(no subject)

To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft.
...
A reason, more important, I think, than the inadequacy of stage-effects, is this: Drama has, of its very nature, already attempted a kind of bogus, or shall I say at least substitute, magic: the visible and audible presentation of imaginary men in a story. That is in itself an attempt to counterfeit the magician's wand.
...
if you prefer Drama to Literature (as many literary critics plainly do), or form your critical theories primarily from dramatic critics, or even from Drama, you are apt to misunderstand pure story-making, and to constrain it to the limitations of stage-plays. You are, for instance, likely to prefer characters, even the basest and dullest, to things. Very little about trees as trees can be got into a play.


J.R.R. Tolkien, Of Fairy Stories.

It's probably not a coincidence that flourishing of Fantasy in movies is happening alongside major technological advances in audio-video. Paradoxically, technology enables magic.

О войне и Красной Шапочке

Ответы волка на вопросы Красной Шапочки были новой информацией, но не новым знанием. Знание появилось только после того, как он ее съел.

После начала войны у нас не стало намного больше информации о России. Но прибавилось огромное знание о ней. Информацию можно было игнорировать, а знание - нет. The asymmetry between past and present knowledge is dramatic.

В определенной степени это относится к переходу from Google to the so-called generative AI.