UPDATE: this event has been postponed until the Spring, when the Gell Center opens for nice weather….
Behind the Scenes at The Gell CenterSaturday, October 10th11:00 a.m. – 3:00 p.m.$5.00 admissionLocation: Gell CenterHow does a play go from the page to the stage? Watch as two local playwrights, Craig DeLancey and Len Messineo, hand over their plays to Bristol Valley Theater’s directors Karin Bowersock and David Shane, who will work before your eyes with the playwrights and local actors to prepare and present on-the-spot readings of both new works. This enlightening event will give you an insider’s view into the creative process and the writer/director/actor relationship. Light refreshments will be available. Call 473-1590 x 107 to make your reservation, directions to the Gell Center will be emailed or mailed to you. Coffee/tea/cookies will be served. Feel free to bring your lunch.
Four hours of dramatic education and entertainment for $5? That’s ridiculously cheap. Why would anyone be anywhere else? And all the money will go to helping two great local non-profits.
My play will be “My Tunguska Event,” which was once a finalist for the Heideman Award. It has astrophysicists, entropy, meteors, black holes, death, birth — all in 10 minutes.
UPDATE: the poster:
“Breaking Smart” offers now the first “season” by Venkatesh Rao, former “philosopher in residence” at VC firm Andreessen Horowitz (How does someone get such a job? Can I find a position like that on LinkedIn and do it part time?). This “season” is self-described as philosophy. It cites a lot of SF. But what I find most interesting is where it fails.
It sets up a dichotomy between the Pastoralists and the Prometheans, as a framework for an optimistic futurism based on the claim by patron Marc Andreessen that “software is eating the world.” (Why would they think this claim is attractive? Even to say, for example, “Justice is eating the world” makes justice sound sinister. Is the goal to be a little scary? To seem a tough realist?)
We learn in this “season” that programmers and the businesses that work with them (e.g., VCs) are the Prometheans who bring us a bold new future in which everything is better. The Pastoralists are the foot-draggers who are holding us back. Prometheans love Uber. Pastoralists want to protect taxis.
All this is rather strange from Rao, whose other bloggings are Nietzschean paens to “sociopaths” (his name for CEOs and others in pinnacle management) who create fictitious values in a meaningless world, to which the rest of us cling (we 99% are divided into either the “clueless” or “losers” — here even Nietzsche would cringe). Is the Promethean a sociopath? Is this whole first season of “Breaking Smart” all noble lies, meant to inspire us? We’ll have to tune in next season to get the answer.
What strikes me as most interesting in this “season” is the gaping hole in the center of this panegyric to our Silicon Valley Titans. The future of technology is unlimited. All shall get better. Uber shall turn out to be wonderful, software will feed everyone, creative destruction will prove creative. Only, what about our social technologies — that is, what about our economy, our collective mores, our politics? And what about the problems we face now: inequality, surveillance, other abuses of technology? Here the Promethean stuns us:
Broken though they might seem, the mechanisms we need for working through “inequality, surveillance and everything” are the generative, pluralist ones we have been refining over the last century: liberal democracy, innovation, entrepreneurship, functional markets and the most thoughtful and limited new institutions we can design.
This answer will strike many as deeply unsatisfactory and perhaps even callous. Yet, time and again, when the world has been faced with seemingly impossible problems, these mechanisms have delivered.
Beyond doing the utmost possible to shield those most exposed to, and least capable of enduring, the material pain of change, it is crucial to limit ourselves and avoid the temptation of reactionary paths suggested by utopian or dystopian visions, especially those that appear in futurist guises.
That last bit is just ad hominem. If “reactionary” means someone who opposes change and may even want to return to some (imagined) earlier state of affairs, then those with utopian dreams are not reactionaries. To call them such is without content. And as for “these mechanisms have delivered” — that’s true of the lowly taxis that the Promethean disparages. That’s true of the horse and buggy, of the ox-drawn plow. So this too is without content.
We have a blatant contradiction. Machine and software technologies must be ever innovated. Pastoralists are reactionaries to say that these machine and software technologies should be controlled or directed or regulated because of their danger. But the Promethean tells us that social technologies are done, complete, as good as it gets; only dangerous utopians think that social technologies can be innovated.
The moment Rao turns his attention from promoting more code, to considering moral codes, his imagination not only fails — he becomes a reactionary (and here, by the definition with content: he wants to protect the status quo, and even praises the glories of liberalism’s earlier accomplishments). Fukuyama was right! History has ended! Neoliberalism is the (not perfect, but best and so final) solution to all social problems.
It is terrible, that we find it so easy to imagine more machine and software technologies but we find it nearly impossible to imagine a better social system. This kind of lack of imagination can only be created by force. That is, it must be continually reinforced. Imagining a different social arrangement is as difficult for the contemporary citizen of neoliberal society as, say, it was for a medieval European peasant to imagine a life without God. The Church made civilized atheism inconceivable for the medieval peasant; our ideological engines make a better alternative to neoliberalism inconceivable to us.
When Ursula LeGuin said we need SF writers to imagine new futures for us, I think she meant it as a plea. She knows that SF is one of the few places where someone might imagine some alternative way of living. Most SF is comfortably neoliberal or reactionary, of course. But the goal is to imagine possible futures. And so maybe someone dedicated to this goal will see a little over the walls of our mental prison.
But then again, what do I know? I’m either a loser, or, at best, clueless.
I finally saw Jodorowsky’s Dune, the documentary that describes Alejandro Jodorowsky’s project to make a film of Dune. One comes away awed by the relentless passion of Jodorowsky. He is one of those people who strive to make art happen on a grand scale through sheer force of faith and will. You cannot help but find him inspiring.
Three things are striking about this documentary. First, it illustrates the difficulty of making something daring under the funding mechanisms of the Hollywood model. I was reminded that Orson Welles (who would have played Baron von Harkonen) had more projects canceled by funding problems than Andrei Tarkovsky (working under Soviet censors) ever had cancelled for any reason. This is not censorship; but it is a kind of very powerful and very effective compression of the imagination. Capital chases banality. Second, Jodorowsky had a healthy independence with respect to the text of Dune. He was going to change the plot left and right, to make the movie he envisioned. The result would have been a fantasy inspired by Dune, but it would have been his own movie. This is a good thing. Dune the novel will always be there; a free adaptation can do no harm to the original text. The textual puritanism that has much influence in fan culture today is reactionary. Artists should ignore it. Third, one wonders what speculative film would be like if Jodoworsky had succeeded in making his movie with an original Pink Floyd soundtrack, with Orson Welles and Mick Jagger and Salvador Dali and David Carradine acting, with Giger and Moebius and Foss art. It may have created a whole different perception of the possibility and potential of speculative film.
Hence one comes to Jurassic World.
The dinosaurs are beautiful; but all (literally all) of the creativity of the film is in the special effects. And, oh, how the camera strives to get the grill of a Mercedes into every damn shot.
It is a common claim that most of what comes out of Hollywood is leftist. This is not true; most of what comes out of Hollywood is neoliberal. (For example, the criticisms of corporate greed that form a staple of thrillers, and make some kind of vague subplot in this movie, are always safely abstract and unrealistic, and completely removed from real corruption and greed. The result is that these apparent criticisms are both smug and misdirection.)
If we can find a message in this latest installment of the Jurassic-franchise product placement vehicles, it is this: science is bad when it is daring, when it attempts bold dreams. Science is only good when it is producing consumer products of a familiar kind, for familiar brands. Another world is not possible.
Let us imagine an alternative film: Jodoworsky’s Jurassic Planets. In it, the dinosaurs escape their consumerist nightmare park and they breed, covering the world. Humanity develops radical new technologies (force fields, powerful stun weapons, etc.) to enable people to live in safety and in harmony with the dinosaurs. The velociraptors learn to read and adopt our technology; they form an anarcho-syndicalist collective with sympathetic humans, and decide, first, to bring back all the organisms that humanity pushed into extinction and, second, to spread all of Earth’s life into the universe. The long closing shot is an exterior of a terraformed Mars. Not a single Mercedes rolls over the red planet, not a single Coca Cola is drunk there. Instead, passenger pigeons fill the sky over a crimson savannah where woolly mammoths roam.
David Graeber has the most interesting take I have read on why you don’t have your flying car:
Graeber’s hypothesis is that our economic system is run with a preference for fostering bureaucracy over creation, and this stifles innovations that do not themselves result in more bureaucracy.
I find his thesis provocative and plausible. For example, it is consistent with my experience of what is happening to academe in the United States.
I’m pleased to have a story (“Racing the Tide”) in the forthcoming CliFi anthology, Loosed Upon the World. The book will be out in August. Official announcements can be found at John Joseph Adam’s blog.
Writer’s & Books is going to do a reading of my play B-19. The play is based on a true story of an experiment meant to “cure” homosexuality by sinking wires into the pleasure centers of one man’s brain to directly cause positive associations with heterosexuality. It’s a story of forgotten history and unexpected consequences.
Writers & Books presents
B – 19 by Craig DeLancey
Directed by Jean Gordon Ryon
Writers & Books
cordially invites you to attend
A Staged Reading of a New Work
Please join us for a staged reading of a new play by Craig DeLancey directed by Jean Gordon Ryon. Actors will perform the play with books in hand, and the playwright will be present for discussion and questions.
Saturday February 21, 2015
Writers & Books
740 University Ave.