Stanley Kubrick became interested in making Artificial Intelligence or A.I. after reading a short story by Brian Aldiss, Super-Toys Last All Summer Long and bought the rights to it in 1982. Kubrick’s development of A.I. originally began in the early 1970s but up to the mid 90s he felt that the computer-generated imagery technology of the time was not advanced enough to create the David character, whom he believed no child actor would convincingly portray. In 1995, Kubrick offered A.I. to Steven Spielberg but work wasn’t started after Kubrick’s death in 1999.
Notice – Spoiler alert.
Put bluntly, Stanley Kubrick was an illuminated genius who sought to put out “into plain sight” the things that remained hidden to the vulgar masses. He did this with the perfection and subtlety that only he possessed, in accordance with the Nachashian method. His art was an expression of his illuminated religion.
Kubrick’s artful information conveyance can be compared to forming a landscape by using many transparent overlays. Perhaps one layer might be an image of a calm lake surrounded by trees, a second might add a few sailboats with birds and still another, scattered clouds and people picnicking around the shore. The composition cannot be fully appreciated without truly understanding the individual parts used to create the whole. For example, in the case of the lake and tree layer, Kubrick would make the name of the lake, the history behind its name and the mythology behind the scientific name of trees surrounding it contribute to the meaning of the story.
As with every Kubrick movie, A.I. should be appreciated with greater discernment, but it turns out to be a bit more difficult in this regard, since Stephen Spielberg ultimately produced it. On the other hand, since Kubrick worked on the movie for so long, his particular methods of conveying esoteric subtleties remain.
In the First Scene of A.I., Tweedledum and Tweedledee from Lewis Carroll’s “Through the Looking-Glass”, appear on the wall of the hospital where Monica (Frances O’Connor) and Henry (Sam Robards) Swinton’s son Martin (Jake Thomas) resides in a cryo-chamber, kept frozen but alive in order to preserve him until a cure for his illness could be found.
As outlined in 15th chapter of my book, The Forbidden Secrets of The Labyrinth, the “twin” motif often found in ancient myth and modern mysticism represents the multifaceted aspects of the Nachash in the form of Hermes Trismegistus. (The Thrice Great One) See: The Essence Of The Baphomet Hidden In Harry Potter
A symbolic illustration of this is the masonic point within the circle – also a representation of the Thrice Great One, with the “twins” flanking the sun or Hermes.
One twin hides Nachashian knowledge from the unworthy and the other reveals it to his elect. Because the Nachash/Hermes is simultaneously the entity that is the source of the light that he reveals or conceals, he is known as the “Thrice Great One”.
The Baphomet represents the most contemporary symbolic illustration of this concept.
A.I incorporates aspects of the “twin influence” through its underlying message of esoteric knowledge understood by high-level freemasonry. It also plainly reveals the Baphomet in one particular scene – “in plain sight”. (Described in Part II)
Monica’s visit to her son’s “life suspension chamber,” is an allusion to the mythology of the sleeping Attis. As related in the myth, Attis’ mother Cybele is not so much preoccupied with grief because of her son’s deathlike state, but waits in hope for her son’s eventual awakening.
Monica displays her similar faith by reading to the frozen Martin while playing the music from Tchaikovsky’s ballet, “Sleeping Beauty” as if she knows he can hear.
While this is going on, Henry and Dr. Frazier discuss their concern for Monica’s emotional health. Although Martin, as the doctor describes, is “pending”, they both believe that Monica should let go of hope and “digest her grief.”
A scene from the Emperor’s New Clothes is shown in the background while Henry and Dr. Frazier talk. The Danish author, Hans Christian Andersen (1805-1875) wrote Kejserens nye Klæder (The Emperor’s New Clothes,) a fairy tale concerning the hubris of an Emperor and his subjects. As the Illuminated believe, men who hope and trust in God’s promises are as the emperor, deluded while the “truth” is all around them. It takes someone who has “open eyes” to see reality.
In a twisted reversal of Christian understanding, but one consistent with the way that the Illuminated believe, it would be the “mecha” (short for mechanical entity) boy David (played by Haley Joel Osment) who would demonstrate to mankind (and God) that everything that God had done concerning humanity was a selfish, unloving act. Later in A.I. we shall see that the destiny “promised” by the Nachash; that men would “be as god’s”, (although with a sci-fi twist), turned out to be the truth. Not only were the “gods” manifest as the Nachash had promised, these gods possessed the quality of having true love and compassion and were nothing like the uncaring, spiteful God who created men.
A.I. opens with a scene inside the great library room of Cybertronics Corporation with Dr. Hobby (played by William Hurt) proposing to create the first artificial being who would be capable of love. To illustrate the state of “mecha” technology, he casually instructs the robot Sheila (Roman Caelia, feminine form of Caelius, meaning “heavenly, or of the heavens”) to undress, to which Sheila immediately complies. Dr. Hobby stops her before she goes too far.
To the he casual observer this would merely show that Sheila was not capable of experiencing human emotion.
The Book of Genesis has an account of man’s first understanding of “nakedness”.
And the LORD God called unto Adam, and said unto him, Where art thou? And he said, I heard thy voice in the garden, and I was afraid, because I was naked; and I hid myself. And he said, Who told thee that thou wast naked? Hast thou eaten of the tree, whereof I commanded thee that thou shouldest not eat? Gen 3:9-11
There is a subtle clue in the first exchange of dialog in the library scene to the nature of the “mecha creator gods”:
TEAM MEMBER #2
“But we ship thousands of lover models every month.”
TEAM MEMBER #3
“Of course, you’re your own best customer, Siyatsu-sama.”
The Japanese honorific suffix, “sama” is commonly used for deities. “San” would have been more appropriate for a colleague.
Dr. Hobby goes on: “… a mecha with a mind, with neuronal feedback. You see what I’m suggesting is that love will be the key by which they acquire a kind of subconscious never before achieved. An inner world of metaphor, of intuition, of self motivated reasoning. Of dreams.”
A female team member asks: “If a robot could genuinely love a person, what responsibility does that person hold toward that mecha in return? It’s a moral question, isn’t it?”
Dr. Hobby responds: “The oldest one of all. But in the beginning, didn’t God create Adam to love him?”
Dr. Hobby’s response is prescient and clearly illustrates the belief of the Illuminated elite who worship the Light Bringer. God does not love mankind.
Through an intensive screening process of all the employees at Cybertronics Corporation, Monica and Henry were selected as the best experimental parents for David, the mecha capable of love.
Rather than simply opening the sliding doors and revealing a clear image of David as he waits outside before being introduced to his new parents, Spielberg shows an out of focus image that echoes the future appearance of his tall alien-looking, god-like decedents. David then steps onto the wooden floor to say his first words. “I like your floor.” This was the first time that the integrated theme of Carlo Collodi’s Pinocchio is hinted at.
Although the underlying Pinocchio theme in A.I. is obvious throughout the movie, Kubrick most likely did not intend the story to specifically mirror the original but to incorporate the “Attis” (the enduring pine) references. Geppetto carved Pinocchio into a marionette after a carpenter gave him, “a talking piece of wood.” Pinocchio means in Italian, “pine seed.”
Monica, symbolized by the woman figure with the heart shaped hole in the mobile above David’s bed,
decides to make David love her. Henry cautions her saying, “don’t imprint until you’re entirely sure.” To which she answers, “Silly man. Of course I’m not sure.”
The list of words that Monica Swinton (Swin “pig”, ton- “enclosure or settlement”) says to David to make him love her was from the original, written by Stanley Kubrick.
The seemingly unrelated words in the list are a prophecy of what would be David’s future loneliness and pain, stemming form his one desire. It also contains the method of satisfying his longing. The list reveals the complexities of esoteric subject of the nature, creation, and quality of the soul.
“Cirrus. Socrates. Particle. Decibel. Hurricane. Dolphin. Tulip. Monica. David. Monica.”
Cirrus: “Lock of hair” The future godlike mechas resurrected Monica using the DNA contained in a lock of her hair.
Socrates: “Safe Power” from σως (sos) “whole, unwounded, safe” and κρατος (kratos) “power”.
In Plato’s Symposium, (Plato was a major source in revealing the ideas of Socrates since no known writings remain.) the priestess Diotima teaches Socrates that love is not a deity, but rather a “great daemon” . She goes on to explain that “everything daemonic is between divine and mortal.”
Monica is the voice that instills David’ daemon.
In Plato’s Apology of Socrates, Socrates claimed to have a daimonion that frequently warned him -in the form of a “voice” -against mistakes but never told him what to do.
Teddy (David’s toy bear (discussed in part II) is the warning voice.
In Plato’s Timaeus, (28B – 29A) the character of Timeaus insisted that the cosmos was not eternal but was created, although its creator framed it after an eternal, unchanging model. One part of that creation was the four simple bodies of fire, air, water, and earth. Plato did not consider these corpuscles to be the most basic level of reality, for in his view they were made up of an unchanging level of reality, which was mathematical. These simple bodies were geometric solids, the faces of which were, in turn, made up of triangles.
David becomes more that the sum of his parts.
In Plato’s “Timaeus” Timaeus tells Socrates:
“In considering the third kind of sense, hearing, we must speak of the causes in which it originates. We may in general assume sound to be a blow which passes through the ears, and is transmitted by means of the air, the brain, and the blood, to the soul…”
Monica’s voice speaks to David, awakening his soul.
“hurricane” came to English directly from Spanish, where it is currently spelled huracán. But Spanish explorers and conquerors first picked up the word from Taino, an Arawak language from the Caribbean. According to most authorities, the Taino word huracan meant simply “storm,” although also referred to an evil spirit.
Dolphin: From Greek delphis (genitive delphinos) “dolphin,” related to delphys “womb.”
The amalgamation of Eve and the Nachash is the image of the parthe- nogenesis of the woman via the snake. The woman of the rotting womb (Python) appears as both serpent and human female. Delphyne, which means “womb,” is another way of describing the Nachash-Eve amalgama- tion. She was the soothsayer (the root of “Nachash” means “to practice divi- nation”) who guarded the area of the garden-gained, illuminated power.
The Forbidden Secrets of The Labyrinth, Page 115.
Tulip: From Turkish tülbent or “turban.” The Phrygians wore a conical cap (Phrygian cap) encircled by bands of cloth. The headdress of Attis and Cybele. The stylized Deshret off Egyptian goddess, Neith.
Monica: associated with the Greek word monos, meaning “alone” Greek “mónos (μονος), mònake (μονακε)”, meaning ”unique, to advise, alone, nun, solitary, hermit.”
Saint Monica, “the weeping saint” (331 – 387AD), was the mother of St. Augustine of Hippo. She is remembered and honored for her prayerful life dedicated to the reformation of her son, who later wrote extensively of her pious acts. Popular Christian legends recall Saint Monica weeping every night for her son Augustine.
In this post I have skipped the specifics in certain definitions and reasoning behind the assignment of meaning to mythological figures and certain symbols such as Attis, Cybele, Harpocrates, Hermes and Mithra, etc. Since the work of Stanley Kubrick is extremely deep, back tracking when any mythological reference comes up would make this post tedious for the reader. Optimally this should be read after my book and less optimally, after reading at least some of my previous blog posts on Discover Meaning.