All the Lovers in the Night: On Isolation and Connection

All the Lovers in the Night
Mieko Kawakami

A strange mix of loneliness, connection, and love come together in All the Lovers in the Night by Mieko Kawakami.

Fuyuko is a reclusive proofreader at a publishing house. She has virtually no social life.

One day, Fuyuko comes into contact with Hijiri, who persuades her to go freelance. Fuyuko more or less befriends Hijiri and is somewhat taken out of her isolation by this friendship. Fuyuko learns to drink alcohol, but without any measure.

She meets Mr. Mitsutsuka, an older man, when she attempts to enroll them in a course. She starts meeting him more frequently after an initial reluctance. They have special and increasingly intimate conversations. A strange, affectionate relationship develops.

Not saying a word, just standing there, Mitsutsuka looked like he was waiting patiently for my tears to settle. I heard a car go by, not very far away from us. Using my palm, I wiped the tears dripping down my chin, then rubbed my eyes, covered my face, and started crying again. Mitsutsuka lifted his free hand and rested it on the crown of my head. I thought I could feel the heat of his hand entering my skin. With his palm still on my head, I asked Mitsutsuka if he would spend my birthday with me, in a voice that was almost all sob. Will you walk through the night with me? And will you listen to that song with me, just the two of us?

The character Fuyuko bears resemblance to the strangely named Natsuke in Earthlings by Sayaka Murata. Women who cannot ground themselves in this world, or at least in Japanese society, and live socially isolated lives. Where in Earthlings an unbearable burden develops in the protagonist Natsuke, Kawakami’s story is more loving, and Fuyuko manages to maintain a certain lightness and optimism.

Nassim Nicholas Taleb on the artisanal and techno-dissatisfaction

Nassim Nicholas Taleb - antifragile

Douglas Coupland predicted that the crafted object might become the emerging “technology” of modern art. Analog experiences are where art is enjoyed. In Antifragile, Nassim Nicholas Taleb explores technology and art from the perspective of fragility.

Technology Wants to Replace Itself

Technology is designed to replace older, inferior technology.

Technology is at its best when it is invisible. I am convinced that technology is of greatest benefit when it displaces the deleterious, unnatural, alienating, and, most of all, inherently fragile preceding technology.
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So it may be a natural property of technology to only want to be displaced by itself.

But not all technology disappears. The Lindy effect applies to technology.

For the nonperishable, every additional day may imply a longer life expectancy. So the longer a technology lives, the longer it can be expected to live.
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But in general, the older the technology, not only the longer it is expected to last, but the more certainty I can attach to such a statement.

The Treadmill Effect

People experience new technology like a treadmill effect.

People acquire a new item, feel more satisfied after an initial boost, then rapidly revert to their baseline of well-being. So, when you “upgrade,” you feel a boost of satisfaction with changes in technology. But then you get used to it and start hunting for the new new thing.

But Old Tech Survives: downgrade

Taleb states that this effect does not apply to classical art, as well as to analog and physical experiences. These experiences appear to be exempt from men’s hedonic decline in satisfaction.

But it looks as though we don’t incur the same treadmilling techno-dissatisfaction with classical art, older furniture—whatever we do not put in the category of the technological.
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I have never heard anyone address the large differences between e-readers and physical books, like smell, texture, dimension (books are in three dimensions), color, ability to change pages, physicality of an object compared to a computer screen, and hidden properties causing unexplained differences in enjoyment.

The big differentiator, according to Taleb, is the infusion of the maker’s love in the created art object.

But consider the difference between the artisanal—the other category—and the industrial. What is artisanal has the love of the maker infused in it, and tends to satisfy—we don’t have this nagging impression of incompleteness we encounter with electronics. It also so happens that whatever is technological happens to be fragile. Articles made by an artisan cause fewer treadmill effects. And they tend to have some antifragility—recall how my artisanal shoes take months before becoming comfortable.

Taleb’s recipe: downgrade to analog. Not because technology is bad, but because it never gives us enough. It wants to be replaced. Artisanal objects don’t.

The old shoes. The wooden desk. The physical book. The vinyl record. They don’t get better with an update. They get better with use.

Maybe that’s what Coupland meant: craft isn’t becoming the “new” technology. It’s becoming the answer to technology.

Neil Postman on Huxley and Orwell: the feelies, the orgy porgy, and the centrifugal bumblepuppy

In Amusing Ourselves to Death, Neil Postman discusses the consequences of a culture transitioning from orality to literacy to visual media.

The number of hours the average American watches TV has remained steady, at about four and a half hours a day, every day (by age sixty-five, a person will have spent twelve uninterrupted years in front of the TV).

The Internet and smartphones have shifted the focus from TV to the Internet, but not the totaltime spent on these media.

Postman looks at the great literary dystopians Orwell and Huxley, who must have foreseen such developments and the dangers they bring along.

Orwell warns that we will be overcome by an externally imposed oppression. But in Huxley’s vision, no Big Brother is required to deprive people of their autonomy, maturity and history. As he saw it, people will come to love their oppression, to adore the technologies that undo their capacities to think.
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What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one.
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Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny “failed to take into account man’s almost infinite appetite for distractions.”

Zie ook

John Gray – Straw Dogs – Gray pushes on: consciousness isn’t just shaped by media, it’s a media byproduct.

Agenda 2030 dame – Huxley’s “man’s infinite appetite for distractions” in action.

The Blob: No-Face as a Mirror to Billionaire’s Greed

A blob has no sense of self. All it knows is that it must become bigger. Our world is full of self-centered blobs.

The blob is in pain. The movie Spirited Away features a character similar to a blob: No-Face. No-Face wants attention, so he swallows the bathhouse employees. In the process, he adopts all the negative traits of those he consumes. No-Face becomes an arrogant, disgruntled, and selfish monster.

The amorphous blobs of this world — large organizations and individuals — want our attention. And there is never enough of it. Driven by attention mania and the temporary satisfaction that these blob gets from power and prestige, the blob keeps eating. It clings to everything around it in a meaningless and frenetic way.

The blob doesn’t like being told not to eat just anything. This gets the blob angry and mean because the blob needs to grow. Then, the blob deploys his soldiers. An army of dependents, frightened to the bone followers, is deployed to ensure that the blob can continue to grow. All work for the benefit of the blob.

In Spirited Away, No-Face offers gold to make the creatures around him like him. The creatures accept the gold and obey the blob. But when Chihiro refuses the gold yet is kind to him anyway, No-Face becomes so upset and confused, and sick of himself, that he vomits up everything he has swallowed. Only then does he find a balance in his existence—an existence in which he does not always want to devour others. No-Face turns into a humble being.

Let’s feel sorry for the No-Faces of this world. The pitiable CEOs are morbidly seeking attention. These No-Faces use their money, business, wives, and children—everything to get attention.

But no one likes them. No-Face is a nasty, selfish creature that lives a terrible life of eternal dissatisfaction. They can’t be helped. They can only help themselves and puke out everything they have swallowed.

On Luscinia svecica and two Homo copiarius subspecies

This week, we walked across the Engbertsdijkvenen. We spotted an uncommon bird, the Bluethroat (Luscinia svecica). Helped by the app Merlin Bird ID, an app that lets you listen to birds like you’ve never heard them.

We also spotted Homo copiarius avium, a species of Homo sapiens equipped with a still camera with an 800mm lens. I can estimate this species quite well since I am of the affiliated subspecies Homo copiarius platea, also outfitted with a camera, but with a 28 or 35mm lens. Whereas the Homo copiarius platea like me is more often found in inhabited areas, where it generally operates in isolation, the Homo copiarius avium is found in nature reserves, where they operate in groups of 3 to 7 of their conspecifics, and often congregate in observation huts to share their collections of copied birds.

Ben van den Broek made this picture of the Bluethroat.