Kubrick’s film 2001: A Space Odyssey illustrates the complexity of this concept, as the purpose of humanity stagnates in response to progressive findings. Kubrick initially presents pre-human apes inhabiting a harsh environment, where survival is paramount. This primitive sense of purpose is broadened through the recurring and multi-purposed motif of the monolith; as written in the screenplay the apes were “totally entranced, they gather around the cube, forgetting the hardships of the day”, conveyed through a low angle shot of the monolith signifying its dominance alongside the foreboding and repetitive score radiating a mystical atmosphere, provoking awe and admiration within the apes. In the same way that Frost’s “Fire and Ice” juxtaposes human behaviours, “2001” contrasts the actions of various evolutionary stages of humankind in response to the monolith. Whereas the apes approach with reverence, the humans approach with arrogance. Within this context the monolith is demeaned to a prize that humanity wishes to claim, “If you’d all line up on this side of the walkway we’d like to take a few photographs”, this positioning of the astronauts in the forefront of the frame, covering the monolith reaffirms the perceived dominance over natural forces. For the advanced human race survival has become trivial, instead finding purpose in mankind’s prosperity in exploration and advancement. Placing this in perspective, Kubrick finds harmony in the concepts of discovery and human development, suggesting that perhaps we as humans are not given purpose or entitlement in exploring the universe we dwell in, but rather it is simply beyond our