I used to direct theater. I left the theater because I got increasingly dissatisfied with its reliance on stories with clear beginnings, middles, and ends. Aristotle’s narrative arc with its rising tension, crisis, and catharsis wasn’t just predictable, but dangerously limiting. Things look bad, but as long as you accept the hero’s solution, everything gets solved and you can go back to sleep. Crisis, climax, and sleep – the much-too-male approach to everything from sex to religion, capitalism to communism.
I left theater for the net, which seemed to offer a more open-ended, connected form of sense-making. So I wrote about that, and the possibilities this opened for everything from economics to society. In my books, I usually tried crashing a set of myths – but then usually offer some alternative at the end. So in my religion book I smashed the myth of apocalypse and salvation, but offered an alternative path toward consensus, progressive collaboration. In another, I exposed the fallacy of hand-me-down truths, but then offered an alternative of collective reality creation. In a graphic novel, I undermined the authority of the storyteller (me) and then have a character hand a pencil to the reader as if through the page. In a book on Judaism, I smashed the idolatry that infected Judaism, but promote a new, provisional mythology of communal sense making. In my books on economics, I crash the cynically devised mythologies of capitalism and corporatism, but offer a new one of circular economics and sharing. In my Team Human podcast, I regularly crash the myth of the survival of the fittest individual, but offer a new evolutionary history of interspecies cooperation.
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