The burning heart

(Continued from yesterday's entry of "Tiger Jeet Singh".)

I hear that Tiger Jeet Singh is now a successful business person based in Canada. His real self is a rational man with cool judgments. Once on the ring, he becomes a wild beast, with a very unique fighting style.

In professional wrestling there are certain protocols. Beautiful girls dressed in kimonos would present flower bouquets to the fighters. The referee will explain the rules, and the fighters shake hands. Tiger Jeet Singh would have none of that.

Before the gong sounds, Tiger Jeet Singh is already on the offensive. Everything occurs out of the blue, without hesitation, with full vigor. He would swing his saber towards Anotonio Inoki, and the two fighters would fall out of the ring. Once out of the ring, it is a total chaos. Chairs would fly. Tiger Jeet Singh would chase Antonio Inoki, and the spectators would flee. The spotlight follows the fighters. The announcer would shout "Please take care! Please take care!". The announcer's cries of warning add fuel to the excitement.

After a while, the gong rings. Then the announcer would calmly say "now the match has begun". It is a very strange announcement. It is as if the nasty doings of Tiger Jeet Singh, clearly violating the rules, are being blessed in retrospect. It has been all O.K. The match is already in full motion.

The fighting style of Tiger Jeet Singh, in which he ignores the preparatory protocols of the match and just "goes for it" the moment he springs onto the ring, fascinated and thrilled me as a child. I have been trying to imitate the style in real life ever since.

When you are attending a conference, or on a committee, there are people who like to say polite but meaningless things. I ignore the mannerism, and just go straight to the essence of matters. The spirit of Tiger Jeet Singh is in me. I don't have a saber, but I have the burning heart.



Classic. Tiger Jeet Singh showing his emotions.

He really means it!

When I was 10, my then best friend Toshikazu Shimamura took me to see a Professional Wrestling match. The fight was between Antonio Inoki and Tiger Jeet Singh.

We were waiting for the arrival of wrestlers in front of the Koshigaya City Gymnasium. Toshikazu was a great fan of wrestling. He would give me many advises towards the appreciation of this genre.

As we were standing with great expectations, Toshikazu warned me:

"The other wrestlers are just make-believers. Tiger Jeet Singh, alone, is different. He really means it! If you meet him in the eye, he is sure to attack you. So don't you ever look him in the eye. I adviser you on this, for your life."

So I had serious apprehensions as Tinger Jeet Singh himself got out of the minibus and stormed towards the gymnasium. As Toshikazu was warning me, he seemed to "really mean it". His countenance was menacing, with his trademark saber in his mouth.

When I look back, I wonder why his act did not violate Japanese swards and guns control law. It certainly looked like he was violating it.


Tiger Jeet Singh with his trademark saber.

Turner Island

In the suburb of Matsuyama, off the coast, there is a small island. It is famous as Soseki Natsume referred to it as the "Turner Island" in his novel Botchan.

On Tuesday I was on the boat off Matsuyama, being gently swayed by the waves. There it was, a chunk of rocks with pine trees growing on it. Its beauty struck me immediately. The impression deepened with the lapse of beholding time.

So this is the Turner Island, I thought.

Soseki named the island as such because it appears to be a scene fit for a depiction in a work by the great painter. Two antagonists in the novel, nicknamed "Red Shirt" and "Field Drum", go fishing on the boat with the protagonist "Botchan". The Red Shirt and Field Drum discuss the Turner Island, to the amusement of Botchan. It is a very memorable passage in the novel.

I did not expect that the island would be so lovely. Soseki certainly had an eye for the beautiful, even when the affection was expressed with wit and sarcasm.

Now my mind's image storage has curated the Turner Island in its collection.


The "Turner Island" off the coast of Matsuyama.

Friendship

My second day in Matsuyama, and I have been pondering the friendship between Soseki Natsume. and Shiki Masaoka.

Soseki is the father of modern Japanese literature, and Shiki is the founder of modern Haiku poems.

Shiki was born in Matsuyama, and Soseki came to teach in the city after graduating from University of Tokyo. Soseki based his novel Botchan on his experiences in this southern city on the Shikoku island.

That Soseki and Shiki both went on to achieve great things in literature is not independent of their friendship. Soseki and Shiki knew each other in the preparatory school for the university already. They exchanged views on literature. Soseki wrote many Haiku poems which Shiki read and made comments on. During a particularly intensive period of 50 days, Soseki and Shiki stayed at the same house, now reconstructed in a park in Matsuyama.

The friendship between people of the same sex is one of the most beautiful things in life. Records suggest that Shiki and Soseki were attracted to each other from the beginning, acknowledging the special qualities of the counterpart.

Shiki died at the premature age of 35. Three years later, Soseki wrote his first novel "I am a cat". Shiki had an ambition to be a novelist himself, but his short life under the shadows of tuberculosis did not allow a full development of his aspirations.

One could only imagine how Soseki felt as he looked back on his soul mate, who shared literary ambitions in the youth.

Soseki himself died at the age of 49. His last novel, Mei an (Light and Darkness) , was left unfinished.

A brain the size of Kent

I am in Matsuyama, for matters concerning the great writer Soseki Natsume.
On the way to Matsuyama airport, I was reading the book "Oscar Wilde. Nothing...Except my genius. A celebration of his wit and wisdom' (Penguin books, 1997). A quite lengthy essay 'Playing Oscar' by Stephen Fry in the book was very enjoyable.

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And what of Wilde the man? He stood for art. He stood for nothing less all his life. His doctrine of art was so high that most people thought he was joking. The English, who to this day believe themselves quite mistakenly to be possessed of a higher sense of humour than any other nation on earth, have never understood that a thing expressed with wit is more, not less, likely to be true than a thing intoned gravely as solemn fact. We, British, who pride ourselves on our superior sense of irony, have never fully grasped the idea of fiction--of ironism. Plain old sarcasm is about our mark. When Wilde made an epigram, it was at best, 'clever'. Clever, like funny, is an English insult of the deepest kind.

'Playing Oscar' by Stephen Fry
-------------------

I love Stephen Fry. He was once described as "a man with a brain the size of Kent." I appreciate Stephen's effort to come to terms with the phenomenon that was Oscar Wilde.

High tension

I had an interesting dialogue with my best chum Takashi Ikegami, at the Aoyama Book Center in Tokyo.

It was meant as a launch event for my latest book (translated as "Symposium of the Brains"), but we talked out of the context as always.

I tend to judge people by the high tension. Takashi's tension is as lofty as ever. It flies sky high. His day time job is professor at the prestigious University of Tokyo, but he wears Aloha and jeans during office time all the same. Fashion statement is a wonderful channel of philosophy. I have weathered this whole year with only a single pair of trousers and jacket, augmented by a collection of T-shirts.

I am always looking for a person with high tension. When your counterpart is earnest, full of energy, and committed, through the dialogue one can fly high up in the air. Last night, with Takashi, the whole audience witnessed lofty mountains and distant oceans. The cityscapes of Tokyo diminished into the background.



High tension professor in aloha. Best chum Takashi Ikegami.

Audience laugh

Giving a talk is part of my life. I am invited to give a talk from various quarters, but I cannot comply with most of them. I have to say no to ~95% of the invitations, much to my regret.

I gave a talk in Hakata this Saturday, to an audience of about 1700. The lecture was organized by Mainichi Shimbun, one of the largest newspapers in Japan.

When I give a talk to the public, I naturally touch upon my own expertise, namely the brain sciences. At the same time, I try to make the talk as entertaining as possible. To that end, my experiences in childhood attending the Yose comic shows prove useful.

At the Yose, several entertainments are provided. The most staple form is Rakugo, Japanese traditional sit-down comedy. My father and grandfather liked listening to Rakugo at the Yose, and I was often taken to the performances in my childhood.

Although I did not realize it for a long time, when I give a public lecture to the general audience my childhood sojourns to Yose help me very much. I feel happy when the audience laugh.


Myself giving a talk this Saturday in a theater in Hakata.

At the Imperial Hotel

I gave a talk at the Imperial Hotel, Tokyo. The hotel is preparing itself for its 120th anniversary. I was invited to speak on serendipity, which has been chosen as the ethos word for the special occasion by the president of the hotel, Mr. Tetsuya Kobayashi. After the talk, I had a lively dialogue with Mr. Kobayashi on the nature of making most of the chance meetings we have during the course of our life.

Mr. Kenichiro Tanaka, the chief chef of the hotel, prepared a special dinner for us. Mr. Tanaka has been a guest on The Professionals program that I host, so that I am familiar with his warm ways of communicating with people. It was a pleasant evening.

The Imperial Hotel is a national institution. Initially organized as a Western style hotel to welcome foreigners to Tokyo after the opening of the country to the outside world after the Meiji Restoration, it represents the finest in the tradition of deep-running hospitality. Although on the surface it is very western, in spirit the finesse remains uniquely Japanese.

This particular blog is in part an experimentation on expressing the world view and sensitivities of someone who was born and brought up in Tokyo, in the lingua franca that is English. In a sense, I feel the Imperial Hotel is trying to do the same thing.



At the Imperial Hotel main entrance. With president of the hotel Mr. Tetsuya Kobayashi and the chief chef Mr. Kenichiro Tanaka.

The brat element

I think I was a dirty brat. During the elementary school days, I used to take a bath with a book in my hand. Often, I did not wash at all, and would get out of the bath where the only difference was that I have progressed with the reading of the book by several pages. My mother used to accuse me of "a crow's bathing", after a popular expression in Japan referring to a bath taking without the cleansing elements.

As a result, my hair would often get oily, as if a natural additive was applied to the head shrub. I was literally an oily boy.
Nowadays, I take shower and wash my hair every morning. And yet, I do not distinguish between soap and shampoo. Most often, I wash my hair with a bar of soap. The brat element has not left me.

Dinner party

I was invited to a dinner party in honor of the Archbishop of Canterbury, Dr. Rowan Williams, at the British Embassy in Tokyo.

I was introduced to the Archbishop by the British Ambassador to Japan, Mr. David Warren. Mr. Warren is a warm man with a robustness of quick wit and sound judgments. It was a great pleasure to accept Mr. Warren's kind invitation to this special dinner.

Dr. Williams was educated at Cambridge and Oxford, and is known for his liberal views on the role of the Anglican Church. He is an poet in its own right. Before the dinner, some of his poems were set to beautiful music by members of British Embassy choir.

At dinner, I sat next to The Bishop of Leicester, The Rt Revd Timothy Stevens. I had a lively conversation with Tim.

During the conversation, something struck me.

I said to Tim, "you know, something just struck me" "What is it?" "Well, it just occurred to me that in English culture, at a dinner table like this, people carry on talking as if the food on the table does not matter." "Yes, it is probably very much true." "My mentor was Prof. Horace Barlow at Trinity college, Cambridge, and I sometimes had dinner there. I remember well how people appeared not to pay any attention to the dishes on the table, which were actually excellent. Why is it?" "Well, as an English person, I probably don't realize the reasons for the particulars of my own culture. Probably the English people do not think what you eat is very important in your life."

After the dinner, during the port, I was discussing the London Underground, and a question arose. Mr. Jason James, Director of the British Council and the Cultural Counsellor at the British Embassy, told me he would send an e-mail later on why the underground card is called "Oyster".

Here's the e-mail from Jason.

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Subject: World is your oyster
From: Jason James
To: kenmogi

According to Brewer's Dictionary of Phrase and Fable, the expression "the world is his oyster" means 'the world is the place from which he can extract success and profit, as a pearl can be extracted from an oyster.'

A quote from Shakespeare is given:

Falstaff: I will not lend thee a penny.
Pistol: Why, then the world's mine oyster,
Which I with sword will open.

(Merry Wives of Windsor, II, ii (1600))

These days, it just means "You have complete freedom to do whatever you want.' It is usually used with reference to people's career prospects - e.g. we might say that if someone gets into Tokyo University "the world is his/her oyster."

Best regards,

Jason James
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On the way back on the taxi, I received a phone call from the Kabuki actor Ichikawa Ebizo, who has just returned from a successful performance in Monaco. Ebizo is going to Hakata this weekend for his performance there in October. I commented how super his Roppo action was during his performance of Ishikawa Goemon with his father Ichikawa Danjuro.

A good gardener

The brain is able to adjust its functions according to the particular context in which the subject is expected to do well. For example, cramming for the entrance examination is a context. Common sense tells us that those who do well in the cramming context do not necessary perform excellently in the general arena of life. It is simply because the contexts are different.

The orbitofrontal cortex, together with other related circuits in the brain, is responsible for the fine tuning of the coordination of brain's various circuits so that it functions properly in the context given.

It is one thing to do well in the particular context that one confronts at a particular time. It is another to choose the context in which one is supposed to perform, with minute care and unlimited imagination.

Many people, as life progresses, falls into a particular pattern of context, and learn to do well in it, but fails to have a metacognition of the context itself.

Choosing the context is an art of cultivating the vegetation that is the self, which can grow only slowly and by daily customs. One must be a good gardener in the "plantation" of the brain, making decisions on the context setting with wisdom.

The orbitofrontal cortex (from Wikipedia)

The magical transformation

Yesterday, there was a shooting for the "Untitled Concert" (Daimeino nai Ongakukai) program conducted and introduced by Yutaka Sado. The Untitled Concert program is broadcast by TV Asahi weekly. The venue was Opera City, in the metropolitan Shinjuku district.

The theme was the music of Antonín Dvořák.

I appeared as a guest, and had conversations with Yutaka Sado, accompanied by the master of ceremony Ms. Naoko Kubota.
Yutaka Sado is an extraordinary man.

A conductor, by the very nature of his job, remains silent. He is, in a sense, deprived of speech. The only way to express himself is through the baton, and the orchestra does the actual physical expression for him. Because of the deprivation of voice, the conductor becomes passionate. The volcanic fire comes from the non-existence of speech.

Therefore, it is an unusual and difficult job to alternate between being a speaking person on one hand, with all the friendliness that one can command, to reach the general audience, and being speechless on the other, putting all one's existential weight on the baton.

Yutaka Sado does exactly that. Now he is talking expressively about the charm of Dvořák. The next moment he is conducting, with the baton as his only way of expression. Yutaka is speechless, while the orchestra plays heavenly music. The magical transformation has been accomplished.



With Yutaka Sado and Naoko Kubota on the stage from an earlier broadcast.

Vulnerable for change

Being assertive is important in life. Without putting forward one's values and opinions in an explicit way, nothing changes in the tranquility of the universe. On the other hand, I think it is equally important to be a skeptic, being doubtful of one's own view.

From time to time, I encounter people who are quite positive about what they think and feel. When there isn't an accompanying element of self doubt, I feel a bit strange. I get suffocated even, having the sensation of being driven up against the wall. It is actually those people who are cornering themselves towards dead ends.

By being doubtful of the self, one opens the door for learning and growth. Looking back on my own past, I realize that I have never been completely sure of what I held to be my own opinion. There was always a remnant fluctuation, a vibrating center of the self swayed to and fro by the invisible wind.

I am very proud of my vulnerable nature. Being vulnerable for change is the only way of life.

Chitty Chitty Bang Bang

When I was around 10 to 15 years old, I really loved the musicals. As I recall, the film that kick-started the whole thing was Chitty Chitty Bang Bang, which was shown in a local film theater when I was 10.

When you think about it, the way some memories are associated with a particular period of life is strange. I vividly recall that I was exactly a 5th grader when I saw the film in the darkness of my favorite film theater.

As one gets older, memories are not so well designated to a specific period. For example, it is sometimes difficult to temporally pin down the initial viewing of some memorable films (e.g. Solaris, El Sur, L'Albero degli zoccoli) that I encountered in my 20s. The childhood days are marked by vivid and colorful progressions of time. As one passes adolescence, the segmentation of time becomes less clear.

Back to Chitty Chitty Bang Bang. There were some features of the film that captured my imagination. For example, the contraptions that the mad inventor father (played by Dick van Dyke) builds in the film fascinated me. One of them cooked an egg and made a sandwich at the breakfast table, with some disastrous results.

There were some lovely tunes, like "Doll on a Music Box", where Truly Scrumptious (played by Sally Ann Howes), pretending to be a mechanically constructed doll, dances on a music box, ostensibly presented as a special gift to the tyrant Baron Bomburst.

There is a clip of this beautiful scene on youtube.

Looking back, the whole film is lovely, as in it the adults endeavor to entertain the children and children-at-hearts very seriously.



A scene from Chitty Chitty Bang Bang.

Visually stunning drama

I went to the Kabuki-za theater in the central district of Ginza, Tokyo with my editor Ms. Yoko Oba, and Ms. Ayako Taniyama, who illustrates my essays on history in the Mainichi Weekly magazine.

One of the acts was Kanjincho. Although I have seen it many times, each time the experience is knew. A lot of discoveries are made, as is the testimony of any great classics.

This time, I was drawn to the visually stunning dramatic structure, in which the protagonists struggle, negotiate, get infuriated, and finally arrive at a humane and moving solution. It is as if a symphony is played out in front of your eyes using the bodies of actors, who are made up in exaggerated contrasts and dressed in conspicuous attire. The score is written in the implicit traditions of bodily language which have been handed down through the generations for hundreds of years.

The actors remain constrained in their bodies, and yet their expressive powers transcend time and space.

It was one of these moments when one realizes the bliss of a life in Tokyo. I simply love Kabuki.

The theatrical treat was followed by a culinary one in the Sushi restaurant Tsukasa, where the finest specimen of Maguro are procured and served through the eyes of Mr. Hiroki Fujita.



Visually stunning drama. A scene from Kanjincho.

A diligent boy

From time to time I wonder: If I lived this time as a small school boy, what would I have done? How would I have felt about the goings on the world, how would I regard the people around me? How would I breathe in the air which is the beginning of the 21st century?

Occasionally, I encounter kids who remind me of my own youthful days. I observe them with great interest and empathy at these times, as they appear to be the echoes of my emotional and intellectual life of the past.

While vacationing in Taketomi island last extended weekend, I glanced upon a boy by chance. He was reading a book while strolling the venerable street of Taketomi, flanked by age old coral walls. The boy was deeply absorbed in his reading. From time to time, he would raise his eyes, and watch us strangers from a big city afar.

What kind of mental life is he nurturing, I wondered. How would it feel to be born and grow on this lovely island of a population of 342, with just 172 households, where everybody presumably knew everybody else?

How would he absorb the flying clouds in the sky? Would he be astonished by the great fruit-eating bats flying in the darkness of night? Would he pick up the seashells on the shore? Would he accumulate knowledge about the beautiful butterflies that inhabit Taketomi? Would he dream of going to the big cities, to attend places of higher education?

It was not likely that my life and his life would cross again in any significant way. However, that afternoon, on the coral island of Taketomi, my life resonated with the life of a diligent boy, leaving a bittersweet aftertaste.

I wish all the best in life for the little soul.


The diligent boy on Taketomi Island

A swarm of bacteria

The speed of the evolution of bacteria is rapid, as it multiples very rapidly, with corresponding changes of generation. It is natural that species of bacteria develop resistance to antibiotics within a short period, given the rapidity of its multiplication.

Humans, on the other hand, cannot reproduce so rapidly. The human evolution has taken another strategy.

Human evolution is characterized by sustainability, supported by the longevity of individuals. Although the "self" maintains its identity over decades, the elements that compose the self multiply and perish within a very short period.

Humans, in a sense, is a "habitat" in itself, in which the evolution of constituent entities occurs. Humans evolve most efficiently when behaving like a swarm of bacteria.

Butterfly road

Breathing in the air on the subtropical Tametomi Island, old memories came back to me.

In February 2001, I traveled to Taketomi Island with some of my best friends. Notably, Yukio-Pegio Gunji was there.
On the first afternoon, we rented a bicycle and pedaled towards the beach. There was a small path, with weeds growing from both sides. As we sped through the vegetations, butterflies flew out of the shrubs and encircled us. Their wings deformed and changed positions in the air, like flower petals dancing in the wind.

It was a beautiful and yet fundamentally comical scene. We felt as if we were in a classic film. Some scholars and students dedicated to the research of complex systems riding the bike on a small island, with butterflies celebrating our efforts. The vision was striking and poignant. It stays with me to this day.

On this particular visit to the island, we made it to the butterfly road again. I found the path to be a little bit wider than in memory, perhaps due to an expansion work that has been done. Due to the seasons or other elements, there were less butterflies in the air, so I missed the replay of the movie scene with Yukio-Pegio Gunji.


The butterfly road revisited.

We somehow coped

I love the night breeze on a southern island. As we finished our dinner and gently walked home through the narrow paths, I looked up at the sky. There were stars. The milky way was clearly visible. Before knowing it, almost unconsciously, I was searching for the giant fruit-eating bats, which are characteristic of the subtropical islands around Okinawa.

I could not find one. Mrs. Maki, owner of the restaurant Maki, our favorite hanging-out place on the island of Taketomi, told us that there were less fruit-eating bats now, especially after the unusually strong typhoon that hit the island last summer. "Before that", she said, "the bats were flying over that tree beyond the house".

Without the blessing of the bats, we somehow coped. The night was as dark as it used to be, without the air-bound creatures which used to enliven the blackness enshrining our existence.



Every cloud has a silver lining. The magic of the sunshine on Taketomi island

Transformation

Sunday came, and I traveled to the southern Island of Taketomi, one of the Ryukyu Islands. The district is called Okinawa, after the biggest of the Ryuku Island of the same name.

When I travel southbound, I go through a remarkable process of transformation. It is especially true in the case of Okinawa.

The moment I get off the plane, the process starts. I am in a mood to take off my belongings from civilization, e.g. the watch and socks. The tendency gets stronger as I travel further from the airport, cross the ocean on a boat to arrive at a small island, like the Taketomi island.

I prefer not to take any job to an southern island, as I would like to relax without caring about what I have to do. However, sometimes I am obliged to take some assignments, as in this particular trip. This morning, while my students were visiting the Utaki (sacred places in Okinawa Style), I was busy typing my manuscript on a desk in the gardens of the Minshuku we are staying.

As I worked very diligently, I could finish my job before noon. I spent the afternoon taking in the sunshine and the wind in a westward-looking beach.


The sunset in Taketomi Island