The Chicago rain

This Saturday in Tokyo was characterized by occasional rainfalls, which became quite strong from time to time, verging on being a pouring rain. As I move around in cars, I did not have to use an umbrella. I do not mind the rain so much when I do not have to cover the space above my head with the nuisance of an umbrella. I hate separating myself from mother nature.

I love to listen to the rainfall in the safe haven of the indoors. It is simply scrumptious to read a favorite book on the sofa, while occasionally paying attention to the rhythmical sound of the raindrops.

As I recall. there was a particularly memorable rainfall in Chicago. I was 22, and was attending the 38th Japan America Students Conference. As the schedule on that fateful day was to meet with some important people, we had our best suits on. The day started with a bright sunshine, so we did not expect anything nasty to happen weatherwise. An American participant told me how there were flats in the skyscrapers in Chicago. The residents living in the upper floors are "above the cloud level", so that they sometimes have to ask a friend on the "earth level" how the weather was down below. The story amused me. There was apparently no need to worry about the weather on that day.

I was mistaken. We were all wrong. Suddenly, a black cloud gathered in the sky. Literally in minutes, the rain started to fall with a vengeance. We were in the middle of an open space, and there was simply nowhere to hide ourselves. Needless to say, nobody had an umbrella. We became soaking wet.

As abruptly as it started, the rain stopped without warning. The sun came back, and we were soon basking in the sunshine, while the water dripped from our noses and sleeves.

Alex began to laugh, with the characteristic, whole-hearted laughter that was Alex. I began to laugh, too. There was something amusing and refreshing in that savage exposure to the wild weather of Chicago. It was as if we were embraced and kissed by mother nature herself.

The experience was divine, and I remember it vividly to this day. The Chicago rain is one of my favorite wet memories.

Professor Higgins

I was 10 or so when I first saw My Fair Lady (film). I was immediately fascinated by the whole ambience. At that time, video recorders and video tapes were not widely available. So I bought the sound tracks in the LP format and listened to them. It was my first lessons in the English language.

The character of Professor Higgins, played by Rex Harrison, captured my imagination from the beginning. I do not know what was so significant. His manner of getting to the point with the speed of lightening, his devotion to the study of speech, the accompanying and inevitable dropping of all considerations of material and domestic needs, was an inspiration.

When I traveled to U.K. and had a chance to have interactions with the English academics, I found that the Higgins type is not rare. Higgins are everywhere. They have their peculiarities, quick wits. The eyes are cast at nowhere, their minds apparently occupied by unearthly things.

The speech and actions of Professor Higgins is a music in itself. It was so beautifully portrayed by the late Rex Harrison that the world owes a heritage to him. I, for one, owe a youthful inspiration which probably helped my scooting towards the fanciful worlds of intelligent endeavors.



Professor Higgins (Rex Harrison) offering chocolates to Eliza Doolittle (Audrey Hepburn).

Not an easy place to live

I knew that Glenn Gould, my favorite pianist, used to like reading Kusamakura (Grass Pillow) of Soseki Natsume. Naturally, I have read the original Japanese version (many times), but have never ventured to tackle an English translation.

For some reasons, Kusamagura has been hanging on the verge of my consciousness recently. The other day, I finally bought the new translation by Meredith McKinney, published from Penguin Classics.

The famous opening sentences are translated thus:

--------------

As I climb the mountain path, I ponder--
If you work by reason, you grow rough-edged; if you choose to dip your oar into sentiment's stream, it will sweep you away. Demanding your own way only serves to constrain you. However you look at it, the human world is not an easy place to live.

From Kusamakura: Translated by Meredith McKinney, Penguin Classics

---------------

I think it was Soseki's pessimistic observation that haunted my soul when I first read the novel as a child. It is, however, a pessimism with a vital force to go forward. Soseki apparently wrote the whole novel in a matter of a week, if we take his words literally.

Pessimism, or acknowledging that existence can never be perfect, is the founding stone for a vigorous life. It is the source of great works of art. There is wisdom in educated pessimism.

Although I am generally regarded as an optimistic person by my friends, I must say that there is always a tinge of pessimism in the way I regard the world.

Lights are everywhere

The other day I visited a temple in the Hieizan mountain near Kyoto.

I met with The Great Ajari Yusai Sakamoto, who completed the Sennichi Kaihogyo (1000 days of intensive and life-or-death journey through the mountains) twice.

As I was leaving the quiet sanctuary, I looked back. There were rays of sunshine permeating through the woods. There is such a magic about lights going through the air, when they are made visible.

Even when we cannot see, the lights are everywhere, permeating, being reflected, shining on, and emanating from.

The rays in the woods stood in my mind as an example of invisible things, which surround our life. When made visible through the workings of rare conditions, they appear to us as heaven-sent miracles, but earthly all the same.



Light rays permeating through the woods.

Why doesn't he write and find out?

From my own experience, and from the general brain scientific point of view, writing has a special significance for the brain.

My mentor at the University of Cambridge was Horace Barlow. Once, Horace was organizing a conference. One of the participants did not send in an abstract. When contacted, the negligent participant answered that he did not know what he should write in the paper. When the postdoc who was functioning as an assistant for the conference reported that reply, Horace immediately said:

"Why doesn't he write and find out?"

Horace's sharp comment cuts right into the essence of the cognitive processes involved in writing. When writing, one often consciously perceives chunks of information which has been dormant in one's unconscious. Writing provides a channel between one's conscious and unconscious.

Yutaka Ozaki

There are certain cultural phenomena, which, due to the language barrier, cannot transcend easily to other nations. These are hidden treasures, screened from people of other cultures at a great loss to the knowing and unknowing parties.

Yutaka Ozaki is one of them. A legendary singer-songwriter, he died at the premature age of 26. The wikipedia entry , at its present rudimentary state, simply does not do justice to this great musician.

Yutaka Ozaki sang about youthful dreams, anxieties, and love. The young spirit is sometimes rebellious towards the status quo, for the very good reason that the fiery energy cannot be contained in a conventional social structure.

Yutaka Ozaki's song, while being an anthem of rebellion, eventually deepens into a love which is all-encompassing, including those against whom the young artist expressed his mistrust in the lyrics. Overcoming the obstacles, Yutaka Ozaki's songs attain the universal value of a great art.

My favorite Yutaka Ozaki songs include "I love you", "Oh my little girl", "Graduation", and "Singing to the Wind" (Kaze ni Utaeba).



Yutaka Ozaki (1965-1992) at a concert.

Liquid in life

I had a public dialogue with the designer Taku Sato. in the Les Deux Magots Cafe Tokyo, Shibuya. Taku is widely known and appreciated for his design of packages, in which he depicts, in the utmost simplicity and elegance, the essential properties of a particular brand.

When I have a discussion in public, I rarely meet the counterpart beforehand. I prefer to let the conversation follow its own life force ad libitum, rather than to adhere to a designated structure.

The spontaneous verbal exchanges with Taku last night was exceptionally successful, thanks to the gaiety of his spirit.

Taku said that surfing has been his passion for more than two decades, and described the experience in precise and poignant words. Taku's reference to the oceanic sport on the waves led us to the appreciation of the liquid in life.

In civilization, we are tend to be surrounded by solids made of steel, concrete, and other infrastructures. Given the unavoidable trends, life continues to thrive, gets to its highest points, in liquids. That something which is without any definite shape, always changing, breaking our expectations, calling for a total engagement by the body, shifting, penetrating, mixing, gorging, going over everything, into everywhere, becoming time itself in its transitions. That something, ubiquitously liquid.

The lively conversation with Taku left a vivid and viable aftertaste. I thrive in that tone today.

Here's to the liquid in life.


With Taku Sato in the Les Deux Magots Cafe Tokyo.

Beetle mania

The earliest memories have the strange impressions of defining the mythical in one's life.

Some memories during my kindergarten days stand out very vividly. One of them concerns the Japanese rhinoceros beetle.

Kabutomushi (Japanese rhinoceros beetle) has a special place in a kid's mind. It is a symbol of desirable things, and kindles the heart of the child in a way which is not simply comparable with any material possessions in adulthood.

It was the summer. I was five. Ms. Arai, our teacher, was playing the piano in the Kindergarten room. Suddenly, she acclaimed something on the black wood. It was a Japanese rhinoceros beetle. Moreover, it was the much desired male, with the strong horn protruding from the head. Nobody was quite sure how the beetle got onto the piano in the first place.

There was a commotion among the boys. Ms Arai, holding the beetle in her fingers, let us admire its beauty. It was a particularly fine specimen.

Ms Arai, apparently wanting to get rid of the creature as soon as possible, turned to a friend of mine near the piano, and said "Here. This is yours". She gave the Japanese rhinoceros beetle to the boy.

I became jealous. Oh, how I wanted that beetle! The fact that Ms Arai was very popular among us five year olds gave a further fuel to my jealousy.

It is the first memory of envying other in my life.

Adults might laugh at a kindergarten boy desiring a Japanese rhinoceros beetle. The mental life of a child is colored by primitive and yet finely tuned emotions. I vividly remember the flame set by the envious beetle to this day.


A Japanese rhinoceros beetle

Whims of nature

Clouds are always up in the sky, yet we do not attend to them. From time to time, when the shapes strike us as massive, and the angle of the light is just fine, we take notice of them.

Yesterday, there was such a magnificent cloud in the sky. I looked up admiringly, unable to have enough of it.

The physical process is continuously there. With the vapor circulating, the wind blowing, it never stops. The fact that only a subset of the ever going procession draws out attention is a testimony to the whimsical nature of our perception. Because of the whim, we are led to some beauties and truths, while missing others.

Clouds are themselves like whims of nature.


A magnificent cloud seen in the sky yesterday.

It's my job never to give up

Back in Tokyo, I am already immersed in a hectic work schedule.

I had a quite stimulating dialogue with Dr. Hisashi Matsumoto, who is a flying doctor on board a "Doctor Heli" helicopter based in Chiba prefecture. Dr. Matsumoto was the guest for "The Professionals" program in NHK.

In the studio, Dr. Matsumoto stressed the importance of outreaching for the medical service. The emergency treatment in a life or death situation is very different from the medical procedures in general. It was intellectually exciting and eventually emotionally rewarding to learn the difficulties and possibilities of emergency medicine.

"You see, we never give up".

Dr. Matsumoto said.

"It is nothing special. It's my job never to give up, to save the patient."

Dr. Matsumoto flies on the helicopter to give emergency treatments more than 600 times a year.



In the NHK Professionals studio. With Dr. Hisashi Matsumoto and Ms. Miki Sumiyohi.

Home coming

It used to be that when I go abroad and come back to Narita airport, I get into a mental zone of inverse cultural shock, finding the atmosphere of my home country somewhat strange, as if I am witnessing it through the eyes of a foreign visitor.

Nowadays, the transition is more smooth. But the metacognition runs deep.

Each culture has its own merits and limits. I seem to discern more accurately the scopes and borders of the context of my native culture, as I shuttle between Japan and abroad. It is not that the context of the English-based civilization, for example, is broader than that of Japanese-based civilization. It is just that they are different.

Home coming has a bittersweet aftertaste. As I get into the rapid train connecting Narita airport and central Tokyo, recollections of the London atmosphere rapidly disappears, and I am left to adapt to the familiar cultural contexts of my mother country, in which I sometimes feel like a stranger.

But then I would feel like a stranger in any single cultural context, mother or foreign.

A Farewell to Arms.

On my final day in London, I visited the British Museum with my co-travelers, and talked to Mr. Timothy Clark, head of the Japanese Section. Tim was kind enough to show us how the works of art are stored and preserved, and used to support research and exhibition when necessary. I was impressed by Tim's enthusiasm for the preservation and understanding of Japanese art, especially Ukiyo-e prints and scrolls.

I spent the last few hours in London drinking ale beer in a Kensington pub with my friends. We had a jolly good time, judging from the number of laughters and jokes, which sometimes hinged upon the ridiculous.

Finally, it was time for me to catch a taxi for the airport. My fellow travelers were to stay one more night in London. As I got into my taxi, their arms were stretched out towards me. We shook hands.

As my taxi started to move, their arms remained invigorated. It was a sentimental moment. As I watched my friends waving their arms, I bade a farewell to arms.

The sublime in Turner

I visited Tate Britain and the National Gallery in London. One of the main purposes was to see the paintings by John Mallord William Turner.

Turner is mainly known for his paintings of scenery, especially those of the ocean, where the colors are mingled in a harmonious manner, to give an overall impression of fogginess and vibrancy.

Turner, however, also painted more concrete and "real" works, especially those based on war themes. The drawings and water colors of Turner demonstrate the precision with which the artist was able to capture the details of the subject, if and when he willed so.

Turner's paintings, at their best, give the impression of the "sublime" to the observer. In being merged in the sublime, things lose their individualities. For the purpose of the depiction of the "sublime" in this sense, the ocean, where the water and the lights and winds are in constant motion and resonance, was arguably the ideal subject.

With the traditional methodologies of painting of which Turner was a master, the artist is able to reproduce a particular impression with a degree of much higher exactness compared to the more contemporary methodologies such as installation.
As the artist is able to control every brush, the impression can become more finely tuned as the picture gets abstract in the conventional sense. Being abstract does not signify a loss of information in the case of Turner. Being abstract is the language for the faithful depiction of deep emotions and feelings, which the artist pursued all his life.

The innovations and aesthetical investigations to be found in the art of Turner gave the inspiration for the Turner Prize, which is in a sense a celebration of the continued evolution of the sublime in contemporary art.



The Sunrise with Sea Monsters (circa 1845).
One of my favorite Turner paintings.

London photos.

I came to London for a magazine and book cover trip of the Tate and British Museum. I am staying just for two nights and then will be flying back to Tokyo. Accompanying me are Michiaki Watanabe and Shinzo Ota of Shogakukan publishing, and Shinya Shirasu.

Shinya's friend, Akio Shindate joined us. Shindate has founded a design company VO Corporation based in Kensington.

Since I have lived in U.K. for two years, and have frequently visited London ever since, landscapes in London fills me with much nostalgia and a sense of home coming when I see them.

The U.K. is like a second home for me.


Familiar signs in London Heathrow airport


The taxi stand at Heathrow airport


The Natural History Museum, taken from the speeding Taxi window.


Harrods. Ditto taken.


Hyde Park. Ditto taken.


The Piccadilly Circus. Ditto taken.


The entrance of the Soho hotel.


The Soho hotel room.


A late night drink with Shinya Shirasu, my soul mate.


A Thai dinner at the Patara restaurant in Soho with Michiaki Watanabe, Shinzo Ota, and Akio Shindate. Shinya Shirasu could not make it for the dinner as his luggage was delayed at Heathrow.

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.