Change has come to Japan

In a democracy, people have the power to oust the king, no matter how powerful he may be.

For the last 25 years, I have been voting for the opposition, except for one rare occasion when I voted for the ruling party.

The result of yesterday's general election suggests that for the first time since 1955, (except for a 10 months period in 1985), the opposition is going to form the government.

For somebody who has been feeling like a stranger minority in a more or less homogenous society, this victory of the opposition brings a very strange aftertaste. Much as I love the country, I was under the impression that the Japanese people are not so good at breaking the status quo. I was pleasantly surprised.

Because of what we did yesterday, change has come to Japan.

Born to be wild.

Although the ending of the film is rather sad, the opening scene of "Easy Rider" always thrills me when I watch it.

"Born to be wild" by Steppenwolf is such an inspiration. The scene has entered the canon of our film experience.

The procession of the drama from the impressive opening to the tragic ending might perhaps be an apotheosis of the feeling of
freedom which only exists in a brief, bursting explosion, if we seek its purest forms.



From the opening scenes of Easy Rider (1969)

Bats

Bats are such fascinating creatures, by the very nature of their existence.

The playing time passes quite rapidly for a child. In the olden days we played baseball in the park, forgetting how the day proceeds. Before we noticed it, bats would start flying in the air. For a moment you think it is some kind of butterfly or moth, but then you realize that considering the size and speed of flight they are certainly bats. With a gentle beat of the heart, you realize that it has become dusk again.

The emergence of bats always struck me unexpected. During the day, they are nowhere in sight. Dazzled by the sunshine, you are forgetful of the existence of the bats, as they have little relevance for the life of a child. So their appearance as the sun nears the horizon always came as a shock, as if you were witnessing the emergence of this airborne mammals for the first time in life.

In our mind, there are some entities which resonate in its form of existence with the bats. They would be hidden in the vast ocean of unconsciousness for most of the time. When they do emerge in consciousness, you immediately recognize them, and wonder how on earth you could have been forgetful of their imminent appearance, which could take place at any time.
When I was 9, in the school building somebody found a living bat. Somehow it dropped to the ground, and was moving the wings feebly. In the broad daylight, the bat looked quite different from the magnificent flying queen of dusk. The school teacher put the bat in a box, and carried to a corner of the school building where it would be safe for the day.

The building which housed us at that time was made of wood, with all the poignant expressions of aging. Some years later, the building was demolished to make way for a modern, steel and concrete building.

On the day that the bat was found, I did not realize how precious and never-to-return the whole experience was going to be.

A strange comradeship

I was 25 or so when I first visited Madrid. I usually do not consult a travel guide except for the very basic information. So I entered the Museo del Prado without any preconceptions.

If my recollection is correct, I think it was the very first room. There, in front of me, was The Garden of Earthly Delights painting by Hieronymus Bosch. Naturally I knew this masterpiece of exotic and striking images already, and have looked at its details admiringly in art books. It is just that I did not expect this painting to be housed in the Prado. It was thus a completely out of the blue thing.

"So, here was this painting!" I realized in an electrifying shock.

I was spellbound, and could not say a word.

Next to me, there was a young guy in T-shirt and with a backpack. Apparently he was a student from the United States. His jaws were literally gaping. He looked at the painting with wide open eyes, and shook his head from time to time as if in disbelief.

We stood in awe before the Garden of Earthly Delights for a long time. There was a strange comradeship between him and me, although it was quite unintended.

I imagined: Maybe this guy saw this painting for the first time in his life. He did not know there was such a painting as the Garden of Earthly Delights.

It was a case where two kinds of onceness in life were being played out in that gallery of the Prado.

I felt that every breath and pulse of my trembling existence was being blessed by the garden of earthly delights. I vividly remember the sensations to this day.


The Garden of Earthly Delights. (Part)

Forerunner of logic

Some things keep staying in mind, no matter how intractable they may be.

When I read Roger Penrose's "The Emperor's New Mind" in 1989, I was quite taken by the argument in it. The main thesis was that some parts of human thought, especially those carried out consciously, are non-algorithmic. Citing Goedel's theorem and the enigmas of wave function collapse in quantum mechanics, Penrose argued that human thinking, the process of understanding something in particular, could not be broken down in terms of algorithms which could be carried out by a digital computer.

Although attacked by people from various fields, the Penrose thesis appeared to be essentially correct for me, not in an immediately provable way, but in poignant threads of thinking the gist of which will become only apparent after many years of elaboration and effort by humans. Roger Penrose in that sense is a predictor. It is moving how the sense becomes a forerunner of logic, in that what turns out to be logically correct afterwards is perceived by the sense as intuitively pointing the right way.

Roger Penrose visited Cambridge while I was doing postdoc there. I have written an essay a "Roger Penrose visits Cambridge" based on the experiences at that occasion.


With Roger Penrose in Oxford, U.K.

Power of small things.

I had a dialogue with the artist Rei Naito for a digital radio program by NHK. We have had several conversations before. Some of them has been published in Japanese. This was to be our first dialogue to be put "on air".

I have the highest admirations for Rei Naito's works. My first encounter with Naito's work was when I visited the "Being given" installation in Kinza. There, after some minutes of bewilderments, I knew that I was experiencing something quite extraordinary and new in life.

During the radio time, Rei Naito said that during the process of making something, the "intensity" of the spirit is the key element. Unless she can maintain that intensity, while being relaxed so that she can be flexible with the hand movements, she cannot infuse life into the small items that she produces with strings, metal wires, glasses, and papers.

Rei Naito confided that her creations are concerned with the question: "Can we regard the existence as life in the earthly word as a blessing?"

The power of small things. All life form, whether powerful or weak, are small compared to the world we inhibit. The size of the universe is 13.7 billion light years.

The president of a world's superpower is very small compared to it. The question of life translates into infusing strength into small things.

Rei Natio's magical art makes us realize that, as instantiations of life, we are ever blessed by the power of small things.



Rei Naito's work. From Monty DiPietro's review of the artist.

That crucial water flow

I continued to stroll in the beautiful region of Takashima.

In the Harie district, many houses are equipped with Kabata, a natural water pool where people cool watermelons and vegetables in summer. Carps swim around. They are fed with leftovers from the kitchen. Some of them are tens of years old.

So water is the essential ingredient of life's circulation. No matter where you are on land, water is the single most important and invigorating element for life. Other things such as minerals, sunshine, and background biomass are equally important. Water turns these elements finally into life. Thus, the water flow determines the thriving and interdependence of life.

A kabata is a striking visualization of that crucial water flow.


A scene from Kabata. Tranquility and harmony.

From a Ministry of Agriculture, Forestry and Fisheries webpage.

Something in us becomes dumb

Computers are wonderful things, but to the extent that we associate with them, something in us becomes dumb.
It is especially true for the internet.

That was my conviction as I strolled in the beautiful rural town of Takashima, Shiga Prefecture, which I visited for a symposium on anti-aging.

There was a special ceremony going on in the small temple, where local people gathered, with children running joyously in the gardens. The old ladies and gentlemen chanted softly Buddhist prayers. It was the perfect visualization of a harmonious life.
You had to open your sensitivities, and witness the happenings, beyond any prescribed meaning, no technical structure. The scenery had nothing to do with the modern technologies. There was something in your mind, quite sacred and vibrant, that became active only when you cut your central nervous system from these wondrous things we call "modern computing technologies."

Apart from these gibberishes, I simply loved the beautiful Satoyama of Takashima.


Lost in the harmony. In Takashima, Shiga.

Freedom to work

I had a dialogue with the political scientist Kang Sang-jung in the Hilltop Hotel in central Tokyo. The conversation was held for a woman's weekly magazine.

The hilltop hotel is famous for its literary connotations. Many famous writers have resided there. Today, it is often used for interviews and literary meetings by the publishers of books and magazines.

I hugely enjoyed discussing with Professor Kang Sang-jung. One of the major topics that emerged was freedom. People generally regard the world history as a gradual progression of freedom for the people. However, in order to enjoy freedom and make use of it fully, one needs to have certain conditions in terms of knowledge, faculties, and social resources. For those who are equipped with the necessary elements, freedom becomes a blessing. Otherwise, freedom can be a curse.

What are the conditions for freedom to work? Our conversations were mingled with references to Soseki Natsume and Max Weber.

Kang Sang-jung is a warm and sincere man.

Shock discovery

I think The Carpenters was the first pop singer group that captured my imagination when I was a kid. I guess I was about 10.

"Top of the world", "Yesterday once more", "Close to you", "Please Mr. Postman", and other great songs from the duo gripped my heart, although at that age I did not understand the English lyrics very much.

I fell in love with the voice of Karen Carpenter. The vocal qualia is a given gift. The particular form and strength, dynamics of Karen's vocal chord must have produced the sensuous qualia that my consciousness receives when she sings.

20 years passed, and I was about 30, when I went to a Karaoke room with my best friend Yoshi Tamori (mathematical whiz kid).

I discovered that Yoshi liked the Carpenters songs, too. To my utter bewilderment, when he sang, his voice sounded a bit similar to Karen's. It was a shock discovery. Karen and Yoshi look so different. And Yoshi is a man. Karen was so delicate and thin. Yoshi is, ....well.....

I have kept the enlightenment by this mysterious coincidence as a secret, and have not told anybody, until today that is.

Now Yoshi has something to boast apart from incredible rose origami.....


Myself (left) and Yoshi Tamori at the Hermitage Museum, St. Petersburg, Russia.

The true roots

I and Ms. Sumiyoshi Miki had a conversation with the manga artist Takehiko Inoue for "The Professionals" program broadcast by NHK. The conversation, together with the documentary films, will be broadcast on the 15th September on NHK general.

Mr. Inoue stuck me as a fundamentally honest person. Mr. Inoue said that his works are in a sense mirrors which reflect his true self. He said that one needs to get free from self-delusions and pretensions, in order to reach the true roots within oneself. Once the root of one's spirit is reached, one finds there what is universally human. This self-digging of the soul is a necessary process for the creation of works which are at once high quality and popular.

One needs to be courageous to come face to face with the true root of the self. Self-delusion is such a sweet poison. But the courage finally is rewarding.

Mr. Inoue's manga books (notably "Slam Dunk" and "Vagabond") have sold nearly two hundred million copies in Japan alone.

I did not even dream

When I am hungry at night, having been unable to take a respectable bite, at the bed time I am faced with a dilemma. Should I eat something or not? When I succumb to the temptation, I would perhaps put the kettle and make some hot water. I would make one of the instant noodles in the cup, and eat it, with a feeling of guilt on my heart. You are not supposed to eat miso soup noodles in the small hours.

Last night, I had that kind of temptation again, but resisted it. It is not that I had an iron will. I was simply too exhausted.

The feeling of exhaustion translated itself into a need to watch one of my favorite British comedies, Father Ted. I did not last even for a few minutes.

When I awoke this morning, I found the DVD having gone to the very end, with the computer making the characteristic fan sound when it has been on for a long time. It was heat that accompanied my finally sweet sleep. I did not even dream.

Colors

When I was a kid, I used to love to eat white thin noodles ( Somen ) in the summer.

After being boiled, the noodles would be put into ice cold water. You pick the noodles with hashi (chopsticks) and put it into a soy source flavored soup.

It used to be that there would be a few colored noodles in one "bouquet" of somen noodles. The noodles would be normally white, but a few would be colored in yellow, red, blue, and green.

Although exactly the same in taste, the colored noodles fascinated me as a kid. When my mother brought a bowl of noodles, I would dash to pick the colored ones, in competition with my sister, who was 2 years younger than me. The height of our competition for the colors was when I was 6 and she was 4. I remember we had several bitter fights, and my mother would complain "what's all this fuss about colors? They are all the same in taste."

We actually knew that.

As years passed, I somehow grew out of the colors. When I was about 9, I remember vividly saying to my sister "you can have all the colored noodles you want." It was a sign of my maturity. It was also an end of my childhood enchantment by the colors.

And we follow the light.

My native and resident country, Japan is a nation of islands. Going abroad used to and remains to have a special connotation for its inhabitants.

I went abroad for the first time when I was 15. I still remember the shock as the airplane descended to Vancouver international airport. I happened to observe what later turned out to be quite an ordinary residential area by Canadian standards. However, at that time, the spacious greens in which the houses, some of them with pools in the backyard, seemed to be a scene from another planet.

Now, when I travel out of and into the Tokyo International airport, the shocks still persist more or less, albeit in a diminished manner. On the other hand, I seem to begin to discern a more universal and global pattern common to all world regions, no matter how different the languages and habitats might appear on the surface.

As time passes, I seem to be more concerned on what is universally human.

I never took a serious interest in nationalism, or in people who advocate it.

As the shock of differences fade away, the light of universality emerges. And we follow the light.

Solace to the soul of a nation

Parsifal is the final opera of Richard Wagner. It seems to be a fitting end to the career of a composer who pursued the theme of Erlosung durch Liebe (redemption through love) for life.

It was fitting that my first experience of the Bayreuth festival came to a conclusion on Saturday with the performance of Parsifal, conducted by Daniele Gatti and directed by Stefan Herheim (Bayreuth Festspiele, 15th August 2009).

During the Vorspiel (overture), the stage curtain was already open, and we saw a woman with long blonde hair dressed in white lying on a bed. Apparently she is in death agony. In Sehnsucht (yearning), she calls for her boy child. The boy, not understanding the nature of maternal emotion, refuses to be hugged by her and goes away into the garden with a bough in his hand.

Soon after the boy left, the mother dies. The doctor declares the death, and puts a sheet over her body. They leave the room, and the dead woman sinks into the bed and disappears.

When the boy returns, the room is empty. He looks at the bed where his mother has been lying. Still not comprehending what has been going on, he faces with unconscious misgivings a platform in the front of the stage which turns out to be an alter en effect throughout the performance. He lays bricks there, apparently forming a wall. However, the wall remains incomplete and in translation.

This brief description of what happens, in outline, during the course of the overture would do justice, I think, to the multitudes of possibilities that a stage director can put into a contemporary Wagner performance.

It was a production with a heavy resonance with the sometimes tragic modern history of Germany, with vivid and unforgettable images. The fact that an opera can bring solace to the soul of a nation by facing its history without any self deception is once again a testimony of the forces of a great piece of art.



Image from Parsifal directed by Stefan Herheim from Wagneropra.net

Booings and bravos

In order for a work of performing art to be maintained in a living condition, it needs to be refreshed in the styles of times. The concerns close to people's heart, the joys and fears of the common man change with the passage of eras. A presentation of a work, no matter how vivid and appropriate within the context of a particular time, tends to fade away in relevance in the face of a new period.

These were the thoughts invoked as I left the theatre after attending the performance of Die Meistersinger von Nürnberg (Bayreuth Festspiele, on 14th August 2009), conducted by Sebastian Weigle and directed by Katharina Wagner.

Katharina Wagner's Meistersinger premiered in July 2007. It was heavily booed. The fact that people boo certain productions is a testimony that opera is taken very seriously. The production of Der Ring der Nibelungen directed by Patrice Chéreau and conducted by Pierre Boulez, for example, was booed on the first night to such an extent that it became a scandal. The perception of the audience can then go through a dramatic transfiguration. In its final staging in 1980, on the night of Götterdämmerung, Chéreau and Boulez's Ring received 101 curtain calls which lasted for 90 minutes.

It remains to be seen how Katharina's production will be finally received. It is certainly a very interesting production. It is, which is important more than anything else, also very courageous. The fact that the great granddaughter of Richard Wagner is bold enough to try this brand new philosophy of staging is reassuring for the future of the Bayreuth festival.

Katharina herself says thus. “Being booed belongs to the job description of a director.” ( New York times, July 31, 2007)

The progress of the human spirit is a very complex and dynamic process. Booings and bravos are the fuels that propel its procession.



Image from Katharina Wagner's Die Meistersinger von Nürnberg, from Wagneropra.net

Eternal solitude

The performance of Tristan und Isolde, conducted by Peter Schneider and directed by Christoph Marthaler (Bayreuth Festspiele, on 13th August 2009), left a very vivid and stinging aftertaste.

At first, during the 1st and 2nd act, the intentions of Marthaler was not apparent to this observer. The singers kept a very detached stature overall. At the end of the 1st act, for example, apprehending the approach of King Marke the four (Tristan, Isolde, Brangane, and Kurwenal) try to compose themselves by sitting stiff in geometrically arranged chairs.

The contrived and restricted manner in which everyone acted transfigured into significant and moving meaning, as, at the end of the 3rd act, after singing the final words assigned to each, first Kurwenal, then Marke, and finally Brangane turned away from the world, standing in an upright position, face to the wall.

Isolde herself, after singing the beautiful Liebestod alone in the bed that Tristan has been lying, finally lies on the bed, covering her body and face with the white sheet.

So the opera ends with people encapsulated in the isolation of each, distanced from other people, no matter dead or alive. And the love itself, glued by the poignant word "und", is emancipated and lost for ever in the ocean of eternal solitude.



Image from the final act of Marthaler's Tristan und Isolde, from
Wagneropra.net

Tristan und Isolde

On 13th August 2009, I attended a performance at the Bayreuth Festspiele for the first time in my life. It was Tristan und Isolde.

Repetition leads

So I have come to Munich, in translation to Bayreuth.

I have visited Munich many times. Whenever I can, I listen to operas, preferably Wagner, in the National Theatre. Compared to the dense metropolis in other nations, German capitals tend to be more sparsely inhabited, reflecting, perhaps, the character of the German people. Always keeping a proud distance.

Repetition leads to the realization of life's continuity. Visiting a familiar city reminds one of the former times, how you were young, innocent, and ignorant. With age one gets some chunks of wisdom, but the ignorance persists in a different form.

I bought three books on Wagner in the Hauptbahhof. Reading them would give me the much needed opportunity to refresh my German.

Today, I travel to Bayreuth, to meet my long waited fate. I would be listening to Tristan und Isolde. The greatest and most intensely romantic piece of art ever.

And there will be life

Lands in Tokyo, like in any cotemporary city of big lights, are heavily utilized. It was a rare occasion that a space near my house, after the demolition of buildings that occupied the land, was left unattended for the summer.

At first, it looked like a barren land. Soon the weeds began to grow. Now, it is like a jungle of miscellaneous vegetations. Flowers bloom here and there. Butterflies and dragonflies take advantage of the sudden growth of wilderness in the busy cityscape by flying over the green extension.

It is a testimony again that nature, when given sufficient space and time, can take care of itself. It does not require an active intervention on the part of humans. Just let nature go its own way, and there will be life.

I suspect that some essential parts of nature are victimized by our shortsighted meddlings. The unconscious is like the nature, and too much interference by the conscious can disrupt its carefree dynamics.

I take the scene of green apparitions that emerged in the rare open land as a testimony of the importance of autonomy, natural and unconscious.