#thomas hauser

Thomas Hauser

talking to an article

[very well written by the modern savant Ruby Justice Thelot – 22 Dec 2025, New York for Ocula ]

me: "ways to deal w AI generated imgs: being creative humans in ways AI gets in trouble with, imperfect but "just/correct" to the viewer's eye, have fun The credibility of images is indeed shaken, even shredded to death, which is a good thing for cultivating visual and ethical judgement... Original image lineage/provenance is a call for research and knowledge "

Hito Steyerl: Technology Has Destroyed Reality The New York Times, Dec 5, 2018

Ruby J Thelot "The Death of the Image Has Made Us Wake up to Reality" :

"The AI-image represents a rupture in the role of images (something many artists and theorists have tried to grapple with this year, including Hito Steyerl in her recent book Medium Hot). This theory captures something materially observable: that once humanity acquired the capacity to produce images, it did not—and, most importantly, could not—stop."

Images had a good run. For around 75,000 years, we used them to create representations of our physical world. Images were tools of ‘mimesis’ aiming to represent nature. In around 340–322 BCE, Aristotle wrote in De Memoria et Reminiscentia of images as a medium of recollection. However, he also warned us in De Insomniis, another short work in the collection Parva Naturalia, about the potential for the dream-image to mislead, because the dream-image can be indistinguishable from waking perception. The soul, deprived of corrective sensory input, accepts images as if they were real. Though he was writing specifically about sleep and dreams, Aristotle intuits what later philosophers will identify, which is that images possess phenomenological force independent of truth...

A two-thousand-and-twenty-fifth-year marked (plagued, even) by AI is the result of this attitude, and in many instances the direct product of the companies (from Meta to Amazon to Google) developed in the innovation optimism period. But after blinking away the sleep from our eyes and seeing where this ‘progression’ has got us, many people are starting to scan for an emergency exit (or at least, a different way to interact with the tools that we’ve been given)...

This crisis is what happens when the image is free from authorship and relationship to reality, when it is fully emancipated and transformed into a new entity, closer to Aristotle’s concept of the dream-image, an image with no relation to the material world...

by Ruby Justice Thelot – 22 Dec 2025, New York

Full essay:

t.h.hauser

While the novel, “The Baker’s Tale: Ruby Spriggs & The Legacy of Charles Dickens by Thomas Hauser would be a fitting commemoration of the 40th (Ruby) anniversary of the annual Dickens Fair as it begins on November 23, the weekend before Thanksgiving weekend; the producers of the holiday fair noted that there is no Ruby Spriggs character in any of Dickens’ writings.

“I’ve ordered Hauser’s book,” said Therese Porter, Co-Director of Entertainment and Director of Street Theatre at the Dickens Fair. As someone who knows the works of Dickens well and has portrayed various characters like Mrs. Finching, a character from, the Dickens novel, ‘Little Dorritt,’ Porter recognizes the appeal of writers seeking to emulate great works.

“The works of Shakespeare, Sir Arthur Conan Doyle’s Sherlock Holmes and our beloved Charles Dickens are a rich source of inspiration for ‘a pastiche’ i.e. a work based on another artist's original work

Interestingly, Hauser was inspired to write another Dickensian novel entitled, “The final recollections of Charles Dickens,” in 2014.

In both these novels written in the way Dickens told his stories, Hauser features two characters, the before mentioned Ruby Spriggs in “The Baker’s Tale…” and Amanda Winegate in the second faux novel, “The Final Recollections..”

Both women are impacted by poverty. And, since Porter is well acquainted with many of the women characters of the Dickens novels, the question was asked. Why does Dickens’ writing on poverty stand out from all the other 19th Century writers of his time? 

Porter responded by saying, “Charles Dickens was one of the few writers of his day that actually experienced poverty first hand.”

Dickens had to leave school at age 12 to work in a boot-blacking factory for at least 10 hours a day to help support the family because his father was sent to ‘Debtor’s Prison.’

“His father, John Dickens, had always lived above his means, even as his family and his career continued to grow,” said Porter.

“We know from his writings and his autobiographical fragments that being forced out of the family home and into work at such a young age, not to mention being exposed to the dangerous and chaotic life of the London working poor, had a profound effect on his life and work,” she added.

The strata of the various working and lower classes in Victorian England are all featured in Dickens’ writings. “It’s at a depth and scope not really covered in the works of other writers of his time,” said Porter.

Satirical writers of the period such as William Thackeray (author of ‘Vanity Fair’) did write about poverty. As Porter noted. "Other writers such as Thackeray and George Eliot mentioned the poor and lower classes in their work, but not with the detail and sympathy Dickens brought to the topic.”

Dickens wrote more about the conditions of the poor than any other writer. “Throughout his life and in his works, Dickens was incensed the hypocrisy of people who were in a position to do something, and yet did very little or nothing,” said Porter.

She also noted that London was the largest city of the world at that time. “The wealthy and elite were making fortunes exploiting the labour of the growing working and working poor classes who they viewed as a nuisance and some sort of ‘other’ species,” said Porter.

There was an effort in Great Britain to facilitate reforms in public health, education and laws that affected the poor, and Dickens' works played an enormous part in that effort, as well as bringing the problems to a wide audience.

As many scholars and historians point out, part of the power of Dickens' writing derives from his use of archetype, and his unique approach to character and personality. 

Porter agreed. Dickens spent time in his youth as a court reporter, and he learned to observe personalities. He was able to transform “stock characters” or “cardboard cutout villains” into memorable characters. Dickens drew much of his inspiration from real life people he observed

Dickens was able to quickly paint a scene with “just a few brush strokes,” as it were, with his literary paintbrush of a pen upon a story-setting canvas.

When asked… From your experience and perspective as you see Dickens, what is or was the “archetype” of poverty and its impact upon women and society? 

“It’s difficult for us to fathom today the perils of poverty that so many people faced in 19th Century Britain, especially women,” said Porter.

Simple injuries or illnesses that we today can easily heal from could be catastrophic or fatal for working people and the poor. What we take for granted in terms of dealing with chronic conditions, injuries and disease could not be managed by the medical knowledge of the time,” noted Porter.

Life expectancy was short and mortality rates especially for women and children were very high.

“Although he did resort to archetypes and cardboard cutouts for some characters, said Porter, Dickens could portray women with great depth and compassion.”

“He could also vividly convey their backstory,” she said.

Yet, ironically, Porter noted. “Away from his work in writing, Dickens never really understood women. He was a difficult person to deal with in real life.”

In his younger days, “Dickens was very passionate and often romanticized the ideal wife as ‘an angel’ young, sweet & beautiful,” Porter said.

Dickens had 10 children with wife Catherine. Only eight of the 10 reached adulthood.“However, noted Porter, Dickens made sure all of his children were educated, even the girls.”

And as University of York, Dickens scholar, Professor John Bowen, told The Guardian UK back in 2019, “If he (Dickens) could have her (wife, Catherine) declared mad; and she could be confined to an asylum, he could live as he pleased and nobody would think badly of him.”

Admitting that Dickens could be narcissistic at times, Porter said, “Still, his problematic relationships with women in real life didn’t diminish his capacity as a writer to portray women as strong and resilient. This portrayal appears throughout much of his works.”

“With all the current social and cultural changes happening today, I think what the Dickens Fair offers people is truly unique,” said Porter.

“We present a one-of-a-kind ‘immersion theatre’ experience that visitors can experience and connect with in person rather than just looking at a screen.”

“It seems as if for most people today, said Porter, much of work and daily activity is spent interacting with a screen or some sort of electronic device.”

“What we offer at the Dickens Fair is an opportunity to see humanity (and a view of a specific history) from a different angle in real time in person.”

While much has changed since Dickens’ time more than 150 years ago, “there’s so much that hasn’t changed “ said Porter. “The tyranny of capitalism is still alive,” she said. “And, yes! The Scrooges of our time as well.”

The Dickens Fair continues for five consecutive weekends, from Nov 23 to Dec. 22 at the Cow Palace. For more information and to purchase tickets visit the website.

Photography by Thomas Hauser for Autre Magazine, 2021