Why Doesn’t AI Understand Context? An Insight from The New York Times

Why doesn’t AI understand context? Martin Heidegger famously argued:

“The essence of technology is nothing technological.” — The Question Concerning Technology

What, then, is its essence? Its essence is “enframing”— a way of giving us a particular lens through which to view the world. Modern technology is Gestell: a mode of disclosing reality, not a tool. It reveals reality as “standing-reserve.”

But is this true?

The New York Times recently published an article titled “Companies Are Pouring Billions into A.I. It Has Yet To Pay Off.” And Forbes echoed it with an article: “Companies Are Pouring Billions into A.I. Here’s Why They’re Not Seeing Returns.” Why is this happening?

The New York Times emphasizes the human side: employees resist tools they do not trust. Forbes zeroes in on technical issues: AI still fails to understand the context of work. Surprisingly, the solution proposed in both cases is itself technical in nature —training AI to “understand” context.

But can AI understand context? Context is what surrounds the text — the background that allows us to understand the true meaning of words, events, or ideas. How do you train AI to understand context? Companies tend to propose only one solution: feed it more data.

Yet, reducing context to data is precisely what Heidegger calls enframing. Context is not data; it appears as data when we look at it through a technical lens. But what is context proper? The word context comes from the Latin con (“with, together”) and texere (“to weave”). Literally, context means “a weaving together.”

To understand context, we must be weavers. It’s more art than science. To truly understand my friend’s words, I must artfully weave the individual threads of what I know about them into a single, meaningful picture. A weaver doesn’t simply assemble the picture from bits and pieces — they weave a tapestry from disparate threads based on the vision of the Whole.

A weaver cannot produce a coherent Whole unless they have first seen the Whole. True art is recreating on earth what we saw in heaven. We can only weave what we have seen — the Heavenly Pattern. AI cannot see the Heavenly Pattern. And because it cannot see, it cannot truly weave. That is why it cannot genuinely understand context.

All humans are Platonists by nature — we instinctively grasp the Idea behind every thing. AI cannot see Platonic Ideas, and therefore it cannot weave. Reality is not data; it is textile — fabric. It is not assembled from bits and pieces but woven from Logos-colored threads, revealing something that comes from beyond this world.

The employees in those companies are human, and they instinctively sense what AI cannot. That is why they distrust it. Will this ever change? To be able to weave — to grasp context — you must be able to see the invisible.

Reality is not data. It is fabric. It is a tapestry — a visible image of what cannot be seen by the physical eyes. To dwell in the world contextually means to artfully weave on earth what has been revealed in Heaven.

Why Do We Crave Adventure? Searching for the Yonder Star

Why do we crave adventure? Babushka: A Christmas Tale is a children’s tale by Dawn Casey. It’s a simple yet touching story about an old grandma who was busy tidying her home when a bright star shone in the sky.

Soon, three wise men knocked on her door. After she had fed them a hearty meal, they offered her a gift — an invitation to join them on their journey to find the newborn babe, the Prince of Peace.

Somewhat flustered, Babushka must have felt exactly like Bilbo Baggins on that memorable day when Gandalf nudged him out the door to join the dwarves on their adventure. And, like Bilbo, Babushka excused herself by saying she had dishes to do and floors to clean.

The next morning, she woke up to find them gone. To her utter surprise, an aching longing smote her heart. She realized she had made a terrible mistake.

Rushing out the door, she searched desperately, asking everyone she met if they had seen the three wise men. Yet, they were nowhere to be found. And so, as the story goes, Babushka is still wandering to this day — searching, asking, hoping… and giving gifts to anyone she meets.

The moral of the story?

When we choose comfort over adventure, we are always left with the residue of longing. The more we settle in our ways, the more painful the realization that we are missing out on something big and real. We see some people following the star and shrug our shoulders: “Fools. They are chasing after the wind.”

And yet, after they leave, we are overcome by an inexplicable yearning. It dawns on us that we have made a terrible mistake by NOT following the star — the call to adventure. We have been the fools; we have been chasing after the wind. We leap up and begin looking for those strange vagabonds.

We are looking for our “tribe” — those who follow the yonder star. We roam the world searching, looking into people’s eyes as if silently asking, “Are you going there too?” The greatest reward is when we find someone with the same glint in their eyes. They are looking for the same thing!

As Professor Digory Kirke said to the children at the end of The Lion, the Witch and the Wardrobe:

“Don’t mention it [your adventure] to anyone else unless you find that they’ve had adventures of the same sort themselves. What’s that? How will you know? Oh, you’ll know all right. Odd things they say — even their looks — will let the secret out. Keep your eyes open.”

And Dostoyevsky mused:

“Beauty is a terrible thing. God and the devil are fighting there and the battlefield is the heart of man.”

Beauty is a terrible thing because it is a call. It ignites a battle in our hearts. We long for it, and yet we resist it at the same time. But sooner or later, we hear a knock on the door. We open it and see strange but happy people with a glimmer in their eyes — the shimmer of the yonder star.

They eat and drink with us and invite us on an adventure. We think, “This is madness. I can’t leave like this — without my handkerchiefs, without first cleaning my floors.” But the next morning, the travelers are gone, and a thought strikes us like a lightning bolt:

“I must find them — now”!

And without another thought, we rush out the door.

Why Wasn’t the Ponte Vecchio Bombed During World War II?

Holiday, Henry; Dante and Beatrice; Walker Art Gallery; http://www.artuk.org/artworks/dante-and-beatrice-97987

Why wasn’t the Ponte Vecchio bombed during World War II? World War II is full of its legends. In the summer of 1944, as Allied forces closed in on Florence, retreating German troops were ordered to destroy every bridge over the Arno to slow their advance.

Every bridge was blown up — except the Ponte Vecchio. The German officer assigned to demolish it refused. “This is the bridge where Dante met Beatrice,” he said. “I cannot possibly destroy it.”

He then radioed the Allies and informed them that the bridge would remain intact — on one condition: they must promise not to use it. The agreement was honored, the Ponte Vecchio was spared, but the officer himself was executed for disobedience.

What compelled this man to sacrifice his life for a bridge? The bridge must have spoken to him about something worth more than life itself — the beauty of the Divine hidden behind ordinary things. Dante’s love for Beatrice was unique in that he never separated his love for an earthly woman from his love for God.

In fact, loving Beatrice was not a distraction from God but the very path to God. For Petrarch — and many other poets — their earthly love was a distraction from God. Petrarch’s inner struggle was precisely that Laura competed with God for his heart.

He loved her intensely, but he also felt guilty that this human passion distracted him from pursuing God. Not so with Dante. He said of Beatrice:

O lady, you who strengthen my hope
and who, for my salvation,
have suffered to leave your footprints even in Hell…

For him, to see Beatrice was to see God. Beatrice became an icon of the Divine — a revelation of God within the physical realm. Dante’s revolutionary thought was precisely this — that whatever you love on earth can lead you to God if you see it as an icon.

If you don’t see it as an icon, it becomes an idol and competes with the Divine in your heart. It’s all in the eye of the beholder.

“The eye is the lamp of the body.” — Jesus

Icon and idol are often the same thing — the difference lies in how we look. If we look at a thing, it becomes an idol. If we look through it, it becomes an icon. Dante looked through Beatrice and communed with Divine Light.

Perhaps that is what the German officer saw on the Ponte Vecchio that day. Perhaps he caught a glimpse of that light through the bridge and realized that it was worth more than life itself.

What Creates Human Connection? Tending the Garden of the Heart

What creates human connection? I like to look at backyards. They reveal what people love to surround themselves with. Whether we realize it or not, most of us unconsciously — and sometimes consciously — try to re-create the Garden of Eden behind our homes.

We intentionally gather things that make us feel safe, calm, and at home. When we see those trees, bushes, flowerbeds, firepits, patios, swings, zip-lines, saints, and everything else we’ve placed there, we feel as if we’re standing inside our own Garden of Eden. Having such a space gives us a sense of safety.

The enclosure of the backyard becomes a protective wall, symbolically shielding us from the chaos of the outside world. And every “thing” within that enclosure speaks to us.

The word “Paradise” itself comes from the Old Persian “pairidaeza,” which means “enclosed garden” or “walled enclosure.” In the Bible, it first appears in the Septuagint. The word consists of two parts: “pairi-” (around) and “-daeza” (wall or enclosure).

Paradise is an enclosure — a place surrounded by a wall. It’s an enclosed circle. Within this circle, everything is secure. Outside of it, danger lurks. Little children understand the meaning of Paradise when they cling to their mother’s knees. They instinctively remain within their safe zone — an invisible enclosure — until they feel secure enough to venture out.

On this side of the Garden of Eden, we must have some form of enclosure — a place full of mighty Guardians that keep watch day and night at the borders of our realm. We must feel protected from the outside world — to build immunity within.

Without Paradise, no one feels safe enough to venture into the big, wide world. Without the experience of being surrounded by Guardians — our own symbolic gargoyles — the world will swallow us. Paradise is necessary for building immunity. And, paradoxically, immunity is what makes community possible.

True community is impossible without immunity. Unless I feel safe — unless I catch a glimpse of my own protective gargoyles out of the corner of my eye — I cannot truly connect with anyone. My ability to dwell in community is directly related to my experience of immunity within my Paradise.

If I lack the experience of Paradise, I will lack the immunity needed to commune. And without immunity, all connection is fragile or distorted. Only those who feel safe enough — loved, enclosed, embraced — can form true community. Those who do not feel safe, loved, enclosed, and embraced cannot connect in a healthy way.

Communism, incidentally, is the crisis of distorted community — precisely because communism arises from a crisis of immunity. It is the opposite of true community because it emphasizes the communal at the expense of the individual.

When individual boundaries are erased — when there is no sufficient enclosure around us — we lose the ability to connect in a healthy way. Communism emerges from a distorted vision of community.

When the individual is swallowed by the collective, neither individuality nor community survives. To have true community, there must first be immunity. Each of us must have the experience of dwelling in a “walled enclosure” where we feel totally safe, loved, and embraced — only then can we truly connect.

God planted the Garden in the East for this very purpose: to surround Adam and Eve with enough love for true community to emerge. Without Paradise, true community becomes impossible — and Communism becomes inevitable.

How is a War Won?

How is a war won? Two years into the war, the chief psychiatrist of the Rehabilitation Center “Unbroken” in Lviv, Ukraine, said to the volunteers who wished to work 12-hour shifts:

“If you work yourselves to death for twelve hours a day, you’ll end up in the psychiatric ward as my patients.”

These people were driven by the most natural instinct we all feel in times of crisis — to prioritize duty over joy. When you see so much need and suffering around you, you think: “I will put off joy and first do what must be done.”

And yet, according to the Ukrainian philosopher Alexander Filonenko, this is a grave mistake. Those who make duty their first priority never truly fulfill it. Duty is never accomplished from a mere sense of duty. Those who try to “white-knuckle” adversity inevitably fail.

Interestingly, after the war began, bookstores in Ukraine quickly ran out of books by the Stoics. The common misconception about the Stoics is that they teach how to endure adversity through willpower. It is not true.

Stoicism is more about joy than willpower.

“The happiness of your life depends upon the quality of your thoughts.”
— Marcus Aurelius, Meditations 5.16

Stoicism is not so much about self-denial as about changing your thoughts. Stoics are not the stone-faced people. They’re those who actively work on changing their thinking.

“Men are disturbed not by things, but by the views they take of things.” — Epictesus

The only way to endure a crisis is to do the most counter-intuitive thing — prioritize joy over duty. The only way to survive hell is to keep enough visions of heaven before your eyes. Those who focus on duty never fulfill their duty. Those who focus on joy cannot help but fulfill it.

What do war-injured people need the most? Medical care? Supplies? Prosthetics? “UNBROKEN” answers: beauty. Beauty is the only force that revitalizes the soul and helps the body heal. It is the only power that can lift a person from the ashes. That is why UNBROKEN invites orchestras, ensembles, and individual musicians to perform for patients right inside the rehabilitation center.

So far, they have hosted the Academic Symphony Orchestra of the Lviv National Philharmonic, held various concerts connected to veteran and wounded-soldier rehabilitation, and, in one 2023 performance, classical musicians played beside wounded soldiers. And more continue to come.

To survive, one must thrive. Survival can never be achieved by aiming at survival. When our world crumbles, we must do the most counter-intuitive thing — turn our gaze to Beauty. Beauty is the only thing that truly “changes our thoughts.”

“The soul becomes dyed with the colour of its thoughts.” — Marcus Aurelius

What is the color of my soul today? It takes on the color of my thoughts — always. No war is won by endurance alone. It is won when I immerse my soul in the colors of joy and allow meaning to transform my thoughts.

What Was Obi-Wan’s Mistake with Anakin?

What was Obi-Wan’s mistake with Anakin? Speaking of Anakin, Obi-Wan Kenobi once said to Qui-Gon: “The boy is dangerous. They all sense it. Why can’t you?”

Qui-Gon replied: “His fate is uncertain; he is not dangerous.”

Surprisingly, they were both right. Obi-Wan foresaw Darth Vader emerging from Anakin; Qui-Gon foresaw Anakin emerging from Darth Vader.

And yet, Obi-Wan’s early view of Anakin as “dangerous” shaped the entire trajectory of their future relationship. Obi-Wan failed to recognize Anakin’s deepest human need — the need for a father. And he failed to become that father when Anakin was his Padawan. Why? Is it because Obi-Wan himself grew up without a father?

Obi-Wan could hardy remember his parents. In Star Wars canon, Obi-Wan Kenobi’s father is not named. At twelve, Obi-Wan became Qui-Gon’s Padawan, and for a while, their relationship was tense — Obi-Wan was rigid and rule-abiding; Qui-Gon spontaneous and free-spirited.

Obi-Wan kept the rules; Qui-Gon followed the ways of “the living Force.” Eventually, they came to appreciate each other but sharply disagreed about Anakin.

Obi-Wan: “He’s dangerous.”

Qui-Gon: “He is the Chosen One.”

Even after Qui-Gon’s death, Obi-Wan saw Anakin as “dangerous.” He agreed to train the boy out of duty and respect for his fallen master, but he never saw him through Qui-Gon’s eyes — as the Chosen One. Obi-Wan didn’t choose him. That’s why Anakin never felt chosen.

Obi-Wan failed to see what every boy craves the most — for someone to see him as the Chosen One.

True fathers always see their child as the Chosen One. In their gaze, the child becomes his true self. Anakin didn’t find it in Obi-Wan’s eyes, and he turned to Palpatine for answers. When a child does not feel chosen, he will seek identity in the darkest places. Children do not want dutiful love. They reject it — and the one who dutifully gives it.

With Luke, Obi-Wan was different. He waited for years on Tatooine until Luke came of age — not out of obligation, but out of hope. By the time they met, Obi-Wan had clearly chosen him. And Luke felt that from the very first moment they met — chosen.

Obi-Wan never criticized Luke’s fear, impatience, or ignorance as he once scolded Anakin. Instead, he bestowed upon him a mythic identity by telling him the words Anakin had never heard: that he was the son of a Jedi Knight.

Obi-Wan had vowed to train Anakin — and failed. Twenty years later, he finds Anakin’s son to fulfill his promise. This time, he does it not as a reluctant mentor but as the father Luke desperately needs. And Luke FEELS chosen.

This is why, when Palpatine tempts Luke with the same dreadful choice he once offered Anakin — Turn to the dark side, or watch your loved ones die —Luke does not cave.

Palpatine succeeded with Anakin because Anakin did not have an identity and was desperately trying to find one. He failed with Luke because Luke had an identity — the one imparted by Obi-Wan.

Only those who FEEL CHOSEN can overcome the Evil One. Unless I have a father-imparted identity, I will cave. The role of the father is to give you a name — something you cannot lose. Luke knew who he was — the Chosen One — and he redeemed his father in himself.

The moment Luke put down his lightsaber, Darth Vader died and Anakin resurrected. At that moment, Qui-Gon’s prophecy about Anakin came true:

“He is the Chosen One.”

How Do Abusive Fathers Affect Their Sons?

How do abusive fathers affect their sons? Svetlana Alliluyeva, Stalin’s daughter, spoke in a BBC interview in the 1980s about her father’s early childhood. Joseph Stalin was born into the home of a poor Georgian peasant, Besarion Jughashvili, who was a violent alcoholic.

He beat his wife, Keke, regularly, and he beat young Joseph “mercilessly.” According to Svetlana, the boy once tried to defend his mother by throwing a knife at his father — but missed.

While watching the interview, I felt an uncanny sense of déjà vu. Ivan the Terrible’s childhood was surprisingly similar. After the death of his both parents, the boy fell into the hands of the feuding boyars who neglected him and often left him without food and clothing.

Then another story came to mind — that of the Polish journalist Krystyna Kurczab-Redlich, who conducted independent research into Vladimir Putin’s past. After speaking directly with his mother, who was still alive in the 1990s, she published a book containing details that never entered the official narrative.

To cut the long story short, Vladimir grew up essentially without a father. His mother later married a Georgian man who adopted him. This stepfather, too, was a violent drunkard. He beat both the boy and his mother regularly. Young Vladimir had to learn judo and other “survival” techniques simply to protect himself and her.

Eventually, because of the beatings, his mother sent him to her maternal grandparents in Saint Petersburg.

What happens to a boy’s psyche when his father — the one who is supposed to protect him — instead forces him into daily survival mode? Unconsciously, the child develops the deep, instinctual desire to “kill the father” and take his place.

This is what Freud meant by the Oedipus complex. Freud used the Greek myth of Oedipus, who unknowingly killed his father and married his mother, as a model for psychological development in boys. According to him, every boy unconsciously wants to kill his father and marry his mother.

Is this true? Partly. What Freud never emphasizes is that this “desire to eliminate the father” becomes acute precisely in boys who seek a bright father in their earthly father — but find none.

When a father is absent, violent, drunk, or indifferent, a boy experiences a collapse of the inner world. He seeks light but finds only darkness. Deep resentment settles in his heart. Without realizing it, he begins to dream of replacing the father — in any way possible.

We all instinctively know what a “bright father” is supposed to be. That’s why the Romans named their chief god Jupiter. The Latin “Iūpiter” means Father Jove. The first part of the word —  — is derived from the Proto-Indo-European “dyew” which means (to be bright, day sky), and “piter” is related to the Latin “pater” (father).

Jupiter, the largest planet in the Solar system (and the biggest bright spot in the night sky also known as the Great Red Spot), was associated by the ancients with the Father. In ancient consciousness, a father is the one who shines. A father is the light of your day. In Roman lore, Jupiter, Jove, is the epitome of joviality — he is full of joy and the energy of being.

When a boy never encounters that kind of brightness in his earthly father, he grows resentful — and profoundly unsure of himself. He tries to compensate through force, aggression, and the pursuit of what he imagines masculinity must look like. The result is not strength but a brittle, armored soul.

This could easily have been the fate of Telemachus, Odysseus’s son — but for Athena.

Telemachus grew up without a father. Odysseus had left for the Trojan War when Telemachus was still a baby and had been gone for twenty years. As a result, Telemachus became an uncertain and inexperienced young man, watching helplessly as countless suitors courted his mother, Penelope, in his father’s absence. He longed to save her — desperately, instinctively — but didn’t know how.

Then, Athena appeared to him, disguised as a Mentor, and inspired him to set out on a journey to find his father. Eventually, Telemachus learned that his father, Odysseus, was alive but trapped on the island of Calypso. Through his reunion with his father, Telemachus transforms from a passive, uncertain youth into a confident and capable young man.

Curiously, Athena — a goddess of wisdom and war — does not advise Telemachus to become a man of war to “protect his mother” or to compensate for the loss of his father. That would have been a false masculinity. In her wisdom, she tells him to go and look for his father. Ancient stories are infinitely wise.

The disease of dictatorship is often rooted in fatherlessness — when a child cannot find the “bright father” in his earthly father, he “kills” him in his heart. To reverse this curse, there must be someone wise enough in his life who can nudge him to look up — to peer intently into the night sky.

There, in the impenetrable darkness, there is always a bright spot — someone who embodies the jovial Father in Heaven and beckons him to a life that’s worth living.

What is the Most Forgotten Language According to C.S. Lewis?

Image Source

What is the most forgotten language? In C.S. Lewis’s Space Trilogy, the original universal language spoken by all rational beings is called Old Solar, or Hlab-Eribol-ef-Cordi.

It is not a human language — it is primordial speech shared across all the planets except the Earth, Thulcandra. Ransom explains:

“That original speech was lost on Thulcandra, our own world, when our whole tragedy took place. No human language now known in the world is descended from it.” — Perelandra

What is Hlab-Eribol-ef-CordiLewis describes it as an ancient, pre-Fall tongue shared by angels (eldila) and rational beings. It is highly musical, highly inflected, and deeply meaningful.

How did the pre-Fall language sound? On the Earth, we have lost that unified speech. None of our languages descend from it directly. In Lewis’s imagery, the pre-Fall language was Solar — a speech originating from the Sun, as he suggests in his poem “The Birth of Language.”

In that poem, every word of the original language is infused with the careering Fires of the Sun — the Divine Logos — echoing the primordial Word: “Let there be…” Each word brings forth the reality it names. Can we glimpse that language today? Lewis suggest that the only power that can resurrect something of that essential speech is “true verse.”

Why? Because only in poetry do we return to the Divine poeisis — the primordial Speech that created the worlds. Lewis says:

Yet if true verse but lift the curse, they [words] feel in dreams their native Sun.

Every time we strike a true metaphor, words momentarily “dream” of their home — the Sun. On this side of the Fall, the only way to hear the Solar Speech is through mind-shifting poetry, the kind that lifts language back toward its unfallen state. C.S. Lewis hints at this in That Hideous Strength when he describes the descent of Mercury:

“This was Language herself, as she first sprang at Maleldil’s bidding out of the molten quicksilver of the star called Mercury on Earth.”

For Tolkien, the most powerful metaphor for Divine Speech is… water. Water allows us to hear the Old Solar as nothing else under the sun:

“And it is said by the Eldar that in water there lives yet the echo of the Music of the Ainur more than in any substance else that is in this Earth; and many of the Children of Ilúvatar hearken still unsated to the voices of the Sea, and yet know not for what they listen.” — The SilmarillionAinulindalë

What do we listen to when we hearken, unsated, to the pattering of rain on the windowsill? We attune to the essential speech that created the worlds. We lean into the faint resonance of the Music of Ilúvatar condensed into matter. For it is said that Ulmo — the Ainu through whose thought and song Ilúvatar shaped the waters of Arda— was “most deeply instructed by Ilúvatar in music.”

“Now to water had that Ainu, whom the Elves call Ulmo, turned his thought; and of all most deeply was he instructed by Ilúvatar in music.” — The SilmarillionAinulindalë

Among the Ainur, Ulmo was the one whom Ilúvatar instructed most deeply in music, and therefore in water the echo of that Music lives more than in any substance else that is in this Earth. This could be the reason why the Nazgûl and other evil creatures in Middle-earth hate and fear water — it rings with the song of Ulmo.

We all long to hear Old Solar because it is true speech — saturated with the Music of Creation from which our being arose. Though this language has long been forgotten on Earth, its life-giving presence still haunts us — in poetic utterance, in moments of heightened perception, and most vividly in the contemplation of water, which embodies that primal Speech as nothing else under the sun.

When we listen to the sound of water, we do not know for what we listen, yet we listen for it all the same — for in it we hear a fading echo of the Speech that uttered the world into existence.

What is the Primary Purpose of Literary Criticism?

What is the primary purpose of literary criticism? Interestingly, in the Book of Judges, “judging” (ש־פ־ט (shafat) is not courtroom work. It’s all about saving and delivering. For example, David exclaims in Psalm 26:1: “Judge me, O LORD; for I have walked in mine integrity.”

Obviously, David wasn’t asking God to judge him as if on trial. He is asking God to deliver him from danger. The English word judge comes from the Latin iūdex, from iūs (right, justice) + dīcere (to speak). A judge is literally “one who speaks rightly”—one who declares the truth of a thing.

But what does it mean to speak rightly about something? For example, before Bilbo had finished composing his poem about Eärendil, Elrond told him they would all get together and “judge” it before their merrymaking.

“Elrond laughed. ‘He [Dunadan] shall be found,’ he said. ‘Then you two shall go into a corner and finish your task, and we will hear it and judge it before we end our merrymaking.”

Does Elrond mean they will gather as a panel to determine whether the poem is “good”? Hardly. That is not what happens. They gather in the Hall of Fire, where Bilbo recites the poem. It has such a profound effect on the listeners that some of them seem transported to another realm, as if under a spell.

When Bilbo finishes, the elves burst into warm applause. One elf says:

‘Now we had better have it again,’ said an Elf. Bilbo got up and bowed. ‘I am flattered, Lindir,’ he said. ‘But it would be too tiring to repeat it all.’

Clearly, this is not “judgment” in the modern sense of criticism. In Tolkien’s usage, to judge means to discern what is good, not to search for flaws.

The modern meaning of “judge” has drifted far from its roots. And the same is true of the word criticize. Today it means “to find fault.” Yet its origin tells a different story.

The word “criticize” comes from the Greek κρίνω (krínō) — to separate, distinguish, discern. In ancient times, “to criticize” meant to penetrate the surface of a thing and see it for what it truly is — to recognize and celebrate its value. True literary criticism is never about criticizing; it’s about loving.

Ironically, the discerning aspect of criticism has been lost. But a true judge is a connoisseur — one who appreciates. A true judge is a lover. To “speak aright” is to discern what is good in this and that — and to celebrate it. Only a lover has the right to judge, because only a lover can truly discern.

When criticism is separated from discernment, it never improves or transforms anyone. A desire to improve awakens only in a heart that feels appreciated. If we look only for what is wrong, nothing changes. If we look for what is right, we become true judges — we speak aright.

Was Bilbo’s poem impeccable? Not at all. He admits it himself when he explains that Aragorn insisted on adding a line about the green stone:

“He seemed to think it important. I don’t know why. Otherwise he obviously thought the whole thing rather above my head, and he said that if I had the cheek to make verses about Eärendil in the house of Elrond, it was my affair. I suppose he was right.”

True criticism is never about pointing out flaws. True criticism is the love of what has been discernedOnly what is loved can ever be improved.

Does Technology Always Mean Progress? The High Cost of Making Things Cheap

Does technology always mean progress? Recently, YouTube served me a video by Julia McCoy titled “AI Just Killed Video Production,” introducing Dzine AI — a new “revolutionary” tool that has, as she claims, collapsed the entire video production industry into a 60-second workflow.

It promises to replace the costly process of traditional video production — hiring a voice actor, an animator, and a video editor — with a $25-per-month subscription.
Surprisingly, the show’s host isn’t Julia herself but her AI clone, generated with Dzine AI. The real Julia appears only at the end.

You can take any image, any character, any style, and make it speak your exact words with perfect lip sync. Bottom line? Cut your costs. Cut your time. Maximize your profit.

When I watched this, a humorous quote from Danny Devito popped up in my mind:

“Artists must suffer for their art. That’s why it’s called painting.”

If you tell an artist that true art can be created without pain, they will cringe. It’s impossible. As Viktor Frankl said, “That which gives light must endure burning.”

Can you imagine Andrei Tarkovsky creating his masterpieces with Dzine AI? For him, the obvious question would be: Why? Why cut costs if the only way to create something worthy in this world is to bear the costs of its creation?

We must experience burning in order to give light. Epictetus revealed the same conundrum:

“No great thing is created suddenly, any more than a bunch of grapes or a fig. If you tell me that you desire a fig, I answer that there must be time. Let it first blossom, then bear fruit, then ripen.”

The joy of art is the joy of being pregnant with whatever you are bringing to life — for nine long months. To cut time short is to give stillbirth. That’s why so much modern art feels dead: it has been created too quickly, and too cheaply.

Great art must cost. When Gaudí was asked how long it would take to build Sagrada Familia, he answered: “My customer is not in a hurry.” He began working on it in 1882, and it’s still unfinished. Just like we are unfinished. The only reason to work on something is because it works on you.

Gaudí believed that as he worked on his temple, his temple worked on him. Ultimately, the ONLY reason to create is to be created. Creators create to be created — to come alive. All a creator wants is the experience of being made.

To delegate the creative process to AI is to miss out on the joy of mothering God into the world. We don’t want the pains of bearing the sacred in our womb — yet what is created cheaply will always feel cheap.

“What we obtain too cheap, we esteem too lightly: it is dearness only that gives every thing its value.” — Thomas Paine

The ultimate question is: how much of our joy are we willing to delegate? C.S. Lewis famously noted:

“We all want progress. But progress means getting nearer to the place where you want to be. And if you have taken a wrong turning then to go forward does not get you any nearer. … In that case the man who turns back soonest is the most progressive man.” — Mere Christianity

Are we any nearer to our goal — the experience of joy — when we refuse to take the pains of building our temple? Modern technology does not make us happy; it gives us hype. It promises progress but delivers regress — for true progress means moving closer to our goal, not farther away from it.

When it comes to joy, cheap and fast are regress. If we desire a fig, we must give it time. Joy is a fruit — the fruit of being made through the work of our hands.
When we bear the cost, we create something of value; when we chase what is cheap and fast, we are slowly being unmade.

He who turns back soonest is the most progressive man.

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