What makes the AI chatbots and agents feel light and clean, here and now in 2026? Is it an innate architectural resistance to advertising, to attention hacks, to adversarial crud? Noâââitâs that they are simply new! The language models in 2026 are Google in 1999, Twitter in 2009. Their vast conjoined industry of influence hasnât yet arisenââŠâthough it is stirring.In other words, the companies that control these programs canât let them be free forever. Then the great enshittification begins. Hereâs Robin again, on the âmagic circleâ no AI can cross: that of actually functioning in the real world. The main reason we feel that AI will turn the world upside-down is that, for twenty-five years or so, weâve spent most of our time on the computer. [I like the title: âthe rhinoceros, the anchovy, the Joshua tree.â] AI doesnât actually affect the physical world that much. Hence, my laissez faire attitude towards it. Also, Robin points out that the digital revolution hasnât resulted in huge advances in productivity, not compared to the industrial revolution. As I said to Tara the other day, we could still go back to the pre-internet age and not have lost much. Anyway, lots to chew on in Robinâs post. Alan Jacobs:
the arrival of AI slop machines like Suno will dramatically accelerate something thatâs already well underway, the widening chasm between live music and recorded music. When musicians recorded live in studio, the gap between that and live performance was very small; now itâs vast and getting vaster. And as Adam says, people will always want to experience live music â and perhaps will value it all the more because of the contrast to an increasingly slop-dominated world of recordings.


From Finkel and Taylor, Cuneiform
5 - âservile workâ vs. the âliberal artsâ - Liberal arts are what prepares one for leisure. That is to say, and this is me speaking, the value of a liberal arts education can be judged by what an educated man does in his spare time (ie, when he is not working for pay).
16 - just because something is difficult doesnât make it worthwhile. There is no correlation, in fact, between the goodness of something and its difficulty.
18 - âThe inmost significance of the exaggerated value which is set upon hard work appears to be this: man seems to mistrust everything that is effortless; he can only enjoy, with a good conscience, what he has acquired with toil and trouble; he refuses to have anything as a gift.â
29 â Leisure is âcontemplative celebration,â drawing its vitality from âaffirmation.â Pieper goes on: âNow the highest form of affirmation is the feast; among its characteristics, Karl Kerenyi tells us, is âthe unison of tranquility, contemplation, and intensity of life.â To hold a celebration means to affirm the basic meaningfulness of the universe and a sense of oneness with it, of inclusion within it. In celebrating, in holding feasts upon occasion, man experiences the world is an aspect other than the everyday one.
âThe feast is the origin of leisure, and the inward and ever-present meaning of leisure. And because leisure is thus by its nature a celebration, it is more than effortless; it is the direct opposite of effort.â
30 â âRatio, in point of fact, used to be compared to time, whereas intellectus was compared to eternity, to the eternal now.â Footnote?
31 â âThe point and justification of leisure are not that the functionary should function faultlessly and without breakdown, but that the functionary should continue to be a manâand that means that he should not be wholly absorbed in the clear-cut milieu of his strictly limited function; the point is also that he should retain the faculty of grasping the world as a whole and realizing his full potentialities as an entity meant to reach Wholeness.â
Obviously, Iâm thinking of education throughout. Is it possible for young people to live this way? Can you conduct school in such a way that leisureâcontemplation and affirmationâis woven into the fabric of the education? It would require a completely different foundation, meaning the students would have to be trained from a young age to value learning for its own sake. This is where Charlotte Mason can help.
33 â âThe world of the âworkerâ is taking shape with dynamic forceâwith such a velocity that, rightly or wrongly, one is tempted to speak of daemonic force in history.â Remember that, for Pieper, âworkâ does not necessarily mean productivity, just activity. In that sense, his statement above could apply to our activities on the internet and on social media in particular.
41 â âProperly speaking, the liberal arts receive an honorarium, while servile work receives a wage. The concept of honorarium implies that an incommensurability exists between performance and recompense, and that the performance cannot âreallyâ be compensed.â Cf. The Dorean Principle.
43 â Quoting Aristotle: âWith what kind of activity is man to occupy his leisure?â This is exactly the question of a liberal arts education.
44 â âWhat, then, ultimately makes leisure inwardly possible and, at the same time, what is its fundamental justification?
âIn posing this question we are asking again: can the realm of leisure be saved and its foundations upheld by an appeal to humanism? On closer inspection it will be seen that âhumanism,â understood as a mere appeal to a humanum, does not serve.
âThe soul of leisure, it can be said, lies in âcelebration.â Celebration is the point at which the three elements of leisure come to a focus: relaxation, effortlessness, and the superiority of âactive leisureâ to all functions. But if celebration is the core of leisure, then leisure can only be made possible and justifiable on the same basis as the celebration of a feast. That basis is divine worship.â (emphasis in original) This passage made me emotionalâwhy? I dunno.
#work


~Charlotte Mason, A Philosophy of Education
I also appreciate his use of the word âtraining,â as he defines it here:
Another great quote:
âIt is the mistake of many parents to suppose that their chief duty is in loving and counseling their children, rather than in living and training them; that they are faithfully to show their children what they ought to do, rather than to make them do it.â
Trumbull emphasizes the duty of parents to study their children so that they know how to train them:
âGod has given the responsibility of the training of that child to the parent; but He has also laid on that parent the duty of learning, by the aid of all proper means, what are the childâs requirements, and how to meet them.â
This requires careful attention on the part of the parent:
And the parent may not always be the best judge of what the child needs:
#Trumbull
~Traffic, Tom Vanderbilt
~Resident Aliens, Stanley Hauerwas and William Willimon
Kurosawa repeats this several times: if you want to become a better director, master screenwriting.
Via Austin
~Kurosawa, Something Like an Autobiography
John Hersey also mentions the Emperorâs announcement in Hiroshima, or rather, one of his subjects does. Clearly the experience made an impact on the Japanese.
Speaking of the Honorable Death of the Hundred Million, apparently Kurosawa used it to propose to his wife. It went something like this, âSince weâll probably have to kill ourselves anyway, how about we find out what marriage is like first?â
We have a name for this (sophistry) and usually distinguish it from rhetoric. But classical schools that make rhetoric the crowning âartâ of their curriculum should be on guard against this kind of thing. Perhaps we should call it âburgling the intellect.â
~Reinhold Niebuhr, Leaves from the Notebook of a Trained Cynic, quoted in Pastor, ed. William H. Willimon
âGlobal thinking can only do to the globe what a space satellite does to it: reduce it, make a bauble of it. Look at one of those photographs of half the earth taken from outer space, and see if you recognize your neighborhood. If you want to see where you are, you will have to get out of your space vehicle, out of your car, off your horse, and walk over the ground. On foot you will find that the earth is still satisfyingly large, and full of beguiling nooks and crannies.â
~ Wendell Berry, âOut of Your Car, Off Your Horse,â The Atlantic
âSince Amores perros, I have carried with me note cards that I make during the rehearsals and preproduction of a film. When you think about a complex, long scene with several characters, it can be about many things. What is its essential meaning? Which point of view am I going to shoot this scene from? How could this character get what he or she wants? Whatâs the right amount of dramatic tension for the scene, given the internal rhythm of the film? I have made these note cards for myself as a small guide, a lighthouse, a kind of compass for each of a scriptâs scenes, one that I can access during the making of a film, while my brain is running crazy and production problems are arising.
These cards contain six columns, the first one being the âfacts.â I try to write down the facts in a neutral way. What is happening in this particular scene? The second part is that I try to imagine what happened immediately preceding the moment in question. Where have the characters come from? Although this is not normally written in a script, it is important to know if a character went to the bathroom and had diarrhea before this scene, or if a character just got off an airplane, or if he has come from a meal with someone. Imagining this helps inform not only his physical appearance but also his emotional state, and it can help the actor if you are clear about itâeven if it is not part of the script.
The third column details the âobjective.â What is the purpose of this scene? Although a script already has a general direction, each scene, like an atom, contributes to the filmâs final destination. Here I try to dissect the objective of the scene as a whole and what itâs about, as well as the objective of each of the characters who appear. Each one of them wants something. Even a single desireless characterâin a silent, plotless, meditative filmâneeds or wants something. Even to be dead. Thatâs the essence of drama and the reality of our existence. Each character has a need, and itâs important for me to know what it is. This will help determine not only the staging and the physical outline of the scene but also where I put the camera, from what point of view I film that scene.
The fourth part of these cardsâthe âaction verbâ columnâis particularly difficult (because the possibilities are endless, and each action verb can change the direction of the scene or the character) and extremely helpful, too, in further clarifying a characterâs objective so that the actor can execute the scene. If one character wants something from another character, one way of achieving the goal is by seducing the other character. Another way is by threatening him. Another way is by ignoring or provoking him. Within a scene, there can also be several action verbsâthese kinds of transitions in tactics for obtaining the same objective are important because they bring a scene to life and add color to it.
For me, words are only the little boats that travel along the great emotional river of a scene. If a scene carries honesty and emotional truth, the space between words can often say more than the words themselves, and silence can be even more powerful than words. The subtextâthe focus of the cardsâ fifth columnâis often almost more important than the text. The text can often be contrary to the subtext, and the subtext is what should be very clearly understood. In other words, if one person says to another, âGo away, I donât want to see you again,â it is very possible that what they really mean is âI need you now more than ever.â The words we use can often oppose what we feel, and I believe that acknowledging this human contradiction can help give great weight to a performance.
Finally, the âas ifâ column. There are two ways I believe one can take on a performanceâone is through the actorâs own personal and emotional experience, applied to a scene through an association with it, and the other is through imagination. Both are valid. Art has no laws, only principles. I have been in situations where an actor, at a given moment, lacks imagination for some personal reason or does not have emotional baggage that he can refer to. In such a case, I sometimes like to have an image that I can leave with an actor or actress. Our body is the master. Sometimes, with a physical or sensorial experience (a burn, cold, etc.), the actor or actress will know already how that feels, and that can help in channeling that feeling. So sometimes having images, associations, or similar experiences that refer to what you want the performer to understand can help the process a lot. Generally speaking, actors are prepared to jump into the void emotionally, so we have to have something to cushion them.
As Stanley Kubrick once said, making a movie is like trying to write poetry while youâre riding a roller coaster. When one is shooting a film, it feels like a roller coaster, and itâs much more difficult to have the focus and mental space that one has during the writing or preparation of a film. The ideas written down on these note cards, then, often have proved to be helpful for me in a time of necessity.â
~Will D. Campbell, Brother to a Dragonfly, in Pastor, ed. William H. Willimon
âTwo words left.â How often these conversations come down to arguing over details.
~ From John Herseyâs Hiroshima
~ David V. Hicks, Norms and Nobility
Tolkien seemed to consider goodness as always in retreat from badness, with only occasional victories. As we see in âLeaf by Niggle,â the only real happiness, victory, perfection, consummation, etc. comes in the next life.
Also, itâs much easier to ignore your surroundings when your imagination is as muscular as Tolkienâs was.
From J. R. R. Tolkien: A Biography, by Humphrey Carpenter