Category: Medieval Mind

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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 â€œAI 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, â€œThat 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 GaudĂ­ was asked how long it would take to build Sagrada Familia, he answered: â€œMy 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.

GaudĂ­ 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 â€” 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 â€” 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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Was King Arthur Real or a Legend?

Was King Arthur real or a legend? Has there ever been such a thing as a sane king? Surprisingly, yes. Otherwise, how could we have imagined such mythic figures as King Arthur, Aragorn, or others like them?

In his essay On Fairy Stories, Tolkien suggests that historical Arthur was “thrown into the Pot” of myth-making and boiled there until he emerged as a King of Faerie.

“It seems fairly plain that Arthur, once historical
 was also put into the Pot. There he was boiled for a long time, together with many other older figures and devices, of mythology and Faerie, and even some other stray bones of history
 until he emerged as a King of Faerie.”

There must have been enough myth in the historical Arthur to justify his becoming the Arthur of legend. Others must have seen something in the man which they later wove into Myth. And one thing the legends continually emphasize is that Arthur never strove for power.

The whole idea behind the Round Table was so that no one — not even the king — would sit at the “head.” The Round Table has no head. It is both Altar and Equalizer: no one presides because everyone is there to offer himself as a sacrifice. But why would Arthur willingly share power?

The answer to this question is just as mythical as the question itself: Arthur knew he wasn’t adequate to rule. That’s why he needed others. A king is only sane if he believes himself inadequate to rule.

C.S. Lewis captured this idea beautifully in The Magician’s Nephew. When Aslan told Frank and Helen that they would be the first King and Queen of Narnia, Frank replied:

“Begging your pardon, sir,” he said, “and thanking you very much I’m sure (which my Missus does the same) but I ain’t no sort of a chap for a job like that. I never ‘ad much eddycation, you see.”

Aslan asked him if he could do the usual things a king would do, and Frank replied,

“Well, sir,” said the Cabby very slowly, “a chap don’t exactly know till he’s been tried. I dare say I might turn out ever such a soft ‘un. Never did no fighting except with my fists. I’d try – that is, I ‘ope I’d try – to do my bit.”

”Then,” said Aslan, “You will have done all that a King should do.”

There are many people in the world who believe they are ready to be kings. They believe they can rule. But that certainty is the surest sign they cannot — and there is something that rules over them. Sanity is a sensation of being connected to a Power greater than you. You draw your sense of adequacy from Another.

If you feel you are enough, you are not. If you know you are not enough, you are. True kings are keenly aware of their inadequacy to rule. The most insane rulers in history are those who believe they can and should rule. The best of rulers always share power.

They believe in a Higher Power. That’s why they don’t build square tables — they don’t need to preside. They build round tables — a place where they can offer themselves for others who rule together with them. Sanity is a matter of accepting your own powerlessness and realizing that you are not helpless.

There’s a Greater Power than you on which you can rely. Powerlessness and helplessness are not the same; in fact, they are direct opposites. Those who feel powerful are truly helpless. Those who admit their powerlessness are never helpless. If you say: “I ain’t no sort of chap for a job like that,” you will receive all the help in the world.

When you are certain you can, you can’t. When you confess you can’t, you can. Just look around you, and you will see mighty princes and princesses around your Table — the rulers who are ready to lay down their lives for you. With their eyes upon you, you will find the courage to rise and fulfill your calling.”

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What is Donegality in C.S. Lewis and J.R.R. Tolkien?

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What is donegality? Leonardo da Vinci’s Vitruvian Man represents the “perfect man,” based on the ancient knowledge of ratios and proportions in human anatomy. Leonardo, often called a Renaissance man, depicted something very different from the medieval understanding of man.

His Vitruvian Man is autonomous. There’s nothing around him. He is in the center. In the visions of Hildegard of Bingen, born in 1098, a man is also depicted in the center, except that the space/cosmos he is in is surrounded by the figure of God. The man is literally inside the womb of God.

In the medieval understanding, the man is in the center, and yet he is not. He exists in God’s embrace. The space/womb he is in is part of a Universal Body that has a head, face, hands, legs, and feet. The medieval man was not autonomous. He was loved. Embraced by the personal cosmos.

He lived, breathed, and moved inside the Divine womb. When the baby is inside the womb, they can’t see the mother, but they can divine her motherly presence in all things. She is hidden behind the walls of the world, and yet she is present in everything. The baby literally eats her body and lives off of her — her body is his whole world. The mother is hidden and yet revealed from the inside out.

C.S. Lewis once visited County Donegal in Ireland and was struck by the specific feel of the local landscape. He coined the term “donegality” to describe the unique atmosphere or mood that gives a particular setting or narrative its distinctive character. Donegality is a unique feel of something.

The Chronicles of Narnia is intentionally suffused with a certain donegality so we can recognize the Mother. All its symbolism — the talking animals, mythological landscapes, magical transformation — the whole atmosphere creates an irresistible sense of wonder and and an invitation to ask the main question: “Who?” Who is behind it?

To be born means to go out of the womb and see the mother face to face. But while we are in the womb, we live in her donegality. We see her dimly, as if through the looking-glass. We swim in the cosmos of her Divine Body, eating and drinking her self-revelations.

In J.R.R. Tolkien’s worlds, this “donegality” is even more pronounced because Iluvatar, the Divine Source, is mentioned only in the beginning of The Silmarillion. In the rest of the legendarium, he is not mentioned but implied. He is the force behind all forces. An attentive reader divines his Presence in all the peripeteia of the plot. Tolkien plunges us into the donegality of the Music of Iluvatar.

Both Lewis and Tolkien represented a deeply medieval understanding of man. The man is only himself when he is embraced by the cosmos of Divine love. The Divine love puts him in the center and nourishes him until he is ready to see her face to face. When in the womb, he sees her only in dreams, visions, symbols, metaphors, and parables. She is revealed from the inside out.

St. Gregory Palamas (1296–1359), a Byzantine monk and theologian, taught that even though God is unknowable in his essence, he is revealed in his energies. While in the womb, we cannot see God face to face, but we can know him partially through his energies. God manifests himself through his donegality, the unique atmosphere of the world.

That’s why Jesus said, “He who has ears, let him hear.” Hear what? The heartbeat of the mother, the warmth of her womb, the nourishment of her Body. When we feel embraced, we become ourselves. Divine donegality gives us the energy to be who we are.