-9fc8-4b4b09fc57791taxonomy_term6edd417a-fd7f-4332-82ef-6286b1375f06taxonomy_term47544283-06e1-437a-8bc4-12d5104e495ftaxonomy_termd7af7574-e004-45fd-8f20-0edf400bf9a3taxonomy_termb6c56049-db69-469f-846b-8909063d7ae2taxonomy_termecb9076e-8a09-4ca1-a615-e81b701acab4taxonomy_termc4c1372a-9ab3-46d9-8dcc-bbb8d551cee6taxonomy_termb4c86e39-89b0-47b7-b4aa-b13a415c5054taxonomy_term49197039-4ac2-4be6-a45d-0818cd35e2d3taxonomy_term2ab441fb-cc4c-4d9c-871e-5738326560cataxonomy_terme4547afa-12e1-413c-906e-0d6a68ae8c7btaxonomy_termc75f40e5-3fb7-4d4b-84b8-dc9c1f650d9dThe 1968 movie was by Stanley Kubrick, with a screenplay by Kubrick and Arthur C. Clarke. Clarke then wrote a novel based on the film, published the same year."
The Machine Vision situations are signed to either novel or film.

(Novel description by Tijana)
2001: A Space Odyssey is a novel consisting of six parts. Chronologically, the reader first encounters the ancient history of the human kind (about 3 million years ago), to then be placed in the modern times (ca year 2001, as imagined in 1968). The part of the book set in the modern times begins with the discovery of a jet-black monolith on the dark side of the Moon, continues with a space mission to one of Saturn's moons, Iapetus, to investigate its connection to the monolith on the Moon, and ends with the next step in the evolution of man. The common thread in the two time periods is the alien influence on human evolution via the so-called monoliths.

Machine vision is most prominent in the form of HAL 9000, an artificial intelligence that has "eyes" (cameras) all over the ship, and that is as perfectly capable of operating all of the ship's systems as he is of being a credibly human-like companion for the mission's crew (when it comes to intelligence and conversational skills). However, due to a programming conflict, HAL 9000 ends up killing 4 members of the crew before Bowman, the only remaining crew member, manages to switch his higher cognitive functions off.

(Film description by Milad)
Mankind's evolution is portrayed and accelerated by the appearance of a series of catalystic monoliths that first appears with mankind as apes and finally culminates with the trancendence of the human race. A radically inventive movie that seeks to draw a line between mankind's past, present and future, in search of questions about the developement of man beyond the present age. 

 

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basic_text_editor
taxonomy_term8581a668-2e39-40e0-a4f5-46dda9a54316taxonomy_term798e636d-32f6-411d-9316-a5173cc3b357taxonomy_termaffa508b-8e43-47ee-9add-ea87cc9f7eff1968-06-01
722cabbf-424d-4b14-9b1c-f408e7a83227enworknode_typecf1e412e-90c1-4fc6-b392-937147c09c522021-04-23T12:46:51+00:00Y-m-d\TH:i:sPuser5ebc1a24-0c2e-4292-afa4-3ef37d024a031user3ed45fc1-01a8-4627-9e0b-8a59e1ac349f<value>2001: A Space Odyssey (novel and film)</value>2020-11-19T11:50:18+00:00Y-m-d\TH:i:sP2021-04-23T12:46:51+00:00Y-m-d\TH:i:sP0011/creative-work/2001-space-odyssey-novel-and-filmen1node3b63f83c-dadc-4813-a84c-62b83cf2c701node2ffa20fc-dad4-4591-bde0-8f51fba43051node418c3e08-2e50-45b1-a1bd-32b382d63cc1node965cdbe5-051b-4040-ade5-70065759029cnodee532e7c0-c99b-44a5-b8b0-7872281cdceanodea24e6c67-da10-4c75-9451-6c0076dd61aanode76327fbc-eff6-43f4-a6e4-660cfd473070node5ea40619-d3ec-41b2-86be-3823f0ad5ea9GBUSnodec87a254e-2285-409a-98ce-ef9e94ae646fnode378688cb-482d-4dfb-9a23-9e02c9ecdecenodef233a20d-613c-4f19-824d-64d54be1e71bnode503a8b88-7d6a-4234-bc07-f14e0d13d804node9d245f1b-8f67-422a-a8dc-e65fe0c21881nodea41ed1bb-efde-4531-acce-526b1a429503nodec379ea23-b733-4582-8d3c-bdbf1960b7b5node057a7cea-a626-440d-b18b-636d2d800d69nodede66b59b-df49-45fe-803d-31e92d9e42c1The three main sentiments in my interpretation of the book are neutral, flawed and hostile. The reason for this is that, in the beginning, the crew is mostly neutral to the presence of the AI, and it is perhaps even perceived as helpful. As the book progresses, the AI is perceived by the crew as flawed (when he starts giving inaccurate data), and eventually as hostile (when it kills 4 crewmen and is terminated by Bowman). Another reason to include flawed is an entire chapter from HAL's (AI's) perspective, where HAL's logic becomes clear to the reader; the AI hasn't suddenly turned evil, but is conflicted, desperately wanting for the project to succeed, and seeing the human crew as an obstacle to that.I added Dangerous to the sentiments as it is even killing not only Threatening but also risky and unsafe (Linda).Merged the novel and film together as discussed on 16.4.2021. I also added sentiments and topics from film that were different from the novel. And added one character from film that was not in the novel. Removed the referenced tech that is not mentioned in the situations (Linda)After merging the film and novel there are still some things that needs to be discussed in the situation e.g. how HAL is logged as tech and character, otherwise some of the film situations do not have tech. etc. (Linda)taxonomy_term8bfaa6d9-607e-4628-92df-bc08840bd8c7taxonomy_term0a42628e-925e-48b1-a8e8-7ecb7916df7ataxonomy_term440a67c5-82be-4906-87dc-ffce1c1b6233taxonomy_term9ac94332-f441-49ad-9fc8-4b4b09fc57791taxonomy_term6edd417a-fd7f-4332-82ef-6286b1375f06taxonomy_term47544283-06e1-437a-8bc4-12d5104e495ftaxonomy_termd7af7574-e004-45fd-8f20-0edf400bf9a3taxonomy_termb6c56049-db69-469f-846b-8909063d7ae2taxonomy_termecb9076e-8a09-4ca1-a615-e81b701acab4taxonomy_termc4c1372a-9ab3-46d9-8dcc-bbb8d551cee6taxonomy_termb4c86e39-89b0-47b7-b4aa-b13a415c5054taxonomy_term49197039-4ac2-4be6-a45d-0818cd35e2d3taxonomy_term2ab441fb-cc4c-4d9c-871e-5738326560cataxonomy_terme4547afa-12e1-413c-906e-0d6a68ae8c7btaxonomy_termc75f40e5-3fb7-4d4b-84b8-dc9c1f650d9dThe 1968 movie was by Stanley Kubrick, with a screenplay by Kubrick and Arthur C. Clarke. Clarke then wrote a novel based on the film, published the same year."
The Machine Vision situations are signed to either novel or film.

(Novel description by Tijana)
2001: A Space Odyssey is a novel consisting of six parts. Chronologically, the reader first encounters the ancient history of the human kind (about 3 million years ago), to then be placed in the modern times (ca year 2001, as imagined in 1968). The part of the book set in the modern times begins with the discovery of a jet-black monolith on the dark side of the Moon, continues with a space mission to one of Saturn's moons, Iapetus, to investigate its connection to the monolith on the Moon, and ends with the next step in the evolution of man. The common thread in the two time periods is the alien influence on human evolution via the so-called monoliths.

Machine vision is most prominent in the form of HAL 9000, an artificial intelligence that has "eyes" (cameras) all over the ship, and that is as perfectly capable of operating all of the ship's systems as he is of being a credibly human-like companion for the mission's crew (when it comes to intelligence and conversational skills). However, due to a programming conflict, HAL 9000 ends up killing 4 members of the crew before Bowman, the only remaining crew member, manages to switch his higher cognitive functions off.

(Film description by Milad)
Mankind's evolution is portrayed and accelerated by the appearance of a series of catalystic monoliths that first appears with mankind as apes and finally culminates with the trancendence of the human race. A radically inventive movie that seeks to draw a line between mankind's past, present and future, in search of questions about the developement of man beyond the present age. 

 

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basic_text_editor
taxonomy_term8581a668-2e39-40e0-a4f5-46dda9a54316taxonomy_term798e636d-32f6-411d-9316-a5173cc3b357taxonomy_termaffa508b-8e43-47ee-9add-ea87cc9f7eff1968-06-01