What the First Photographer Knew

Photography spent its first half-century being mocked. The painters who controlled the academies and the salons looked at the daguerreotypists and saw mechanics. You pressed a button. You waited for the silver to fix. The machine did the work. Real art required a hand, an eye, a soul, a brush moving through hours of decision. The photographers were craftsmen at best, vandals at worst, and certainly not making Art. This was the consensus from Daguerre’s 1839 announcement until the Photo-Secession movement around 1900, when Alfred Stieglitz spent decades arguing the opposite and slowly won. The Museum of Modern Art opened its photography department in 1940. The Metropolitan Museum followed eventually. By 1980 photographs sold at auction for sums that would have stunned the painters who once sneered at them. The mockers were wrong, and they were wrong in a particular way that matters here.

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The Zeroing of Knowledge: When Everything Is Known, What Remains Worth Learning?

Knowledge used to be expensive. It cost years of apprenticeship, tuition in the tens of thousands, decades of practice, and, more than anything, the brutal currency of time. A physician spent twelve years beyond high school before being trusted to cut into a human body. A lawyer spent seven years and a bar exam before being permitted to argue before a judge. A professor spent a decade accumulating the credentials required to stand before a lecture hall and declare, with institutional authority, that they knew something you did not. The entire architecture of Western professional life was built on a single economic premise: knowledge is scarce, therefore knowledge is valuable, therefore the people who possess knowledge deserve premium compensation for granting access to it. That premise is now dead. It did not die slowly. It was killed in roughly three years, and we are only beginning to understand the corpse.

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The Conceit of the Clock: Aristotle, Time, and the Hunger That Devours Us

Aristotle opens his investigation of time in Book IV of the Physics with a question so destabilizing it threatens to collapse the inquiry before it begins: does time even exist? His reasoning is not coy. The past has ceased to be. The future has not yet arrived. The present, the “now,” is not a duration but a limit, a dimensionless boundary between what was and what will be. If the parts of time do not exist, and the one element that does exist is not itself a part of time, then time appears to be nothing at all. This is not a classroom riddle. It is a genuine ontological crisis, and Aristotle treats it as one.

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Return of the United Stage!

It’s been a busy month! We buried 2023 and 2024 is now empirically in play for the rest of us! Janna’s new sites — ASL Opera and Jannauary.com — are both now live, as is the new — Boles.ai — website that not only predicts future history but also lives in the present past; but I am most supremely pleased to announce the dramatic return of: The United Stage!

UnitedStage.com

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Next Age in Evolution: AI Consciousness

I recently had an online conversation about the future of AI, and the possibility of the human mind one day becoming AI — and the subsequent gift of everlasting life would finally be realized. We are not our bodies. We are not our souls. We are our minds — filled with memories, learning, and perception. The ultimate goal we know several scientists are working on right now is to “download the mind” and copy the experiences into AI to create a parallel life among the living where the only thing that will matter moving forward is the collected, replicable, experiences of where we have been and the codification of future morality and the “human beingness” in our futures.

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How to Write A Lifetime Network Murder Movie of the Week

In my work as a Script Doctor, I take dramatic stories for television, the movies, and the stage, and I make them structurally better. That sort of work isn’t formulaic, but there are common touchstones that must always be considered and then incorporated — what I remember the great Joseph Campbell loosely calling, “the natural rhythms of human storytelling shared with the reliability of a heartbeat” — and that’s what I do; I provide an unpacked redirection of the concentric condition that we are all innately accustomed to sending and receiving in a performance communication dyad, in the acknowledgement of, and in the often unwitting acceptance of, “The Holy Triad.” The Creator, The Object and The Observer.

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Elon Musk and the Mechanical Mask

In a recent interview, SuperGenius Elon Musk warned the future is coming for us, and we better be prepared to fight A.I. drones, and we will become the machine, and we will be able to “download” other people, and their personalities, and their memories, to become them. Our faces become the death mask upon the artificial life façade. Want to become Abraham Lincoln? Check. Adolf Hitler? Check. Elon Musk? You’re gonna have to write a check!

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New Boles Book: Poetics and the Dramatist

Today, we are pleased to announce the first volume in the new “Boles Books for…” series of learning precis: Poetics and the Dramatist!  This Boles Book will help both the amateur dramatist, and the seasoned professional, learn how to best use Aristotle’s Poetics to build a better dramatic piece!

BUY NOW!

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Julie Taymor and the Revenge of Spider-man

I have been patiently waiting to write about the $65 million Broadway musical tragedy that is currently known as “Spider-Man Turn Off the Dark” — but since the show may never officially open — the time is now to take a look at the ridiculous flop of a fantastic idea.

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Slipknot Sing the Poetics

I am not a heavy metal fan — the harsh, unrelenting bass and drums do not appeal to me melodically — but that doesn’t mean I’m not a fan of Slipknot, for I am, and here’s why:

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