Ink Diaries: Act 2 In The Books and an Oh Shit Moment

Achievement unlocked. (Well almost.)

Last night we completed blocking Act 2. So the show is “in the books.” I could get hit by a bus and someone could step in and take the show home at this point. Blocking is painting with a broad brush and it reveals the picture slowly coming into focus. The staging of some scenes won’t change a wit from this point. Others will morph and grow and end up looking totally different as the characters grow and we flesh out the details. The moments begin to breathe and the story fills out.

It’s a good marker of our progress and I’m feeling comfortable with how we’re telling the story picture by picture.

It’s also the point where I start questioning the choices I’ve planned. You know when the story works or you’re working against the story. Or when new discoveries yield new paths.

Matthew t rader zq4UnZoy5AQ unsplash

Ok. Some of that above is a lie. I had one of those  “Oh Shit” moments last night that leads me to a hunch that we’re on to something new and unplanned to get into the last scene. The play talked back to me as we neared the last scene. I was about to stage the transition into the final scene and I felt that tingle. That tingle that opens a new door and tells me that I had arrived at a different path to the conclusion. I didn’t and don’t want to articulate the new thoughts just yet.  But they feel right. They feel dangerous. When we come back around to the moment in work sessions I’ll know because I won’t be able to do anything but follow that tingle in my gut and step through the door.

Unusual circumstances took us there. One of our actors was out due to local flooding from some heavy rains in the area and her understudy was standing in for her. (Doing a great job by the way.) The understudy has her own minor ensemble role in the finale of the show and as the clock was ticking down to the end of the rehearsal I had forgotten to take care of her assigned role in setting up the transition. When I realized my mistake I was about to go back and correct it, but then saw this new door open and I stopped. Cold.

We’d previously staged the last scene so all that was left to do was stage the transition itself. I cheated. Talked through the transition as planned and then ended rehearsal for the night vibrating with the energy of this new discovery. I’m both excited for this new approach and terrfiied of it. That tension won’t leave until I stage the moment.

Waking up ths morning the new door is still open and I’m having difficulty writing this post and talking about it. Guess it’s time to step through the door.

Oh shit.

There Is No Such Thing As A Bad Faith Actor

I keep hearing about “Bad Faith Actors.” It’s a ridiculous appellation that is not only overused but just plain wrong. 

7a194149d59a68c4

There is no such thing as a “bad faith actor.” There are bad faith people who do bad things and use “bad faith actor” as a cover for their bad behavior. Quit giving bad people cover. 

The end.

Ink Diaries: One Week Down

It’s a week on the calendar. But it’s actually only six days of rehearsal. It was six days of rehearsal that saw us accomplish a lot, especially since we were on our feet for only four of them. We’ve got Act 1 blocked and “in the book.” We’ve learned a lot about each other and it feels like we’re starting to work as a team. I can feel the ensemble starting to build its identity. But it wasn’t a week without challenges.

At this stage of rehearsal you’re always in a rehearsal room of some sort. And POTS has a good one. It’s not an exact footprint match of the stage. Rehearsal rooms rarely ever are. But we’re all used to that. That’s why we call the first rehearsals on stage “spacing rehearsals.” We got to take a look at the scenery being installed on stage and that was informative.

IMG 0949

Given the nature of one of the major scenic locations in this play our original plan required a lot of furniture-desks, chairs, and other stuff you’d find in a newspaper office. It was a solid plan. Until I realized that we just didn’t have enough room to adequately rehearse those scenes and the transitions in and out of them in the rehearsal space.

So I changed the plan. On the fly.

I love those in the moment moments: following the plan, feeling something’s wrong, and knowing you have to make a change. Your senses tingle back and forth between panic and possibility. You don’t know what the change will be. But you dive in, articulate the idea and hope you’re on the right course.  Sometimes the new idea flies. Sometimes it crashes.

I’ve learned through the years that when I hit one of these moments I find myself literally not being able to initially articulate the idea clearly and cleanly at first. Because it is literally forming as the words tumble out. The cast has that “what the hell” look in their eyes as they’re trying to follow what I’m saying. And then we put it into motion. This time it flew.

The new plan required some re-thinking after that rehearsal to make sure I hadn’t changed us into a trap later on in the show. I’m confident we’re in good shape. But hell, I was confident in the original plan. This new plan feels much better than the original, both in how it’s going to allow us to rehearse in the next two weeks before we load into the theatre and how it’s going to make the flow of the show much more successful.  And dare I say-fun.

Everyone has the day off today after a fun, hard week of work and then tomorrow we turn the page into Act 2. Can’t wait.

Ink Diaries: First Read

Our play began to take life last night. We had our first read with the cast. It was exciting and in the end ultimately a great beginning. It might have taken three years from the point that I got this gig to get to this point but all of that time evaporated last night as we heard the cast breathe life into James Graham’s words. Iit was an excellent beginning. 

IMG 0942

 

The cast was surprised at how much humor flows through the show and brimming with questions about their characters, our process and next steps. 

Next steps. Yeah, we’re off and running and the clock is now officially ticking. More table work tonight and then tomorrow we get on our feet. Here we go. 

Ink Diaries: What’s Next?

What’s next?

In Memphis.

Moved in. Things set up. Groceries purchased.

Meetings follow meetings: Props. Set. Sound. Logistics. Asthetics. Choices. Face to face. Not Zoom to Zoom.

CleanShot 2023 02 20 at 07 58 09 2x

First Read tomorrow night. Life gets breathed into these words on the page and in my head. What’s been mostly mine starts getting owned by others, shaped by others, defined by others.

First Read is perhaps the most nerve wracking moment outside of first audience and opening night, Everyone is checking everyone and everything out. What’s the director guy gonna day? How’s this next period of my life going to play out? Big stakes in a big moment.

Bring it on.

What’s So Artificial About Artificial Intelligence?

Why are we calling this current fad/trend/gold rush into Artificial Intelligence “artificial?” Shouldn’t we be calling it Accumulated Intelligence?

From what I’m reading the output these new services are spitting out is more like a mash-up of what they’ve scraped and collected from around the Internet. You know. Stuff created by humans. Apparently the writings, the artwork, the photos, the music, the code, the thoughts, the you name it, have been collected and are being tumbled and jumbled up and presented as responses. So somebody can charge you for it or sell ads against it.

Unknown

And knocking the moniker again here, that of course means it’s all been said and done before. There’s not much we can really credit to divine inspiration beyond the talent to discover, describe or display what already exists. Because that’s sorta kinda how we humans evolve (or are intelligently designed) anyway. We gain knowledge and intelligence through our experiences. And through those experiences we become who we are, think what we think, and create what we create based on the knowledge we accumulate.

I’m assuming that’s what the makers of artificial intelligence call real or natural intelligence. But it’s tough to sell ads against that.

Given that we humans are known for both brilliance and the not-so-brilliant in what we say, do, think, create and accumulate, you can say we as a species struggle a bit with the tensions brought about by natural intelligence. Certainly we seem to be hitting a speed bump on the brilliance part as the not-so-brilliant part continues to plow-ahead of late.

But again, this AI fad is taking what exists, shaking and baking, stirring the pot, and presenting it to us in a newly polished form we can get on our smartphones while waiting for the transit apps to give us wrong information about our train’s arrival time.

The very human response when someone learns something new or that an answer is wrong can certainly be “I didn’t know that.” What’s funny with these machine learners though is that in the early going they seem to be spitting out mistakes just like humans do. And taking the same kind of offense when called on it.  So nothing new under the sun there.

And apparently these machines need to be governed by rules. Well, that’s only human too. We govern ourselves (well, some of us do) in order to try and remain civil and polite. And protect our profit margins. Again, only human.

So, I’m saying it’s early enough in this game that we should strip away the “artificial” in AI and change it to “accumulated.” Because sure as shooting at some point down the line some big error is going to be spit out by a machine that causes something bad to happen. And we’ll shift the blame to the machines. Just like we humans always do.

But I guess there’s one benefit to this “artificialness.” The machines can’t plead ignorance or “I don’t recall” when things get inconvenient or uncomfortable. At least until we start using “artificial lawyers.”

Ink Diaries: Approaching Dark Mode

One week from today we’re off to the races when we begin rehearsals for James Graham’s play Ink at Playhouse on the Square in Memphis. I’m chomping at the bit to get in the room with actors and start bringing this story alive on our way to its opening on March 24.

Ink Prelim Art

We’re still heavy into production work but I’m just about at that point where I shut down research and script work. I call it Dark Mode.

Essentially I’ll put the script away for 4-5 days. All the research, script work and note taking just sort of percolates, simmers, or stews a bit. The day before rehearsals start I’ll take another cursory pass at the script. But when we sit down for the first read I want to hear the words with the voices of the actors and see how those voices confirm or challenge the thoughts I’ve been bringing to the mix so far. I look forward to both the confirmations and the challenges.

Immediately after that first read my brain will enter a period where it doesn’t shut off on the show until after it has opened. But until then I sort of have to enforce Dark Mode on myself. I’ll want to jump back into things now and then, but I’ve learned over the years to trust this percolating part of the process. Maybe it’s like letting a good piece of meat rest a bit before carving and serving. And maybe I should stop with the food analogies.

Every creative act involves a leap into the void. The leap has to occur at the right moment and yet the time for the leap is never prescribed. In the midst of a leap, there are no guarantees. To leap can often cause acute embarrassment. Embarrassment is a partner in the creative act—a key collaborator.

-Anne Bogart

AI and the Performing Bits

Is it real or is it Memorex? Remember those days? We’ve been treated to questions like those for some time now when it comes to music, film, and other means of arts and entertainment. And the pace of things seem to be quickening as the powers that be in these industries are jumping with both feet into the big tech Artificial Intelligence rush. 

New technology is great when it can advance creativity. New technology is also bit scary when we don’t know exactly what it’s going to yield. But the one thing we do know is that if the bean counters think they can save a buck and make two by using a new innovation they’ll take that leap, regardless of the risks it might pose to the creative spirit.

I’ve been talking about Artificial Intelligence a bit here and obviously will continue to do so. It’s the thing of the moment. Which means some hope it’s the thing of the future. And it just might well be. But how that is going to impact the arts is going to be a tricky future to navigate. Perhaps after Google, Mircosoft and any other tech giants get their AI search engines up and running we can ask and find out. (Google calls theirs Bard. Seriously?)

We’ve already seen technology create magic in audio and film/TV. De-aging is a popular recent trend in film. Of course that follows the trends of CGI characters and CGI backgrounds and CGI just about everything else. 

We’ve got computer generated narrations for eBooks competing with live readers. We’ve been enhancing audio tracks for decades, and in the most recent decade or two we’ve been enhancing live performers. 

Yesterday there was a story in Vice about voice actors being asked to sign over the rights to their voices so their clients can use artificial intelligence to generate synthetic versions for future work, perhaps replacing the need for the artist for future work. 

Each technology advance gets met with both praise and criticism. Some deserved. Some not so. I’m no luddite or traditonalist who eschews these advancements. But I think we’re heading into tricky ground in this next chapter of entertainment and creativity that parallels what we’re experiencing in real life.

There’s that old and recently accelerating propaganda truism (ha!) that teaches us it’s not about separating fact and fiction. In the Peacock network’s series The Undeclared War there’s a great sequence when a news editor sums it up while explaining the way it is to a younger new recruit:  

“The point is to get people used to the idea that everything’s a lie. There is no truth. Once they accept that. Biggest liar wins.”

Who cares if a search result yields a false result? Who cares if Carrie Fisher is dead when she’s still appearing in Star Wars? Who cares if deep fake videos or audio can sabotage a politician or a company? Who cares if the audiobook you’re listening to is read by a human or a computer? 

Set aside the labor issues and putting folks out of work. Those are real discussions that need to happen. But what if Tom Hanks, who is pretty darn excited by the de-aging process in film, or rather a digitally created Tom Hanks keeps starring in movies long after he’s gone. Hell, we could have Forrest Gump appearing with world leaders that haven’t been born yet twenty years after they’re dead. 

We all had a good laugh at the manipulative creation of boy bands awhile back. Don’t think we won’t see and hear new bands created out of the whole cloth of digital bits and bytes. There’s no question in my mind that we’ll see an entire film created out of an AI prompt some day down the road. 

There will be innovation. There will be excitement and celebration and there will be reactions. Some of which might actually be human. 

We live in interesting times. 

Apple’s Design Trap

There’s an excellent discussion about design vs practicality going on currently within the Apple community that gathers around the Mastodon water cooler. It was kicked off by Matt Birchler responding to a post from Daring Fireball’s John Gruber commenting on how far ahead third party iOS apps for Mastodon were than those on the Android platform. Birchler filled out his thoughts in a post called The Shocking Stage of Enthusiast Apps on Android.

John Gruber continued the thread on Daring Fireball with an excellent post called Making Our Hearts Sing. That in turn prompted Frederico Viticci to pen a post on MacStories called The Practicality of Art in Software. I’d highly recommend you read Matt, John, and Viticci’s posts.

Beyond a brief summary let me just say that I’m in profound agreement with each of the posts. There are differences in the arguments, but they all aim at the same larger point about Apple.

Yes, in my view Android apps for Mastodon pale in comparison to iOS apps. As backed up by my own experiences, I do feel the general design of Android apps also lack what Gruber calls “the artistic value in software and interface design” that he sees in iOS apps. AND, as Viticci says “As a computer maker or app developer, you have to strike that balance between the aspirational and the practical, the artistic and the functional.”

The two cents I’m about to add to the discussion isn’t in contrast to what these three have laid out. Like I said I’m in agreement with the points in each argument. Think of this as tangential to the discussion.

51199 101165 Stage Manager small windows xl

So here’s the tangent.

Design is key to any endeavor that’s creating a product. We can talk form following function, or practicality, or art for art’s sake. Doesn’t matter where you enter the discussion. It’s key. And the posts I’ve mentioned above do an excellent job of hitting those points.

Apple has captured, captivated, seduced and perhaps suckered many of us with its approach to the design of its products. In my opinion I think they’ve largely succeeded. If you “think different” then I won’t question your taste, but I’ll just acknowledge that we sail on two different oceans. That said, Apple is also masterful in the design of the marketing and rollout of products. In many ways the product and the marketing of the product are inseparable.

But I think Apple has designed itself into a predicament in the same way many tastemakers do. Once you embody an asthetic and it becomes not only your brand but your essence you create almost impossible semiotic expectations. You’re no longer designing just your next creation, you’re designing to meet the expectations you’ve created. It can be a trap when you follow that path OR if you deviate from it.

And that’s where the trap gets tricky. Be real with me here. When you see amazing and beautiful screenshots of a new app I’m sure you’re often as tempted as I am to push the Buy button before you even read and understand the description of what the app offers. Especially if the App is from a developer you’ve had good experiences with in the past. It’s no different than following any other artist in any other medium. Favorite singer, buy the next album. Favorite author, buy the next book.

Don’t get me wrong I’m not saying all app developers, Apple, or other artists are trying to pull one over on us. (I’m sure some are but that’s another topic for another day.) Using a combined appeal to our senses and our reservoir of good feelings from past experiences is what designing products is all about. The successful designers know just how to reach us and build a following. Some would call it maniuplation. They’re correct. The intent of most art is to maniuplate a response.

Take Weather apps for example. Goodness knows how many of those I tried just because those radar displays looked gorgeous in screenshots. The well worn cliché of not buying a book by its cover certainly applies to App marketing and we all know how clichés get started.

And then there are the artists and designers that break the mold. Try something new. Take a different, sometimes radical approach. That may work in the long view once a more full body of work can be viewed from a distance. But it’s risky in the immediate market of expectations, which is why its viewed as a departure. But strike gold and the risk can pay off.

Play to our attactions to the pretty. The shiny. The well designed. The well packaged. Play to our desires for something familiar while yearning for something new. Create tension with those competing desires and debut that “departure” inside a wrapping of the familiar and you get a double bang for the buck. And here’s where Frederico Viticci’s long, and well documented struggle with Stage Manager works so well as the prime example in this tangent.

Stage Manager is Apple’s attempt at a windowing solution for iPads and Macs. iPad users have been yearning for a windowing or multi-tasking solution for awhile. What they’ve been yearning for is something most are already familiar with from experiences with laptops and desktops. Surely this would be beautiful in a “think different” sort of way. But not too “think different” in the practical mechanics.

If you’re an iPad user I am reasonably sure you were awed by the demo of Stage Manager when you first saw it. It looked magical. It looked magical in that Apple way. It looked like the solution many iPad users have all been waiting for. I know it did for me. And it was rolled out in all the ways we’ve all become accustomed to.

But the practicality of Stage Manager on the iPad largely failed to live up to the promise of those expectations once users got their hands on it. Frankly, I find it more than a dissapointment. But the design from demo to packaging of the idea was certainly alluring and seductive enough to get us (me) in the door.

I won’t go into the ways and wherefores of that beyond linking to Viticci’s excellent chronicling of his experiences. His feelings and thoughts are shared by me and many others.

So to wrap this up and get back to the points about design asthetics, practicality vs pretty, and Mastodon Apps on competing platforms let me say this. I’ve downloaded and followed the development of many of the iOS Apps for Mastodon. I’m genuinely excited by what I see and feel.  Although there are differences, some are starting to morph a bit into the same look and feel but the feature sets (currently) set them apart.

After giving a spin to some of the Android Mastodon apps I’ve been dissappointed in the smaller selection available and also the lack of strong design statements in those that do exist. And again, features sets give them distinction. I’m sure others feel differently and vive la differénce.

This difference though cements my thinking that the expectations and semiotic differences between Apple and Android design philosophies are  baked in at this point in the game. Apple has created such a deeper dependency on design prowess. Android’s “come as you are” approach leaves more room for less when it comes to the art of visual design. Fundamentally there’s nothing wrong with ether approach from a user perspective. Choose what you’re attracted to and have fun with your choice.

The larger and more precarious point with this tangent is that Apple’s rich design expectations, as powerful as they are, are also Apple’s Achilles heel. Great artists aren’t afraid to fail. Great product makers who use great art as a selling point need to tred more carefully to avoid the level of disappointment that can turn a legacy into a burden.

Run George Santos Out of Town on a Rail

Whoo boy. I’m a bit angry. So be forewarned. Actually if you need forewarning  more’s the pity. I think we should all be a bit angry.

Here’s what steamed me up this morning. The newswires went a-buzzing with the news that serial liar, conman, and fraudster George Santos had announced to his GOP House colleagues that he was going to take a “pause” on his newly appointed committee assignments. He’s pausing until the multitude of matters he’s under local, state, federal and International investigations for are resolved. Well, to be honest, I’m not sure which ones he’ll let continue before he backs off his “pause.”

1428073901849 AL9VEHEDDXHGO4H4Y37T

So, I just have to ask what in bloody hell is going on?

One would think that this is a guy that everyone wants to see gone. His political opponents loudly push it. Many in his own polticial party do as well. (I hesitate to call it a political party any longer but that’s beside the point.) His constituents want him gone faster than the citizens of River City wanted to oust Harold Hill in The Music Man. From all appearances there’s no Winthrop or Marian the Librarian to come to the rescue.Quite frankly I think George Santos or whatever this fraud’s name is needs to be run out of town on a rail.

Further, I think it’s just the sort of thing this country needs. We’re all sick and tired of seeing Santos, Trump and other would-be decaying orange turds parade around their disdain for the rest of us. We all see the game. We all know the players and we all know we’re being played.

Running Santos loudly and publicly out of public life would do everyone some good. It would provide a brief cleansing moment amongst all the filth we’re wallowing through.

But while it makes some practical sense, several things will prevent his overdue public humiliation.

1. We are somehow stlll cliinging to the myths that we’re a nation of laws and due process. Merrick Garland has brought the final act of that farce to its sad conclusion.

2. Neither the Republicans nor the Democrats want to see him go. Oh, some talk a good game. But as far as the Democrats go they haven’t had this good of a punching bag in a long time. They’d prefer to keep him right where he is and keep punching. No matter what they say. As far as the Republicans are concerned they do need his vote. But more importantly he’s a great shiny distraction that allows them to more easily continue organizing things behind the scenes.

If Santos resigned or was booted out Congress critters would have to get back to actual work. The media would actually have to talk about issues. And no one wants that. On either side or in any circle. This show still has legs.

So, no. We won’t get any cathartic cleansing moment. No rails. No tar. No feathers. Just lots of noise. And our modern day political life will continue to be as out of tune as those trombone toting kids in River City.