Space music can also be used in film and television to help directors enhance certain scenes or create soundtracks that complement the visual message that they're trying to convey. Just because it's called space music, it doesn't mean that these tunes are exclusively used in Sci-fi movies or space-themed films. Space music is suitable for all types of movies as long as it suits the directors' vision.
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Kubrick's decision to avoid the fanciful portrayals of space found in standard popular science fiction films of the time led him to seek more realistic and accurate depictions of space travel. Illustrators such as Chesley Bonestell, Roy Carnon, and Richard McKenna were hired to produce concept drawings, sketches, and paintings of the space technology seen in the film.[15][16] Two educational films, the National Film Board of Canada's 1960 animated short documentary Universe and the 1964 New York World's Fair movie To the Moon and Beyond, were major influences.[15]
In The New Yorker, Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor ... The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing."[136] Charles Champlin of the Los Angeles Times wrote that it was "the picture that science fiction fans of every age and in every corner of the world have prayed (sometimes forlornly) that the industry might some day give them. It is an ultimate statement of the science fiction film, an awesome realization of the spatial future ... it is a milestone, a landmark for a spacemark, in the art of film."[137] Louise Sweeney of The Christian Science Monitor felt that 2001 was "a brilliant intergalactic satire on modern technology. It's also a dazzling 160-minute tour on the Kubrick filmship through the universe out there beyond our earth."[138] Philip French wrote that the film was "perhaps the first multi-million-dollar supercolossal movie since D.W. Griffith's Intolerance fifty years ago which can be regarded as the work of one man ... Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch."[139] The Boston Globe's review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere ... The film is as exciting as the discovery of a new dimension in life."[140] Roger Ebert gave the film four stars in his original review, saying the film "succeeds magnificently on a cosmic scale."[47] He later put it on his Top 10 list for Sight & Sound.[141] Time provided at least seven different mini-reviews of the film in various issues in 1968, each one slightly more positive than the preceding one; in the final review dated 27 December 1968, the magazine called 2001 "an epic film about the history and future of mankind, brilliantly directed by Stanley Kubrick. The special effects are mindblowing."[142]
Others were unimpressed. Pauline Kael called it "a monumentally unimaginative movie."[143] Stanley Kauffmann of The New Republic described it as "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull."[144] The Soviet film director Andrei Tarkovsky found the film to be an inadequate addition to the science fiction genre of filmmaking.[27] Renata Adler of The New York Times wrote that it was "somewhere between hypnotic and immensely boring."[145] Variety's Robert B. Frederick ('Robe') believed the film was a "[b]ig, beautiful, but plodding sci-fi epic ... A major achievement in cinematography and special effects, 2001 lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark."[108] Andrew Sarris called it "one of the grimmest films I have ever seen in my life ... 2001 is a disaster because it is much too abstract to make its abstract points."[146] (Sarris reversed his opinion upon a second viewing, and declared, "2001 is indeed a major work by a major artist."[147]) John Simon felt it was "a regrettable failure, although not a total one. This film is fascinating when it concentrates on apes or machines ... and dreadful when it deals with the in-betweens: humans ... 2001, for all its lively visual and mechanical spectacle, is a kind of space-Spartacus and, more pretentious still, a shaggy God story."[148] Historian Arthur M. Schlesinger, Jr. deemed the film "morally pretentious, intellectually obscure and inordinately long ... a film out of control".[149] In a 2001 review, the BBC said that its slow pacing often alienates modern audiences more than it did upon its initial release.[150]
The film won the Hugo Award for best dramatic presentation, as voted by science fiction fans and published science-fiction writers.[161] Ray Bradbury praised the film's photography, but disliked the banality of most of the dialogue, and believed that the audience does not care when Poole dies.[162] Both he and Lester del Rey disliked the film's feeling of sterility and blandness in the human encounters amidst the technological wonders, while both praised the pictorial element of the film. Reporting that "half the audience had left by intermission", Del Rey described the film as dull, confusing, and boring ("the first of the New Wave-Thing movies, with the usual empty symbols"), predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years".[163] Samuel R. Delany was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany noticed the banality of the dialogue (he stated that characters say nothing meaningful), but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.[164] Without analysing the film in detail, Isaac Asimov spoke well of it in his autobiography and other essays. James P. Hogan liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced Inherit the Stars."[165]
In the informal (i.e. journalistic) technology press, and in online technology blogs and discussion forums, one commonly encounters anecdotal advice to leave some amount of space free on hard disk drives or solid state drives. Various reasons for this are given, or sometimes no reason at all. As such, these claims, while perhaps reasonable in practice, have a mythical air about them. For instance:
Has there been any research, preferably published in a peer-reviewed journal, into either the percentage or absolute amount of free space required by specific combinations of operating systems, filesystem, and storage technology (e.g. magnetic platter vs. solid state)? (Ideally, such research would also explain the reason to not exceed the specific amount of used space, e.g. in order to prevent the system running out of swap space, or to avoid performance loss.)
The literature on both by its creators discusses the ways that these filesystems were organized so that the block allocation policy yielded better performance by trying to make consecutive file blocks contiguous. You can find discussions of this, and of the fact that the amount and location of free space left to allocate blocks affects block placement and thus performance, in the contemporary articles on the subject.
It should be fairly obvious, for example, from the description of the block allocation algorithm of the Berkeley FFS that, if there is no free space in the current and secondary cylinder group and the algorithm thus reaches the fourth level fallback ("apply an exhaustive search to all cylinder groups"), performance of allocating disc blocks will suffer as also will fragmentation of the file (and hence read performance).
For example: The dictum in the original paper that FFS volumes be kept less than 90% full, lest performance suffer, which was based upon experiments made by the creators, can be found uncritically repeated even in books on Unix filesystems published this century (e.g., Pate2003 p. 216). Few people question this, although Amir H. Majidimehr actually did the century before, saying that xe has in practice not observed a noticeable effect; not least because of the customary Unix mechanism that reserves that final 10% for superuser use, meaning that a 90% full disc is effectively 100% full for non-superusers anyway (Majidimehr1996 p. 68). So did Bill Calkins, who suggests that in practice one can fill up to 99%, with 21st century disc sizes, before observing the performance effects of low free space because even 1% of modern size discs is enough to have lots of unfragmented free space still to play with (Calkins2002 p. 450).
This latter is an example of how received wisdom can become wrong. There are other examples of this. Just as the SCSI and ATA worlds of logical block addressing and zoned bit recording rather threw out of the window all of the careful calculations of rotational latency in the BSD filesystem design, so the physical mechanics of SSDs rather throw out of the window the free space received wisdom that applies to Winchester discs.
With SSDs, the amount of free space on the device as a whole, i.e., across all volumes on the disc and in between them, has an effect both upon performance and upon lifetime. And the very basis for the idea that a file needs to be stored in blocks with contiguous logical block addresses is undercut by the fact that SSDs do not have platters to rotate and heads to seek. The rules change again. 2ff7e9595c
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