Take a pause to let your mind work
Why the culture that destroyed attention spans is now turning to podcasts.
JOHN CAMERON MITCHELL: I'm feeling like a lot of people are feeling helpless lately with nonstop bad news. And even ADD has reduced our resistance not our resistance, but our capacity for nuance and for empathy. You know, if you are moving from moment to moment and avoiding a pause, consider that neurologists tell you that the pause is where the memory becomes entrenched. And it's where emotion is synthesized, after the event, in the pause. If you don't go down you can't feel the going up again. So in this era where every pause is filled with checking your phone, when porn, when you skip to the cum shot, you know? From cum shot, to cum shot, to cum shot. You know, and if there's no pause, the orgasm feels like nothing. And the same with joy, the same with sadness. If you never stop you can never feel, fully.
So my goal at times is to create pauses more than create the actual thing between the pauses, which some would call things, or events, or words, or just sounds, in this case with the podcast. I was very careful of, like, this needs to be 24 more frames of pause; I use the film term because there's 24 frames per second. I said, the audience is not feeling it because they don't have enough time to pause. So the art of the pause is what I'm encouraging now.
Anthem is the name of our series. Every season will be a different musical, in probably 10 episodes. And our first season is called Homunculus. My character, Ceann, is a down and out failed writer in a trailer park in the Midwest who's run out of insurance, and he's got a brain tumor. And the tumor, one of the names of the kind of tumor he has is homunculus, which is Latin for little man. And the tumor becomes a character. But my character's online, he's doing an app-based telethon to crowd-fund his treatment.
This piece is really more about me. It's really more of an alternative autobiography. The characters became really me; If I never left my small town, what would I be like? So I wrote it as a TV series. It was too weird for Hollywood, you know? The resting pitch faces at desks across LA were saying no. And a company called Topic Studios said yes, in New York, as a podcast. It was an old form that is being rebooted for today. You know, audio theater has always been a traditional part of radio, and it's sort of been forgotten, and except for some comedy, let's say but this, I really wanted something more like cinema of the mind. Obviously, it's much cheaper. Though, we may be one of the more expensive podcasts ever made because of the density of it. And it's really something that we want to push the podcast form into a more complex, nuance, dense, fictional place. I'm used to theater. I'm used to novels. You know, the words and the music evoke images. You know, sometimes a thousand words is better than a picture, too. Otherwise we wouldn't have Dostoevsky and Nabokov, you know, lasting so long. I'm a word person. You know, I'm a music person. But I love words. You know, when people say films shouldn't be too wordy, and, you know? It's like, why not? You know, Eric Rohmer, so many great filmmakers, they're word based. So in our case, when there is an image that's important to see, for our listeners to envision, we have characters that describe them in a poetic way, which is, of course, the ancient form of prose poetry, that evokes images, and evokes other feelings, and other senses.
I think that one of the reasons podcasts are very popular right now, because it's a bit counter intuitive in this day and age of peak sensory overload, is that people are finding one sense is just fine, thank you very much. We're overloaded. I wrote it all as a theater piece first, and then wrote it all as a television series, and then adapted it for podcast. So I've had a lot of time to parse it, to do readings, to edit the hell out of it. And it's that kind of time is really needed for something this dense.
I think one of the reasons you don't get as many wunderkinds on YouTube in a narrative way is because it requires a lot of skills. It's not just music, or just visuals, or just acting, or just comedy. It's all of those things, including the talents of production, which is, oh, my god, how do you get it onto screen or onto a camera. And that requires patience. It's an ADD world. A lot of young people, patience is not always the strong suit. In fact, the spontaneous, you know, 'shoot myself for Instagram', is the main format of the moment. And that doesn't always allow for the complexity of real narrative storytelling. It can make for something fun, and exciting, and funny. But the kind of stuff, the literary kind of stuff that I like, requires a lot of time and patience. And patience is not really something that's honored anymore, I find, in pop culture. And certainly not in politics lately. So I'm a tortoise as opposed to a hare. And I like to think it through, and gather my thoughts, and hammer away, and sculpt it, which is what I've been doing for the last year and a half.
- Taking a pause after consuming a piece of art or media is essential to our memory, emotions, and intellectual digestion, says writer, director and podcaster John Cameron Mitchell.
- We live in an age full of influencers and YouTube personalities, but fewer narrative powerhouses. Storytelling takes time, skill, and requires us to make space to gather our thoughts.
- Podcasts are a storytelling rebellion against so-called ADHD culture. If the internet ruined our attention spans, can the single-sense format of podcasts bring it back?
John Cameron Mitchell's latest work is the epic radio-cinema podcast Anthem: Homunculus.
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Using machine-learning technology, the genealogy company My Heritage enables users to animate static images of their relatives.
- Deep Nostalgia uses machine learning to animate static images.
- The AI can animate images by "looking" at a single facial image, and the animations include movements such as blinking, smiling and head tilting.
- As deepfake technology becomes increasingly sophisticated, some are concerned about how bad actors might abuse the technology to manipulate the pubic.
My Heritage/Deep Nostalgia<p>But that's not to say the animations are perfect. As with most deep-fake technology, there's still an uncanny air to the images, with some of the facial movements appearing slightly unnatural. What's more, Deep Nostalgia is only able to create deepfakes of one person's face from the neck up, so you couldn't use it to animate group photos, or photos of people doing any sort of physical activity.</p>
My Heritage/Deep Nostalgia<p>But for a free deep-fake service, Deep Nostalgia is pretty impressive, especially considering you can use it to create deepfakes of <em>any </em>face, human or not. </p>
How long should one wait until an idea like string theory, seductive as it may be, is deemed unrealistic?
- How far should we defend an idea in the face of contrarian evidence?
- Who decides when it's time to abandon an idea and deem it wrong?
- Science carries within it its seeds from ancient Greece, including certain prejudices of how reality should or shouldn't be.
Plato used the allegory of the cave to explain that what humans see and experience is not the true reality.
Credit: Gothika via Wikimedia Commons CC 4.0<p>When scientists and mathematicians use the term <em>Platonic worldview</em>, that's what they mean in general: The unbound capacity of reason to unlock the secrets of creation, one by one. Einstein, for one, was a believer, preaching the fundamental reasonableness of nature; no weird unexplainable stuff, like a god that plays dice—his tongue-in-cheek critique of the belief that the unpredictability of the quantum world was truly fundamental to nature and not just a shortcoming of our current understanding. Despite his strong belief in such underlying order, Einstein recognized the imperfection of human knowledge: "What I see of Nature is a magnificent structure that we can comprehend only very imperfectly, and that must fill a thinking person with a feeling of humility." (Quoted by Dukas and Hoffmann in <em>Albert Einstein, The Human Side: Glimpses from His Archives</em> (1979), 39.)</p> <p>Einstein embodies the tension between these two clashing worldviews, a tension that is still very much with us today: On the one hand, the Platonic ideology that the fundamental stuff of reality is logical and understandable to the human mind, and, on the other, the acknowledgment that our reasoning has limitations, that our tools have limitations and thus that to reach some sort of final or complete understanding of the material world is nothing but an impossible, <a href="https://www.amazon.com/dp/B01K2JTGIA?tag=bigthink00-20&linkCode=ogi&th=1&psc=1" target="_blank" rel="noopener noreferrer">semi-religious dream</a>.</p>
A physicist creates an AI algorithm that predicts natural events and may prove the simulation hypothesis.
- Princeton physicist Hong Qin creates an AI algorithm that can predict planetary orbits.
- The scientist partially based his work on the hypothesis which believes reality is a simulation.
- The algorithm is being adapted to predict behavior of plasma and can be used on other natural phenomena.
Physicist Hong Qin with images of planetary orbits and computer code.
Credit: Elle Starkman
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