Στη Χώρα των Θαυμάτων Επιστημονική Φαντασία - Από τον Άρθουρ Κλαρκ στον Ρέι Μπράντμπερι - video Dailymotion

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Στη Χώρα των Θαυμάτων: Επιστημονική Φαντασία (Wonderland: Science Fiction in an Atomic Age)  2024 | Επ. 2/4 | HD  Με πλούσιο οπτικό υλικό και ειδικά γραμμένη ορχηστρική μουσική, αυτή η σειρά θα εμπνεύσει, θα σοκάρει, θα δεσμεύσει και θα διασκεδάσει, με την υποβλητική περιγραφή των οραμάτων του μέλλοντος που εκφράζονται στα μεγαλύτερα έργα επιστημονικής φαντασίας. Η σειρά διερευνά την ιστορία της επιστημονικής φαντασίας στην ατομική εποχή. Εξετάζει τη δημιουργία της ατομικής βόμβας από τον Robert Oppenheimer και άλλους, τον Ψυχρό Πόλεμο και τις πολλές ποικιλίες έκφρασης επιστημονικής φαντασίας σε όλα τα μέσα.  Σταδιακά, η Επιστημονική Φαντασία στρέφεται από το Διάστημα και την κατάκτησή του σε θέματα περισσότερο προσωπικά και φιλοσοφικά. Το διάστημα γίνεται μια παραβολή και στο επίκεντρο έρχεται ο άνθρωπος, οι ψυχολογικές αναζητήσεις, η γνωριμία με τον εαυτό του, οι επιπτώσεις των εξελίξεων στην ανθρωπότητα αλλά και οικολογικά προβλήματα.

Transcript

00:00Συγχρονο πρόβλημα.

00:02Συγχρονο.

00:04Συγχρονο.

00:06Συγχρονο.

00:08Ωραία.

00:10Λέχνει.

00:12Λέχνει.

00:13Σεέχνει.

00:14Λέχνει.

00:16Λέχνει.

00:18Συγχρονο.

00:22Συγχρονο.

00:24Συγχρονο.

00:26Στηνή εξητία του Λαλόου.

00:28호�γound for the future.

00:30Everything from supersonic travel,

00:32concorde and Russian sputniks

00:34to the development of

00:36labour saving devices,

00:38the many other technologies

00:40that at the time seemed to offer the prospect

00:42of wealth and comfort

00:44for all.

00:46Kennedy's new frontier

00:48also included the creation of the Peace Corps,

00:52intended to extend the new frontier further

00:54into a form of help from Africa.

00:56αλλά δεν ήταν ο Μασχαλ Πλαν,

00:58ή ο Μασχαλ Λτυπης, ο Βεκονομικός Ρεβλουσιν.

01:02Μια περισσότερα συμβαίνει μπιστα στο καθέναν

01:05και σχεδιακόμου και σχεδιακόμου.

01:09Τα σχεδιακόμου, πιθανώς ήρθαν,

01:13να δημιουργήσουν να δημιουργήσουν

01:14να δημιουργήσουν σχεδιακόμου με λίγο του αγωνισμού.

01:18Η εμφασία ήταν σχεδιακόμου

01:20για το επίκδοδο της εφηγης

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06:01και πρόβλημα, έως πραγματικότητα,

06:04και είναι έτοιμος πραγματικός ιδιωτικούς.

06:06Υπαντήρων από μονομιστος και τον οικονομιστος και οικονομιστος του ανθρώπου.

06:12Αυτό πριν από Σommerset, που έπρεπε να πληροχωριθεί όλη του χέριασμανούχησα στιγμή,

06:19πόσο πρόσθεσματος στιγμή,

06:21και να δημιουργηθείς για τη δημιουργία του Ρου,

06:25και να έρθει με το ιδιαίο για το γεπιστικών στρατική ιστορία,

06:28Ωραίος, η Ωραία Υπότιτλοι AUTHOR,

06:30ο Ωραία Υπότιτλοι AUTHOR,

06:31είναι κανένας Ωραία Υπότιτλοι AUTHOR,

06:32και έρχονται με την αριθμότητα

06:34με καταγωνιού του ΑΠΟΑΚΕΑΣ,

06:37στις άνθρωποι που θεωμάται με την ΑΠΕΚΑΣ,

06:38και το ίδιόντρα του ίδιού του Ιαχαρμαντου,

06:41μεταναμιστείτες και Ωραία Υπότιτλοι AUTHOR,

06:44και στην ορδόνια Υπότιτλοι AUTHOR,

06:46Ωραία Υπότιτλοι AUTHOR,

06:48είναι καλύτερον και Ωραία Υπότιτλοι AUTHOR,

06:51Ωραία Υπότιτλοι AUTHOR,

06:53ακόμη υπόθεστη πρόταλοι AUTHOR,

06:56μάμε για καρδόν, αλλήνωση και αλλήνωσία του τεξτου.

07:03Αρθού C. Κλάκκος είναι θυμό, πιστεύω, και είναι πολύ καλύτερο, έτσι, από όλης η αρχή,

07:08πιστεύω.

07:09Ή είναι πιο ευκαιρία και εχει πιστεύει και πιστεύει και σημεία χρήματα.

07:13Και το που δημιουργεί Αρθού C. Κλάκκος σημαντικά είναι μία στιγμή.

07:18Μια είναι στις πλήγες όμως υφαρμοσφαιρίζονται στιγμής που είναι γεννυνή τραξιδιότητα.

07:23Ωραία.

07:53Overhead, without any fuss, the stars were going out.

08:08The story, The Nine Billion Names of God, set in a Tibetan monastery,

08:13where the monastery has ordered a computer to be delivered to them

08:18so that all nine billion possible names of God can be calculated

08:23because they believe that once every single name of God is uttered,

08:26the universe will end and they want to bring them about.

08:29So the story is told from the point of view of American computer makers and programmers

08:34who have to schlep all this equipment up the mountain and assemble it

08:38and they're dismissive of this absurd religious idea

08:42that once you've enumerated all these names, then the world will end.

08:47But of course it does.

08:49On the way home, as they're going back to catch the plane,

08:52they start to see the stars all going out.

08:55And it's a beautiful image

08:58because even as a kid I understood that the stars are all different distances from the Earth.

09:03So for them all to go out at the same time means that this is, in a way,

09:07a kind of preordained moment.

09:09It touches on really quite profound theological concerns

09:14in a practical-minded science fiction story about what was then a new technology.

09:19So this, thought Yan, with the resignation that lay beyond all sadness,

09:27was the end of man.

09:29It was an end that no prophet had ever foreseen.

09:34an end that repudiated optimism and pessimism alike.

09:42There lay the overmind, whatever it might be,

09:46bearing the same relation to man as man bore to amoeba,

09:51potentially infinite, beyond mortality.

09:55How long had it been absorbing race after race as it spread across the stars?

10:02Did it too have desires?

10:05Did it have goals it sensed dimly, yet might never attain?

10:10Now it had drawn into its being all that the human race had ever achieved.

10:18Childhood's End is a story of a world that's trying to unite globally

10:23that encounters radically different aliens.

10:26And the sense of humans as we know it

10:31having reached the limits of our evolutionary capacity

10:34having to transform into something else.

10:37And that transformation is into a collective being, a collective consciousness.

10:41There are occasions when individuals come together

10:45and they create something which is not just unique,

10:49but which is in a way more profound and great

10:53than either of their own individual talents.

10:56And I think that's what happened with Arthur C. Clarke and Stanley Kubrick.

11:01Together with Stanley Kubrick,

11:03he created perhaps the greatest science fiction film ever made in 2001,

11:09A Space Odyssey.

11:122001 is one of my holy books, one of my holy films if you like.

11:17It's a marvellous, incredible movie.

11:19I've seen it a hundred times.

11:21And I find new things in it every time.

11:23The one that moves me the most, that I find most powerful,

11:26is that match cut at the beginning of 2001.

11:30The bone has just been used by an ape to kill another ape.

11:35And if you read the novelisation,

11:37you discover that the spaceship that you cut to

11:40is a weapons platform in orbit around the Earth.

11:43It seems to me just beautiful, just extraordinary.

11:48One of Kubrick's brilliances is he shows less than you think he does, actually.

11:54And he shows you things in a way that stimulate your imagination

11:58because you're not necessarily sure how these things fit together.

12:01It's a work of art that goes beyond words.

12:05It's saying something that words can't quite capture,

12:08and that's what makes it so magnificent.

12:10And I think it's entirely fitting that it's a science fiction text

12:13because that's what science fiction,

12:15a kind of transcendent, sublime sense of wonder science fiction can do.

12:20The short story that became the origin of the science fiction film

12:27is actually a 1950s story called The Sentinel.

12:34The story itself engages with the beauty of a landscape

12:42that is inhuman, a lunar landscape,

12:47and it is not hospitable to human life in any way.

12:54But Clarke writes about it in such a compelling fashion

12:59that you feel its deep chill for the human spirit.

13:06One of the things that's always drawn me to science fiction

13:09is the phrase that fans use is sense of wonder.

13:13And the sense of wonder is that idea that the universe is,

13:16it's so vast, it's so enormous, it's kind of overwhelming,

13:21but in a wondrous way.

13:24It puts you in this really particular small-scale relationship

13:29with vastness, with infinitude.

13:32And that's kind of mind-blowing.

13:34Yet it was fitting.

13:39It had the sublime inevitability of a great work of art.

13:43Jan had glimpsed the universe in all its immensity

13:48and knew now that it was no place for man.

13:53He realized at last how vain, in the ultimate analysis,

13:59had been the dream that lured him to the stars.

14:03For the road to the stars was a road that forked in two directions,

14:08and neither led to a goal

14:10or took any account of human hopes or fears.

14:14The time when I, as a reader, was most entranced

14:21by the sense of wonder of the galaxy of the universe

14:26was a time when I was young, a teenager.

14:29It was also a time when, in the 1940s, 1950s,

14:33it had not yet been explored.

14:37It was a sublimity.

14:39It was an aspiration.

14:41It was something beyond the last page.

14:44And the sense that we could almost grasp it in a story

14:48for as long as a sentence.

14:51If we could grasp that sense of wonder,

14:54that made us read more, long more, aspire more,

15:00make more rockets.

15:02Science fiction's outward look towards space

15:06has always been complex and contradictory.

15:08On one level it speaks of hope, of continued existence,

15:12of expanding out, getting off this cradle

15:16and growing up, finding a new kind of maturity

15:19as we expand outwards.

15:21These are the voyages of the Starship Enterprise.

15:25Its five-year mission, to explore strange new worlds,

15:29to seek out new life and new civilizations,

15:34to boldly go where no man has gone before.

15:38Star Trek was pitched to the studio as Wagon Train to the Stars.

15:42Wagon Train was a Western TV show

15:45about the great move west across settler times in North America.

15:50And that's what Star Trek was originally going to be.

15:53It was going to be colonising space.

15:56On the planet, the ruins of an ancient and long-dead civilization.

16:02Now, it wasn't that, it hasn't turned into that as such,

16:05and we're not so happy about the idea of colonising places nowadays.

16:11Star Trek was presented

16:13as a traditional adventure drama set in space.

16:16The original series were broadcast from 1966 to 1969,

16:23becoming a global cultural phenomenon with many spin-offs.

16:28The great popular success of Star Trek enabled Gene Roddenberry,

16:32its original creator, to use his characters

16:35to present a progressive vision of the political future of humanity.

16:40I understand, Mr. Spark.

16:43The glory of creation is in its infinite diversity.

16:47And the ways our differences combine to create meaning and beauty.

16:53Live long and prosper, Miranda.

16:56By creating a new world with new rules,

16:59I could make statements about sex, religion, Vietnam, politics,

17:04and intercontinental missiles.

17:06You and I are of a kind.

17:09In a different reality, I could have called your friend.

17:15Are you suggesting we fight to prevent a fight?

17:19Based on what?

17:20Memories of a war over a century ago?

17:23On theories about a people we've never even met face to face?

17:26War is never imperative, Mr. Sparkman.

17:28It is for them, Doctor.

17:30We were sending messages.

17:32Unfortunately, they all got by the network.

17:35If you talked about purple people on a far-off planet,

17:40they, the television network, never really caught on.

17:44It is obvious to the most simple-minded that loci is of an inferior breed.

17:48The obvious visual evidence, Commissioner,

17:51is that he is of the same breed as yourself.

17:55The cast was multiracial from the beginning.

17:58The black actor, Michelle Nichols,

18:01played the spaceship's communications officer, Neota Yohora.

18:05Starfleet Command, yes, sir.

18:07She recalls meeting Martin Luther King.

18:10I looked across the room, and there was Dr. Martin Luther King,

18:14walking towards me with this big grin on his face.

18:17He reached out to me and said,

18:20Yes, Ms. Nichols, I am your greatest fan.

18:24When she told Gene Roddenberry what Martin Luther King had said,

18:29he cried.

18:33Star Trek was the first American network television series

18:37to show an interracial kiss.

18:40Leave any bigotry in your quarters.

18:43There's no room for it on the bridge.

18:45Do I make myself clear?

18:48You do, sir.

18:53We think of a form of science fiction that was,

19:00without its being entirely aware of it,

19:02a form of advocacy for a particular kind of triumph of the Western way.

19:08American science fiction says there is a problem,

19:12and we are going to somehow or other fix it.

19:15There is a further alternative account of science fiction,

19:19which suggests that because of its essentially American and colonial project,

19:24science fiction writers were looking the wrong way.

19:27The hopes for the economic conquest of space were, in fact, ridiculous.

19:35The commitment to the exploration of space was, in some respects,

19:40a continuation of colonial exploration and conquest,

19:45combined with mythic hopes for the future and awe at the scale of the universe.

19:52Economically and practically, there is actually no real prospect

19:56of the colonisation and economic exploitation of space.

20:00The amount of money required is immense.

20:03Through looking the wrong way, the future envisaged by much of science fiction

20:10can be said not to have happened.

20:13I can see the argument that says that there was a period

20:17during the Apollo programme and the moonshot,

20:20focused really in 1969 and 1970,

20:23that turned it around and saw positivity and hope, a new frontier,

20:28and that science fiction, like the Star Trek series

20:31that comes out of the same era,

20:33a wagon train to the stars,

20:35a sense that there is an infinite universe out there for us to explore

20:37and all sorts of adventures to have, is much less negative.

20:41I suppose I would argue it was a short-lived phenomenon

20:46that the excitement of Apollo very quickly drained away.

20:50People grew disillusioned when all that was happening

20:53were more of the same.

20:55expensive, scientific trips to the moon

20:58to pick up some moon rocks and come home again.

21:00They wanted something more engaging.

21:02We were all going to have moon bases,

21:04we were going to live on Mars,

21:05we were going to fly to Sirius,

21:07and that never happened.

21:08And I feel a little bit cheated that it never happened.

21:10The practicalities of it and the expense of it,

21:13now we send, you know, very clever,

21:15but robots to explore distant planets,

21:18and I'm not allowed to go there myself,

21:20so my science fiction imagination is starved.

21:24We know in our hearts,

21:26so far as this generation,

21:28so far as this century is concerned,

21:29that that is not going to happen.

21:31But that immensity, that allure,

21:34that Arthur C. Clarke and even Isaac Asimov,

21:37they were able to capture those sentences,

21:41which gave us that thought stream.

21:45but that story was so precious to so many of us.

21:56The biggest developments of the immediate future

21:58will take place not on the moon or Mars,

22:02but on Earth.

22:04And it is inner space, not outer,

22:06that needs to be explored.

22:08The only truly alien planet is Earth.

22:13J. G. Ballard publishes the manifesto,

22:16which urges us to abandon those visions of other worlds

22:19and outer space,

22:21and instead concentrate on inner space,

22:23to turn science fiction into something

22:25into something that's about the psychological mutations

22:29of what it means to be human

22:31that are being produced by a commodity culture

22:34that's unavoidable.

22:36Consumerism rules,

22:40but people are bored.

22:45They're out on the edge,

22:48waiting for something big and strange to come along.

22:53They want to be frightened.

22:55They are beating the passengers,

22:57they are beating the passengers,

22:58they are threatening to kill them now,

23:00they are threatening to kill them now,

23:01we want the fuel now, immediately.

23:06They want to know fear.

23:11Maybe they want to go a little mad.

23:34As a final text,

23:35I'm reminded of the diving suit

23:38in which Salvador Dali delivered a lecture

23:41some years ago in London.

23:42The workmen sent along to supervise the suit,

23:46asked how deep Dali proposed to descend,

23:49and with a flourish,

23:50the maestro exclaimed,

23:52to the unconscious,

23:54to which the workmen replied sagely,

23:57I'm afraid we don't go down that deep.

23:59Five minutes later, sure enough,

24:02Dali nearly suffocated inside the helmet.

24:06It is that inner space suit which is still needed.

24:11It is up to science fiction to build it.

24:18In the early 60s and mid-60s,

24:20Ballard is already thinking about what it might mean

24:23for humans to die as a civilisation

24:26and to be forced to the position

24:28where we have to become something else.

24:30Three novels which are really treated as his first novels,

24:35The Drowned World, The Drought and The Crystal World,

24:38are all about climatological catastrophe.

24:47All about refugee populations.

24:50All about the majority of the human race dying out.

24:58Consequences of human actions destroy the planet

25:01and destroy humanity.

25:10He seems so prescient in those moments

25:13because that's what science fiction becomes about

25:15from the late 1980s,

25:17when climate change becomes something

25:19which is now demonstrable.

25:24All the way down the creek,

25:25perched in the windows of the office blocks

25:27and department stores,

25:30the iguanas watch them go past,

25:33their hard frozen heads jerking stiffly.

25:38Without the reptiles,

25:39the lagoons and the creeks of office blocks

25:41half submerged in the immense heat

25:44would have had a strange dreamlike beauty.

25:48But the iguanas and basilisks

25:50brought the fantasy down to earth.

25:53as their seats in the one-time boardrooms indicated,

25:58the reptiles had taken over the city.

26:02Once again,

26:03they were the dominant form of life.

26:11A certain sort of estrangement took place

26:14during the camp years between me and my parents.

26:17and, you know,

26:19they couldn't feed me,

26:20clothe me,

26:22protect me.

26:24Perhaps reflecting his extreme

26:26early childhood experiences,

26:28J.G. Ballard went on to write

26:30The Atrocity Exhibition and Crash.

26:33Vaughan unfolded for me

26:39all his obsessions

26:40with the mysterious eroticism of wounds.

26:44The reverse logic

26:45of blood-soaked instrument panels,

26:48seat belts smeared with excrement,

26:50sun visors lined with brain tissue.

26:54For Vaughan, each crashed car

26:56set off a tremor of excitement

26:57in the complex geometries

26:59of a dented fender

27:01and the unexpected variations

27:03of crushed radiator grills

27:05and the gruesome overhead

27:07of an instrument panel.

27:11I think I thought,

27:12if I become a psychiatrist,

27:13my first patient will be me.

27:15I will find out what's wrong.

27:19I'm not sure there was anything wrong,

27:21but I just carried too much

27:24of a burden from the past.

27:29Their writings often address experiences

27:35of loneliness,

27:37of the solitary individual

27:40who has, for whatever reason,

27:43left behind the support structures

27:47of a community or of a family.

27:51You see it, for instance,

27:52in Stanislav Lem's Solaris.

27:56A novel published in 1961

28:00by Lem, a great Polish writer,

28:03which then became the basis

28:05of a brilliant film,

28:08Tarkovsky's film.

28:10from Stanislav Lem's

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30:28από όπου έχει πειρνάει.

30:30Η αεροφική αεροφική, αν αντιμετωπή,

30:32αν όλο πολύ έτσι,

30:35θα δημόσωσαν να πιστεύω πως αντιμετωπικά.

30:40Θα δημόσωσαν ότι με αξιογνώσεις,

30:45και δημόσια, και δημόσια,

30:47θα το δημόσιο πρόκειται.

30:50Αυτό που έκανε είναι ότι

30:52αυτό το δημόσιο δημόσιο δημόσιο δημόσιο.

30:55Η αεροφία δεν δημόσια δημόσια.

30:57Αρκεί πολλοί μπορούμε να εξωτερήξει αυτήν είναι ότι η θεωρητική χρόνος είναι μία καλύτερησης που δεν πληρώνται ότι σημαντικά τελειά με το θεωρημα.

31:07Επίσης, του πρώτου, είναι ότι τη δουλειά δεν είναι ενεργασία, λόγειστε η θεωρηματικά πληρηματικά στον τελευταπία.

31:14Πιστευότητα είναι πληρόβαλλο.

31:15Εάνάν δεν είναι πλήρωσαν, δεν είναι πληροφερία, δεν είναι μια καλύπληρη, δεν είναι πληροφορισία.

31:21Δεν είναι καλύτερη να δημοσιογηθείτε στην δύστοπία,

31:24όπου υπάρχει μια προβλήματα ή ένας ιδιαίτες προβλήματα ή κάτι να αποκλείται.

31:28Η τρόπο για την αμερική σφίξη, και σφίξης και σφίξης και σχετικά σχετικά,

31:33και σχετικά σχετικά σχετικά, να πηγαίνει,

31:37με το θέμα, να δημιουργηθεί το σλήγησό τελευταίς,

31:39είναι σημαντικά,

31:43Υπότιτλοι AUTHORWAVE,

31:45ότι δεν μπορούσα να δημιουργήσω τη νημεία που ανοιχθούμε.

31:50Υπότιτλοι AUTHORWAVE,

31:51Υπότιτλοι AUTHORWAVE,

31:53θα δημιουργήσω τη ζωύση που θα μπορούσα να δημιουργήσω τη στους τελετουργούς.

31:58Υπότιτλοι AUTHORWAVE,

32:00τέλος συμβάσιν ongoing.

32:02Από την 1960 Αναλλακάση,

32:03συμβαίνω να μινήσετε.

32:05Υπότιτλοι AUTHORWAVE,

32:07οτι και ετσι εκτεχώς της πρωπηγής ποιοχής του Γεωμανίου

32:11δημιουργού τη βινήκη,

32:12αποφυσιοσύντη εταιρεία της επαναμονίας

32:15Υπότιτλοι AUTHORWAVE

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35:31Υπότιτλοι AUTHORWAVE

35:33ειδικά στους δημοκρατικούς χωρίς,

35:36είναι πως πολύ σημαντικά πραγματικά.

35:38Υπότιτλοι AUTHORWAVE του Υπότιτλοι AUTHORWAVE

35:42ήταν, πρώτα, αρκετά απλώς αρκετά,

35:46αλλά, όταν συνεχίσει το θέματος του ευγενικού,

35:50που είναι πραγματικότητας,

35:52όταν συνεχίσει το θέματος,

35:54όταν συνεχίσει το ευγενικό σε κάποια πράγματα,

35:58ως στο «ΠΕΡΕΙΙΟΙΟ»,

36:00ο ΤΕΠΙΙΙΗΣ ίΚΙΙΟΗΕΝΕΕΙΕΝΕΙΑΕΚΙ ΑΜΟΙΔΙΙΗΝΗ

36:22που ειδραστηκε οι ευγενικές πραγματικές αυτό που έχει επισκεφθείς

36:26Υπότιτλοι AUTHORWAVE

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39:56Υπότιτλοι AUTHORWAVE

40:26Bradbury feared the loss of both knowledge and moral and ethical sensibility.

40:33Francois Truffaut went on to make the film Fahrenheit 451 based on Bradbury's book.

40:39Bradbury in Fahrenheit 451 and the works which are explicitly referenced in that text are obviously very important and they're ones that he is singling out for attention.

40:53But when the book is transferred to the screen the possibilities of the references then open up enormously and Truffaut has a wonderful time including a whole range of his own works of works that are being published at the time contemporary works but also an awful lot of earlier works.

41:18And there lo and behold we have Alice's adventures in Wonderland.

41:23All this philosophy, let's get rid of it, it's even worse than the novels.

41:29The connections are being made between these works of science fiction in the 20th century back to those important works which lay the ground for them that had already been published in the 19th century.

41:44The essence of say the Martian Chronicles by Ray Bradbury is that people go to discover another world and they discover themselves.

41:55They find themselves in the world and the alien life that they find there and that is a very, very, to me, a hugely important lesson for us to learn.

42:08So in this landscape, which is so different and Bradbury describes it so beautifully, this Martian landscape, not in fact a Martian landscape that we would now recognize from seeing pictures of Mars as we now know it, but the traditional comic book sci-fi vision of Mars gives us that landscape superbly.

42:29And people who come there, but they're coming with all their own insecurities and vulnerabilities and what they learn and what they discover is not about the world that they are visiting, what they discover is about what is within them.

42:46The men of Earth came to Mars.

42:49They came because they were afraid or unafraid, because they were happy or unhappy, because they felt like pilgrims or did not feel like pilgrims.

42:59There was a reason for each man.

43:02They were leaving bad wives or bad towns.

43:05They were coming to find something or leave something or get something, to dig up something or bury something or leave something alone.

43:15They were coming with small dreams or large dreams or none at all.

43:21It was not unusual that the first men were few.

43:24The numbers grew steadily in proportion to the census of Earth men already on Mars.

43:31There was comfort in numbers.

43:33But the first lonely ones had to stand by themselves.

43:36What they were doing was actually giving us parables and allegories, but we didn't see them as that.

43:50We didn't learn from them.

43:52The point of a parable or an allegory is that you learn something from it.

43:56All of those stories tell us what happens or what could happen, but now that it's actually happening, ironically, we don't see it with the same clarity.

44:08I am free, no matter what rules surround me.

44:15If I find them tolerable, I tolerate them.

44:19If I find them too obnoxious, I break them.

44:23I am free because I know that I alone am morally responsible for everything I do.

44:31I am free because I love everything I do.

44:59I am free because I'm free.

45:01Ευχαριστώ.

Στη Χώρα των Θαυμάτων Επιστημονική Φαντασία - Από τον Άρθουρ Κλαρκ στον Ρέι Μπράντμπερι

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