Japan


Flying in a blue dream …

Last week in Tokyo was Golden Week, the long week of public holidays that people traditionally use to travel. I stayed in Tokyo and chose to use one of the days to visit what I thought of as “the Mucha exhibition” at the National Art Center, Tokyo. This exhibition was timed to coincide with the 10th anniversary of the opening of the museum, the 60th anniversary of the reestablishment of diplomatic relations with Czechoslovakia, and the Year of Czech Culture, 2017, so I guess it was intended to be something special. I had previously seen a Mucha exhibition at the Kitakyushu Art Museum in Fukuoka, where I saw primarily a collection of his illustrations and advertising work, and I was expecting the same in Tokyo but perhaps expanded, so I was completely stunned when I walked into the first room and found myself facing an 8m x 6m canvas of luminous beauty, The Slavs in their original homeland, pictured above. In fact this exhibition was displaying almost all of Mucha’s Slav Epic, a collection of huge oil paintings describing key events in the history of the Slavic peoples, which he painted over an 18 year period (1910 – 1928). These pictures showcase incredible art nouveau technique, while displaying striking mythical figures and key historical events in splendid beauty, and their impact cannot be appreciated by viewing them on any screen. Take the picture above, for example: The god on the right of the picture must be 4 or 5 metres high, and the two human figures at the bottom centre are almost human sized. The god doesn’t just loom over the viewer, but seems to actually float out of the picture, and really dominates the space around the picture in a way that even the best onscreen rendering cannot picture. The glowing fires at the centre left also spring to life with an almost feral radiance when you view the picture in person, the stars actually seem to sparkle, and those semi-corporeal distant figures on horseback are vague and indistinct in just the way you would expect if you were standing before that god, looking into the real distance to see oncoming soldiers.

The other pictures in the series are similarly dramatic, and to stand near them is to feel as if you are part of the unfolding drama rather than a witness in an art gallery – and this despite the fact that, because it was golden week in Tokyo, this gallery was packed. The photo below, which I took in the area where photos are allowed, gives a sense of the scale of the pictures and the crowd at the gallery, and the way the pictures stand imposingly above even this many people. In some ways the crowd was a boon, since it forced one to move back from the pictures and view them from their proper distance, as well as helping to keep the scale of the images in perspective.

Let’s enjoy Red Square together!

I’m quite a fan of art nouveau – I visited the Tiffany Museum in Matsue when I lived there, and I’ve visited Mucha and other similar exhibitions before where I can. I know a lot of people probably view it as not real art – kind of effete and shallow, the way perhaps some people view the romantic poets or perhaps like the pop music of art, but I think it has an evocative beauty that also speaks of a rare period of time in history when our developed nations were not yet modern but were full of hope and idealism and looking forward and upward. I also think it reflects non-European influences and I appreciate its intricate connections with advertising and popular theatre, which gives it a kind of populism that I appreciate in art. It’s not as “experimental” as some of the other movements that came at the same time, and for that I think it gets frowned on, and I think some modern art critics probably don’t respect its simple enjoyment of classical or saccharine beauty (especially feminine beauty). But I think at its best it is able to capture something of the human soul or the desire humans have always had to find transcendent beauty in their surroundings, and I think it must have been really stretching the available techniques of the time to achieve that sense of liminal and supernatural beauty that it aspires to. If I ever had any doubt about just how well art nouveau was able to achieve these goals, Mucha’s Slav epic dispelled them. This series of works is a masterpiece, and a perfect showcase of all the best aspects of this style. Walking through the halls of the epic is like drifting through an art nouveau dream, full of diffuse lights and ghostly figures, radiant spaces, beautiful ethereal women and striking, tragic moments. After viewing these massive pieces there was a large collection of his other work but some of his famous pieces – like the four flowers – which would have been masterpieces if they had been shown on their own were anti-climactic after the gigantic dreamscapes of the main display.

This is probably the third really great exhibition I have visited in Tokyo. In 2007 I saw Ashes and Snow at a temporary space in Tokyo Bay, having no idea really of the scale of its content; then quite recently I saw The Universe and Art at the Mori art museum,  and now within a year I get to see this unique apotheosis of art nouveau. This is one of the really good things about living in Tokyo – it may happen only once a year and they may be very crowded, but the quality and global nature of the content is really high. This exhibition lasts until the 5th June, so if you are in Tokyo I strongly recommend getting along to see it. Even if you aren’t especially into this particular artistic form, I think it will capture you with its scale and ambition, and if you do appreciate art nouveau I doubt you’ll ever get the chance to see as good an exposition of its best qualities as you will when you visit this exhibition. So, go, and get lost in dreams of Slavic history.

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Who doesn’t want to be this guy?!

Trigger warning: Long rant; gender and racial theory; I may use the qualifier “cis-” in a non-ironic way[1]; Since saying “male genitalia” or “female genitalia” is apparently bad, I may use the words “cunt” and “cock” to refer to the things they refer to; Aussie pride; excessive footnotes[2]; dead naming of dead dudes[3]; anti-Americanism; as always, sex positivity, along with a healthy dose of trans positivity (I hope, though maybe 800 people will judge me a bastard) and my usual disdain for radical feminism; insufficient or excessive trigger warnings

TLDR: WTF is going on with feminist philosophy?! Also, if you think that transgender people are serious and real and should be given full rights and respect, you probably also need to accept that transracialism is cool; but unless you’re American you probably already did, without even thinking that it was A Thing.

I just discovered a horrific conflagration overtaking the world of feminist philosophy, which has got me thinking about a concept that I didn’t even really know existed, but which is apparently A Thing: Transracialism. Transracialism is the practice of people of one race adopting the identity of another and living that identity even if they hadn’t been born into or raised with that identity, so superficially it has this transition process in common with being transgender. I’ve obviously been out of touch with left wing radical social ideals for a while, because I didn’t know that transracialism was A Thing, and that it is Bad while being transgender[4] is Good. In this post I want to talk about transracialism and the stultifying consequence of Americans hogging the debate about sex and race, and also about the disastrous state of modern leftist discourse[5] about so many things.

The controversy concerns an interesting paper in the philosophy journal Hypatia, discussing some of the logical consequences of accepting transgender as a real and serious issue[6]. The article, In Defense of Transracialism, examined the similarities between transitioning to a new gender and transitioning to a new race, and argued that logically if you accept one you really run onto rocky ground if you don’t accept the other. For case studies (and not, apparently, as the fundamental logical basis of the argument) the paper presented the case of Caitlyn Jenner as a transgender, and Rachel Dolezal as a transracial person (“transracer”?) As we know, Jenner got widespread public acceptance for her decision, while Dolezal received widespread public scorn. The article argues in what, to me at least, appears to be a quite tightly reasoned and accessible style, that it’s hard logically to accept one and reject the other, and maybe that means transracialism is actually okay.

The paper was published in March but recently a bunch of Associate Editors connected to the journal published an open letter demanding that the paper be retracted because its publication caused many “harms” to transgender people, and because it was academically poor. The outline of the case, and a solid takedown of the public letter, can be read at this New York Magazine post. It should be noted that the author of the paper is a non-tenured Assistant Professor, a woman, who is therefore quite vulnerable in a highly competitive field dominated by men, and that some of the signatories to the open letter were on the author’s dissertation assessment committee, which makes their signing the letter an extremely vicious act of treachery, from an academic standpoint. For more background on the viciousness of the letter and its implications for the author’s career and for the concept of academic freedom, see Leiter Reports, a well known philosophy blog (e.g. here) or the Daily Nous (e.g. here). It appears that the author has a strong case for defamation, and that many of the leading lights of feminist philosophy have really made themselves look very bad in this affair. (In case you haven’t gathered, I am fully supportive of the author’s right to publish this article and I think the open letter, demand for retraction, and pile-on by senior academics to an Assistant Professor near the beginning of her career is a vicious over-reaction of which they should all be deeply ashamed).

Beyond the obvious bullying and the ridiculous grandstanding and academic dishonesty involved in this attack on the author[7], I am disappointed in this whole issue because it is such a clear example of how Americans can dominate feminist (and broader social justice) debate in a really toxic way. I’ve discussed this before in regards to the issue of sex work and radical feminism, and I think it needs to be said again and again: American influence on left wing social debates is toxic, and needs to be contained. Just look at the list of signatories to this attack on this junior academic – they’re almost all American, and this is yet another example of how America’s conservatism, it’s religious puritanism, its lust for power, and its distorted republican politics, combined with its huge cultural output, is a negative influence on left wing politics globally.

I’m also really interested in this paper because I think it shows not just that transracialism may actually be an okay idea, but when I thought about the implications, I realized that I think most people on the planet already accept transracialism, and if Rachel Dolezal had occurred in any other country we would probably just have shrugged and got on with our lives. So in this post I’d like to discuss what Americans can learn from other countries’ approach to race.

Transracialism in Australia

Just to clarify, I was born in New Zealand to British parents and moved to Australia aged 13, taking Australian citizenship when I was 21. My grandfather was a Spanish war hero, a proud soldier in the losing side of the civil war and a man who spent nine years fighting fascism, and I was raised by him and my (deeply racist, white) British grandmother for two years as a child. So actually I’m a quarter Spanish, and so in theory I could have been raised Spanish but wasn’t, and don’t know anything about my birth race, which at various times in history has been defined as a separate race or just a culture. This makes me probably really normal in Australia, because Australia is a nation of immigrants making a new life in a land swept clean by genocide. It’s my guess that if you grew up in Australia you know a lot of mixed-race people, and if you paid any attention to the discussion of the Stolen Generations in the 2000s you’re aware that race is a very contested and contestable concept, and that Australian government policy has always assumed that race is a mutable concept subsidiary to culture. I think it’s likely that if you grew up in Australia you will know at least one of the following stereotypes:

  • An Aboriginal person who doesn’t “look” Aboriginal, and who maybe has no connection to their Aboriginal culture; you may even not be sure if they are Aboriginal, suspect they are but don’t know how to ask
  • A young Asian Australian who looks completely Asian, acts in ways that are stereotypically associated with Asian Australians (e.g. the guy holds his girlfriends bag for her, the girl is a complete flake in a very Asian Australian way) but is in every other way completely and utterly unconnected from their Asian heritage and is thoroughly through-and-through “whitebread” Australian
  • A completely Australian guy who speaks fluent Greek and goes back to Greece to “be with his family” every year
  • A person who has discovered that they have an ethnic heritage of some kind and is trying to recover that heritage in some way that might inform them about their own past, even though they are effectively completely disconnected from it, but they are clearly serious about rediscovering their heritage and all their friends and family support this apparent madness
  • A black or dark-skinned Australian who literally knows nothing about the culture of whatever race gave them their skin colour

If you’re a little older, like me, or know a wide range of older Australians, you may also have encountered an Aboriginal Australian who was stolen from their family at an early age and raised white but is on a bittersweet quest to recover the heritage they never had – and may have found that that heritage was extinguished before they could be led back to it. When I was 20 I was paid to provide maths tutoring to a bunch of 50-something women who were training to be Aboriginal Teaching Assistants – a kind of auxiliary teacher who will assist fully qualified teachers in remote Aboriginal communities – and some of them couldn’t even do fractions. When I asked how they missed such an early stage of education they told me they were taken to “the mission” when they were young, and didn’t get a proper education. I was young and this kind of issue wasn’t discussed then but now I understand that they were from the Stolen Generation, and were at various stages of understanding of their own racial heritage. They were going back to help their community, and recovering their own heritage, not just to settle the question of their own background but also to right wrongs done and change society[8]. These kinds of people are a normal thing in Australian cultural life. But can you look at that list of archetypes and say they aren’t all in their own way transracial? Indeed the underlying philosophy of the Stolen Generations was that you can eliminate racial traits of Aboriginality in half-Aboriginal people simply by raising them white; and the underlying principle of Multiculturalism is that culture transcends race, and we can all get along. Also in Australia there is a lot of tacit recognition of the problems second and third generation migrant children go through as they “transition” from the cultural heritage of their parents to that of their born country, where although racially they’re distinct from the majority they are clearly culturally more similar to the majority than to their parents. In the 1990s this was happening with Greek and Italian kids, in the 2000s with Vietnamese kids, and in the 2010s with Lebanese kids. Everyone in Australia knows that this happens, which surely means that everyone in Australia sees transracialism as a common pattern of multiculturalism.

Since I’ve moved to Japan I’ve seen this confirmed in many ways, but the best I can think of is a child I knew in a rural country town. His parents were both white New Zealanders but he had been brought to Japan at the age of 3 and raised in rural Japan, and when I met him at 17 he was thoroughly and completely Japanese. He didn’t speak English, communicating with his parents in a mixture of Japanese, really really bad English, and typical adolescent boy grunts. He hadn’t experienced much racism in Japan and had been sheltered in a very nice and welcoming rural environment, had a good group of close Japanese friends, communicated in the (ridiculously incomprehensible) local dialect, and was a typical cloistered Japanese boy. But he was also a big, white lump in his Japanese world, standing out like dogs balls. His race was irrelevant to his cultural background, except that he knew he was “white” and that therefore every Japanese person who ever meets him will engage in a boring conversation about why he is so. Fucking. Japanese. How is this not transracialism? Sure, a lot of transracial experience is not a choice per se, but whether it is a choice is surely irrelevant to the fact that it is completely possible and that for some of us – probably only a small proportion – changing “race” is a choice we feel compelled to make. I.e. not a choice. Rachel Dolezal might be a bad example, but whatever her motives might be, is her ability to do it under question? I would suggest that from an average Australian perspective, it is a completely ordinary concept. The only thing at issue is “why?” But since most well-meaning people don’t impugn the motives of strangers, who gives a fuck?

Race is a social construct

The possibility of transracialism becomes even clearer when you recognize that race is a social construct. This doesn’t mean race doesn’t exist – it clearly does – but that it is an invention of humanity structured around clear physical lines, not a real thing. While there is a clear difference between black and white people, there is no boundary at which this difference can be defined, and no genetic markers that clearly distinguish between one and the other. This isn’t some weird fringe idea popular only amongst Black Panthers, but a fundamental plank of modern science, reasonably well accepted at least in the biological sciences and anthropology. When we talk about races what we really are referring to is distinct cultural identities that can be mostly distinguished by noticeable visual cues (e.g. Nigerians are black, and stress the first syllable of every word in a cool way). This also means that race has very little influence on the culture you can actually adopt, which is why although I’m a quarter Spanish I’m completely white, while there are Aboriginal or Maori people who are one quarter Aboriginal but completely wedded to the culture of that quarter.

In comparison, sex is an absolute category that is definable and distinct. It has a chromosomal origin, and multiple definable, distinct characteristics. It is also clear across cultures that men and women tend to be different in many physical and personality characteristics, though these aren’t always the same in every culture and there can be lots of differences between people of a single sex between and within cultures. But sex is a clear, binary concept that, for all its massive cultural baggage, is not independent of its biological underpinnings. This, by the way, is not an idea anathematic to feminism – lots of feminists accept that the sexes are fundamentally different, and although there may be argument about to what extent these differences are biological vs. cultural, there is a large body of feminist work that assumes these differences are real and important.

And yet still people can want to change sex. Really want to change sex! And this phenomenon is common across almost every culture, though it receives higher levels of acceptance in some cultures (e.g. some Asian and Indigenous cultures) than others (e.g. modern USA). It’s also clear that you can’t force someone to change sex the way you can race. You might be able to “breed out the colour” of “half-caste” Aboriginal people by stealing them from their parents and raising them in a white family, but you can’t breed out the pink by forcing a girl to grow up as a boy – she’ll still know that she’s a girl. The same is true of sexuality of course – most people can define their sexuality clearly by the gender of the people they fuck, but we have no evidence that you can change that, no matter how hard you try. We know in fact that down that road lies tragedy. And so most of us take people’s sexuality – and the right to express it freely – very seriously. Yet most of us also accept that the right to change sex, to express a desire to be the opposite sex to our birth sex or even to be a third sex, very seriously as well.

So why not race? It’s way more fluid than gender, it has no biological basis, and we have huge amounts of evidence that people do it by accident all the time. Yet when Rachel Dolezal was outed as white she attracted general derision across the political spectrum; and Trump trades on the Pocahontas slur for Elizabeth Warren, whose sole crime apparently is to have been raised thinking she might have Native American heritage. There’s clearly something wrong with this picture, especially if like me you grew up in a race-fluid environment. Why is it so wrong to be transracial?

The toxic American influence on sex and race debates

Of course in America race is not a simple issue, because of slavery. America has a complex, toxic and quite unique racial environment which makes it very hard for Americans to react reasonably to these debates. Just consider the “politically correct” term for black Americans – African American. How is this not a transracial identity? Africa is neither a country, nor a culture, nor a race. Being “African American” is a completely concocted identity, a race that didn’t exist until the 1970s and the advent of pan-Africanism. Nothing wrong with that per se, obviously, but it leads to strange contortions in which, for example, the previous president[9] was dismissed as not “African American” enough by some of his critics even though his dad was Kenyan. We also see unedifying moments like this, where we discover that one of Dolezal’s trenchant critics was raised in a white household from the age of 2, and has clearly made a conscious choice to be black – but rejects Dolezal’s choice on clearly spurious racial grounds.

I think the problem here is simply that Americans need to come to terms with their own racist history, and simultaneously with their role as centre of empire and cultural hegemon. It’s not just that white Americans are beneficiaries of a long history of slavery, or that a sizable portion of white Americans can’t even yet accept that slavery was really wrong, or that treason in defense of slavery was really bad. It’s also the case that black Americans are simultaneously deprived in their own country but hyper-privileged globally, benefiting from many of the profits of empire just as their white compatriots do. This is why, for example, in response to the water poisoning crisis in Flint, Michigan we heard so much about how this was happening “even in a developed country” – black Americans are used to certain basic things that many of the people in America’s tributary nations don’t get. Similarly, black Americans can talk about pan-Africanism while black Americans are bombing Libyans. This is a complex, messed up problem that Americans have to come to terms with before they preach to the rest of us about transracialism. Combine this with America’s well-established puritanism and religious extremism, and you have a perfect storm of stupid. It makes you wonder why they even bother doing philosophy.

It also makes me think that they don’t really have a proper grip on some of these issues. Instead of talking about their own race issues, I think a lot of American feminists could stand to look around the world and learn from others. Australia has a unique culture of multiculturalism and acceptance that, while far from perfect, offers important lessons on how to negotiate racial conflict. We also have a history of genocide and responding to genocide that is deeply entangled with old fashioned racial theories that still seem to have some influence on both the left and right of American politics. But as an Australian I think we have learnt a lot and grown a lot, both about sex and race, in ways that Americans need to learn from. Instead, however, these American philosophers seem to think that their experience of race is unique and universal. I even recently stumbled across a tweet by a “key” philosopher of transgender issues (American) who claimed that transracialism had never been practiced anywhere except by one person (Rachel Dolezal). What a joke! This shows deep ignorance of broader issues of race and culture and a kind of infantile understanding of what the rest of the world is doing. I bet right now there are huge debates going on in China in Chinese about people faking ethnic minority identity (or vice versa) that no American philosopher of race even knows about, let alone can turn into a lesson for American philosophical dialogue.

I think it’s time Americans learnt some humility. America is a nation of religious extremists with a history of slavery that just elected an orange shitgibbon for president. Some humility would be in order.

And a little less bullying too! So if, like me, you think that this article might have pointed you to a phenomenon that is more common than you think, that you didn’t even know existed, maybe you should read it. And then reconsider whatever passing judgement you might have made of Rachel Dolezal, and ask yourself how easily the media are fooled by ugly narratives, and what that says about their quality.

And then, I guess, be whatever race you want to be!


fn1: Google it!

fn2: Including but not limited to references to Aussie pride

fn3: Until today I didn’t know that this term existed, though I think that I probably tried to avoid doing what it refers to. Google it!

fn4: You’ll note that I am writing “transracialism” but not writing “transgenderism”. This is because apparently the latter term is offensive while the former is not; and this has nothing to say! Nothing at all! About how one of these processes is accepted by those who police our language in the name of social justice, while another is not.

fn5: Add “will non-ironically say ‘discourse'” to the trigger warnings! Too late!? Too bad!

fn6: Because for arbitrary and stupid reasons I can’t say “transgenderism”, every sentence where I want to refer to the process or state of being a person who is transgender is going to involve these slight awkwardnesses of English language. I’m going to stick to the politically correct phrasing here, but I hope that everyone sees how awkward this is, and how telling the acceptability of one -ism but not another -ism is.

fn7: I’m making a decision not to name the author because I suspect that if things go badly for her and the paper is retracted she is going to want her name not to be associated with the paper that she struggled over; I know that my actions won’t make a difference to the google search results, but I choose not to add to them. Nonetheless I think this is work she should be proud of and I hope she doesn’t have to retract or disavow it. Also what kind of budding philosopher wants their name turning up on a disreputable blog like this, associated with fantasy gaming and sex positivity?!

fn8: And they were being taught fractions by an ignorant white dude half their age. Can you imagine the indignity!? But they were very nice to me, and I think I did a good job of the teaching. But teaching fractions is HARD.

fn9: Please come back!

(This review is a little pointless because the exhibition closes tomorrow).

Yesterday I visited the Mori Art Museum in Roppongi Hills to see the Universe and Art exhibition. This exhibition attempts to show the relationship between artists’ and scientists’ attempts to explain the cosmos and the human relationship with the stars. It incorporates artistic visions of the cosmic order, scientific explanations of space over time, and artistic interpretations of science, from many different cultural perspectives. To do this it displays a wide array of art, items, scientific objects, film and video art. These objects have been drawn from many different cultures – Indian, Asian, Europe and the Americas – over several thousand years, with a particular emphasis on Japanese material from the past and the present. They include mandalas from India and Japan, star charts from China and Japan, and early stories about space from Japan and Europe. It also includes film, photos and objects from the space programs of several nations, science fiction art and stories inspired by these programs, and visual art that either glorifies or critiques or reinterprets them. Some highlights that I particularly enjoyed are listed below.

The meteoric iron katana

Blade of coolness +5

Blade of coolness +5

What can I say? Apparently Okayoshi Kunimune made two swords from meteoric iron, which took three weeks to craft and required several trips to the local shrine for prayer. One of these is on display, and it is quite impressive. It has all the fine lines of a classically-forged katana, but the metal is kind of darker and less shiny, more sinister-looking. Also the scabbard has “Meteor sword” written on it, which just says it all really. This blade was forged the old-fashioned way in 1898, which was after the samurai era, but was forged in the traditional way, which means that it has that slight rippling pattern in the metal around the blade. Viewed end on it looks wicked sharp. The photo I took is just a snap and overstates how dark the blade is, but I do think it is darker than a normal blade (I haven’t seen many of these artifact blades so I don’t know how dark an original samurai blade is). One of these blades ended up in the possession of the Taisho Emperor, which means that he was decked out in a sword made from a meteorite. I think that makes this a kind of unique artifact and it genuinely is very cool, just sits their heavy with its own sense of foreboding awesomeness. Everyone was impressed by this sword.

Bjorn Dahlem’s Black Hole (M-Spheres)

Space!

Space!

This installation is large and imposing and when viewed in detail kind of naff – it’s just a bunch of fluorescent lights stuck onto some wood – but viewed from afar with that kind of disfocused gaze that you have to take with certain kinds of art it suddenly becomes much more imposing and abstract. In the centre is supposed to be a black hole, with what I guess are galaxies or some kind of star tracks circling around it. A single sphere of black metal somewhere in the middle is, I guess, the black hole that it all is meant to be built around. It’s surprisingly cool (though the windows at the far end of the room give a view of Tokyo from the 52nd floor of this building and are kind of more awesome in their own way). It doesn’t move or anything, unlike …

The God Machine

It watches and waits ...

It watches and waits …

This monstrosity is set up in its own room, and is basically just a series of robust metal arms circling slowly in rings of different size and speed, with brilliant lights on the arms. The lights themselves move in simple planar orbits but the whole structure is set at an angle to the floor surrounded by walls of white, and the motions of the shadows of the arms on the wall are complex, occasionally threatening, and frustratingly close to predictable. The size, clarity, depth and position of the shadows changes as the arms complete their loops, and depending on the direction you look you see a very different system of shadows interacting. A single spike sticking up from the floor casts a complex pattern of shifting triple shadows on the floor. The whole thing is a simple set of ordered moving parts, but it carries this sense of immensity and brooding threat that makes it really cool. I think it’s by Wolfgang Tillmans, who contributed a few beautiful images as well. His website gives a sense of some of his other art, which is quite striking.

The great books

Original history

Original history

The exhibition also featured first editions of Newton’s Principia, Darwin’s The Origin of the Species, and the first works of Copernicus and Kepler. Kepler and Copernicus’s books are open at centre pages so you can see the quality of their work, while the Principia is open to the frontispiece.

On the shoulders of giants ...

On the shoulders of giants …

I studied physics in my undergraduate years, and then statistics, and so for me even just the frontispiece of Newton’s original work (shown above) carries an enormous weight and power – this is truly a book of vast importance in the history of science, and to stand in front of a work that is so close to the original hand of one of science’s greatest and most influential minds is really a great privilege. This book is over 300 years old, heavy and worn with the weight of history, and everything in my career and everything I love about the science I do is built on what is in its thick and fragile pages. So it was really great to stand looking at that frontispiece and revel in the significance of of those three words: Naturalis Principia Mathematica. I imagine if one were an evolutionary biologist one would get the same feeling from Darwin’s Origin of the Species, which was also on display, but for me as someone trained in physics this book is a great treasure and it was the first (and I guess, the last) time I will be in the presence of this original piece of history.

The exhibition had other contributions from the scientists of that era, including an excerpt from da Vinci’s Codex Atlanticus that described the movement of the planets (his handwriting is incredibly beautiful, every letter a work of art), armillary spheres and beautiful navigational tools made in intricate and beautiful detail out of brass, and a replica of Gallileo’s original telescope (also, his Sedereus Nuncius and his sketches of the moon, that he made with that incredibly primitive telescope). It’s really humbling to stand in the presence of so many of the original moments of modern science, and to think that almost everything we do now depends on the work these men put into these humble books, or that once people had to find their way to Tokyo using nothing more than one of those brass navigational instruments. It’s quite incredible to see them and realize just how primitive it all was – these scientists really were fumbling around the universe, making guesses on the basis of almost nothing, when you think about what we can do today. And almost everything we can do today depends on their fumbling efforts … So it was quite amazing to see all this stuff in one exhibition, and also to see some of the wild, amusing and speculative ways in which artists of that time and since have speculated on the implications of those scientific endeavours. It’s also obvious when you see that early work that there is no barrier between science and art – those scientists were technicians but they approached their work with a religious zeal and an obvious sense of aesthetics, a joy in the beauty of maths and physics as well as in the discovery of the unknown. For all the challenges of that era, for these men it must have been a very exciting time to be alive.

The Crows and the Insects in Amber

Some of the video installations weren’t so great but there were two amazing works. The first was a high resolution high magnification video exploration of a piece of amber with insects trapped inside it. Set to eery backing music, it moved through the amber filming different parts of it in such a way that it produces spacescapes and scenes like starscapes, nebulae or distant galaxies. In between these strange galactic visuals it zoomed in or out on the insects themselves, so that they loomed in the camera like Cthulhoid monsters, alien horrors, or strange planetary landscapes. This installation was probably 4-5 minutes long (or at least the part I saw was) but it was a fascinating way to turn a piece of something ancient, terrestrial and tiny into something vast, timeless and cosmic. A brilliant idea.

The second was a video work by teamlab, Crows are Chased and the Chasing Crows are Destined to be Chased as well, Blossoming on Collision–Light in Space. For this you enter a large dark room and stand in a specific spot in the centre of the room, then the entire room begins to shift and move as the video covers all the walls, floor and ceiling. From your central spot you watch crows take flight and then you chase them along the lines of their flight, and then they burst over you and disappear and suddenly you’re chasing new ones. I don’ t know why crows, I don’t know why we’re chasing them, but it’s really good. It’s a kind of mixture of video game and interactive exhibit, I guess, but all through a movie. It probably wasn’t entirely suited to this exhibition – it could easily be the open sky rather than space that these crows are flying through – but it was still a splendid experience.

This exhibition finishes tomorrow so there is not really any point in recommending that you, dear reader(s), rush on down to see it, but at least now you know what you missed. This was a really interesting attempt to combine two fields of human endeavour that are often seen as at odds with each other or unconnected, and it did a really good job both of merging the two and also of introducing me to some genuinely cool modern artists working in this field. It also serves as a good reminder of how space exploration, from its earliest beginnings, has been not just an engineering and physics endeavour, but an artistic effort that expresses something about what it means to be human and what our position is in the cosmos. As we watch new and modern efforts to explore our solar system – and, possibly, to colonize it – it’s worth remembering that they are always about more than just science, which makes them simultaneously both a luxurious waste of money, and an essential attempt to understand the core of what it is to be human. I hope in the future other museums and art galleries will attempt a similar exhibition to this, so people outside of Japan can share this unique insight into how art and science have worked together over thousands of years to bring humans closer to the stars, both physically and spiritually.

Mushroom man on the spit!

Mushroom man on the spit!

I just finished reading episode 1 of this entertaining and weird manga, called Dungeon meshi in Japanese, by Ryoko Kui. It’s the tale of a group of adventurers – Raios the fighter, Kilchack the halfling thief, and Marshille the elven wizard – who are exploring a dungeon that is rumoured to lead to a golden kingdom that will become the domain of whichever group of adventurers kill the evil wizard who has taken it over. The story starts with them having to flee a battle with a dragon, which swallows Raios’s little sister whole. She manages to teleport the rest of the party out of the dungeon in an act of self sacrifice, and they decide that they should go back in and save her from the dragon. They could wait and resurrect her from its poo, but they decide they would rather go in, kill it and cut her out of its belly (dragon digestion is very slow). No answers are forthcoming to the question of why she can’t just teleport herself out as well, or how she will survive in a dragon’s belly, but I’m sure the reasons are clear.

Anyway, because they left all their gear and loot behind when they fled, they would need to sell their armour and weapons and downgrade in order to make enough money to buy supplies for the return trip. Also they don’t have time to go back to town and get more stuff. So they decide to go straight back into the dungeon and live on a subsistence diet of whatever they can gather and kill in the dungeon. This is particularly appealing to Raios, who has always secretly wanted to eat the creatures he kills (when he tells them this, Marshille and Kilchack decide that he’s a psychopath, but they ain’t seen nothing yet …) Off they go!

They soon run into a dwarf called Senshi who has spent 10 years exploring the dungeon and learning to cook its monsters. Raios has a book of recipes but Senshi tells him that’s all bullshit, and teaches them to cook as they go. Senshi has always wanted to eat a dragon, so he offers to join them and help in their quest. Thus begins the long process of returning to the deepest levels of the dungeon, one meal at a time …

The food chain, in the dungeon

The food chain, in the dungeon

This manga is basically a story about a series of meals, with some lip service to killing the monsters that go in the meals. It starts with a brief description of the ecology of dungeons, which sets out a nice piece of Gygaxian naturalism, along with the food pyramid suitably reimagined for mythical beasts, and gives us a tiny bit of background about the dungeon crawling industry, which is so systematized as to be almost industrial in its scope. Once we have this basic background we’re off on a mission to eat everything we can get our hands on: Mushroom men, giant scorpions, giant bats, basilisk meat and eggs, green slimes (which make excellent jerky apparently), mandrake, carnivorous plants and ultimately a kind of golem made of armour. In the process they make some discoveries about the nature of the beasts – for example, Marshille discovers that you can use giant bats to dig up mandrake and that a mandrake tastes differently depending on whether you get it to scream or not, and the golem is actually armour that has been animated by a strange colony of mollusc-like organisms that are excellent when grilled in the helmet or stir-fried with medicinal herbs.

Giant scorpion and mushroom man hot pot

Giant scorpion and mushroom man hot pot

Plus, we get recipes, which are detailed and carefully thought-out and also slightly alarming. For example, for the mushroom man and giant scorpion hot pot (pictured above) we get to see the team slicing open the body of a mushroom man, which is kind of horrific. The final meal of this issue, the walking armour, is particularly disturbing, since the crew basically sit around in a room plying mollusc flesh out of the pieces of an empty suit of armour, then grill them, except the head parts, which they cook by simply sticking the entire helmet on the bbq and waiting for them to fall out as they roast. It’s made clear that the armour is operated by an interlocking network of separate mollusc-things that have some kind of group sentience, but then once they manage to drag some out of the armour they slip them into a bowl of water and declare happily “they drowned!” Really it’s just like eating a big sentient shellfish. i.e. completely disgusting, in a disturbingly fascinating way.

Each recipe also comes with a disquisition on its nutritional benefits (and the importance of a balanced diet), along with a spider diagram showing the relative magnitude and balance of different ingredients (in the bottom right of the picture above, for example). In some cases special preparation is required – the green slime needs to be dried for several weeks, but fortunately Senshi has a special portable net for this task, and a green slime he prepared earlier which the crew can sample. In other cases, such as the basilisk, medicinal herbs of various kinds need to be included with the meal, which sadly makes it impossible for the reader to make their own roast basilisk, lacking as we do the necessary ingredients to neutralize the poison in the basilisk after we catch it. There are also tips on how to catch the ingredients – the basilisk has two heads for example but only one brain, so you can confuse it if you attack both heads at once – and some amusing biological details too. For example, it is well known that chimaera made from more than two animals are not good to eat because they don’t have a main component of their structure, while chimera of just two animals – like the basilisk – will adopt the taste and general properties of whatever their main animal is (in this case, a bird)[1].

In addition to the rather, shall we say, functional, approach to non-human creatures, the story also has some quite cynical comments on the adventuring business. During the encounter with the carnivorous plant, for example, they find a half-digested body. They feel they should return this body to the surface, but just like climbing Everest, they don’t want to go back up till they reach their goal, so instead they leave it in the path for a returning group to deal with. Realizing this might cause someone to trip, they arrange to hang it from a tree by a rope in what is, essentially, a mock execution, and then they go to sleep underneath it (Marshille, unsurprisingly, has bad dreams). To counter this cynicism Marshille acts in part as the conscience of the group, spinning on her head in rage at one point when they suggest eating something, and refusing outright to eat humanoids, but she is usually overruled and then forced to admit that yes actually this meal is quite delicious. Marshille seems to be the stand-in for the reader, since she generally expresses the disgust that the reader is likely (I hope!) to feel, and also gets things explained to her obviously for our benefit (this comes across as very man-splainy, since it’s the male fighter telling her how the world really is, but since she spends most of her time responding in apopleptic rage, it’s bearable).

Beyond its cynical but loving commentary on the world of dungeon crawling, its fine recipes and detailed exposition of dungeon ecology, this book is also a careful retelling of a staple of Japanese television entertainment – the cooking variety show. Anyone who has spent more than about a minute in Japan will have noticed that Japanese television is heavily dominated by variety shows about food, and a common format is for a group of stars and starlets to go to a remote town and sample its local delicacies. Usually this happens in rural Japan, though it can also often be seen in overseas settings, and it always involves a brief description of what is special about how the food is prepared and the ingredients obtained, and then a scene where everyone eats it and says “delicious”, and if there is a starlet involved she will be the one asking the questions while an older person (usually male) explains things to her. So this manga is an almost perfect recreation of that format, except with adventurers instead of starlets and magical creatures instead of standard ingredients. Also, the food shows usually don’t go beyond saying oishii over and over, but in the book we get more detailed expressions of the nature of the food, its texture and taste, which is just great when you’re talking about a humanoid mushroom.

Part RPG dungeon crawl, part variety show, part ecological textbook, this manga is a simple, pleasant read with an engaging story and two entertaining characters (the dwarf and the elf). It’s a really good example of the special properties of manga as a story-telling medium, since the entire idea and its execution would be almost impossible in short story or novel form, but is really well-suited to words with pictures. The pictures give it a more visceral feeling than if you were simply reading a short story about a dungeon cooking show, but the manga format gives I think more detail to the food and science descriptions than you would get in a TV drama. It’s a great balance, and an entertaining read. From a non-native Japanese perspective, it has the flaw that the kanji don’t have furigana (the hiragana writing by the side of the kanji which makes them easy to read), so it takes a while for a non-expert reader to get through, but it doesn’t have the heavy use of slang language and transliteration of rough pronunciation that you see in comics like One Piece, which makes them almost unreadable to non-experts. In general the grammar is simple and straightforward, though sometimes Senshi’s speaking style is overly complex and he uses weird words. In some manga, and especially in novels, the sentences are long and complex and very hard to read for slow readers, but here the sentences are short and straightforward, and the language is mostly standard Japanese. I found I could read in ten page blocks without too much difficulty, using a kanji lookup tool on my phone (I use an app called KanjiLookup that enables me to write them with my finger, which I’m not very good at but a lot better at now I have read this whole manga). After about 10 pages I get sick of constantly referencing the app and put the book down, but it’s not so challenging that I gave up entirely, probably because of the simple language and the short sentences and the very clear link between what is being said and what is being depicted. So as a study exercise I recommend it. As a cookbook or a moral guide, not so much …

 

 


fn1: Actually I’m pretty sure the “basilisk” in this story was actually a cockatrice.

jerome

On the weekend in addition to a fine session of Vampire: The Masquerade I managed to get my philistine arse down to the Tokyo National Art Center for an exhibition of paintings from the Gallerie dell’Accademia, Venice. I went with a Japanese friend, and while my friend was oohing and aahing at all the cool artwork, I was remembering my trip to Venice and imagining Drew smashing her culture chip and killing the Pope.

And so then I stumbled on this picture, which I think summarizes everything Drew was getting at when she got angry with the skeezy old men leering at the virgin Mary. I think this picture, which is called St. Jerome in Penitence and the Virgin and Child Appearing in Glory, contains a kind of potted summary of everything that is wrong with Christianity’s strange and tortured attitude towards sex. It features an old semi-naked man (Jerome) punishing himself for thinking lascivious thoughts, while staring at a small statue of a young man who was tortured to death by his father because everyone keeps thinking about sex, and all of this being stared at approvingly by the spirit of Mary, whose sole reason for being able to judge anyone for thinking sexy thoughts is that god made her pregnant against her will but she stayed pure. In this one picture we have sin, guilt, death, and purity, all deeply entangled with sexuality and heavily leavened with judgment. It’s hard to see on the internet version, but we also in the bottom left hand corner have a kind of terrified looking lion, nature subjugated – another core Christian ideal. It really is the Renaissance version of one of those tweets that people subsequently delete that tells you everything you need to know about their inner life, and wish you didn’t.

In addition to this picture of a skeezy old man punishing himself for being skeezy, the exhibition had a whole bunch of pictures of Mary being told that she was going to have a baby against her will. Impregnating someone against their will is now considered to be a pretty shifty form of abuse (even if it isn’t rape; it’s easy to find stories of abusive partners fiddling with contraception to try and get their partners pregnant), but it’s a central theme of Renaissance art (or at least it was in this exhibition). Mary looks pretty unhappy in most of the pictures where she’s being told this, but it’s hard to say that she really is – my friend said she looked like she was about to say “why me?” but in reality almost every person in almost every picture looked unhappy. I guess the Renaissance wasn’t a happy time, which is why all the models had Resting Bitch Face. But she certainly looked shocked, and the narrative accompanying some of the pictures made clear that she is supposed to be shocked.

As you would be.

But anyway as a consequence of giving birth to this damned child who grew up to be killed by his own father, she gets to hang out in heaven with another baby (the same baby? Seems to be the implication of the title of the picture – is heaven a kind of Groundhog day where she is constantly pregnant but never gets laid?) and cast judgment on all the men who are secretly dreaming about doing God’s work inside her. And this is the only payoff any of these pictures offer – the chance to judge others. Sure, there’s one picture of heaven, but it makes heaven look like the bottom 10% of that Iron Maiden Number of the Beast poster, where everyone is screaming and dying or fucking, only in the Renaissance version there’s no fucking. Renaissance paradise looked a lot more like hell than I think they intended, but that’s apparently the reward for a life of Resting Bitch Face and self-flagellation. Which I guess is why Bassano produced this monstrous visual rendition of his tortured inner soul.

Just to be clear for all the doubters and whingers, I’m not saying the picture is bad or shouldn’t be held in esteem or whatever. I didn’t like it, but I’m no critic and I don’t think I can separate my appreciation of the art from the nastiness of the content, so I couldn’t really appreciate it, but if people say it was influential and important then I’m happy to believe them. My point is merely that it says so much in one dense little package about the origins of so many of our modern problems with sex and sexuality. In that respect it is a thing of (horrid) beauty.

Two other random thoughts I had while wandering the gallery:

  • I wonder if these artists, all male, had actually seen many babies or any naked women? I don’t mean this facetiously, I really wonder. If raising babies was women’s work perhaps they didn’t see many, which might explain why the babies are all a) the wrong size and b) horribly ugly and c) painted like miniature adults. Perhaps they didn’t see much of their children? In the same vein I noticed that their men were much better drawn than their women and I wondered if perhaps they had never seen an adult woman who wasn’t their wife? I then started wondering – a lot of the women in the pictures look more like teenage girls, in particular their breasts are kind of half-formed and not mature. It made me think – could it be that the only people they could find as life models for female subjects were the children of poor families, and the reason that their women are so badly drawn and strange looking is that they were extrapolating from the budding female bodies of local 12- or 13-year old milkmaids?
  • The same day I went to see this I had read an article about terrifying new findings of highly antibiotic resistant bacteria in chickens and pork, accompanied by more warnings about the dire threat of antimicrobial resistance (AMR). Of course the Renaissance was a time before both antibiotics and the contraceptive pill, not to mention advanced cancer treatments, and it’s likely that most of the older people in the pictures are suffering from various ailments that we just can’t imagine being an issue for the kind of rich people depicted in the scenes – tooth decay, chronic pain, chronic headaches due to poor eyesight, that sort of thing. Maybe Mary looked unhappy in all those paintings because she had a chronic UTI? If so, anyone who doubts the threat of AMR for our future quality of life should check out a hall of Renaissance paintings and ask themselves – do I want to go back to that??

This exhibition really impressed upon me that I don’t like this kind of art. Of course I find it interesting and I engage with the exhibition, even if in this case my random speculations may seem a bit facetious. But ultimately it doesn’t seem like good art to me, and the messages it contains are quite horrible. As a document of our past it’s fine, of course we should respect it and view it etc., but when I look at art like this I always leave overwhelmed by all the horrible ideas behind it, and I really think that to properly present this art to a modern audience some kind of sensitivity to or discussion of these issues would make for a better viewing experience. In this case the majority of the audience were Japanese, so it’s probably just a curiosity to them, but for westerners looking at this art it is really rich in themes that we may not be able to express clearly in words but which I think hit us anyway, and a bit more engagement with how those themes affect modern audiences might help them to react a little less viscerally to some of the denser, nastier stuff. I can’t say I’ve ever seen an exhibition of this skeezy ancient art that has made any attempt to engage with these more controversial aspects, and I expect I never will. But I think it would be nice. And I think until we do begin to engage with these underlying archaic values consistently and clearly, we’ll never really see them swept away.

Which is what I want to see. I want to see this creepy undercurrent of death and guilt and dirt washed out of our sexual substrate, so that we can get on with the business of being sexual unencumbered by our necromantic origins.

 

There is no universal interpretation of this

There is no universal interpretation of this

Coming off of a mildly catastrophic discussion of Trump and racism at Crooked Timber, I thought I’d use some of my holiday time to make a first pass at organizing some opinions I have been forming about sexism, misogyny and the pernicious influence of Christianity on western discrimination. I’ll try not to make it too long but I have today off and a long, complex write-up of the weekend’s adventure to procrastinate about, so we’ll see …

First I should say this post is aimed at left wing philosophy. If you’re a right-wing philosopher you might find it entertaining but I doubt there is much to benefit you here, so you might want to save yourself an hour of bad prose and move along …

There is a common debate in western leftism between people who think that various forms of discrimination (most especially sexism and racism) arise out of economic relations, and those who think that economic relations arise out of the inherent structures of some underlying fundamental inequality. For example, some feminists might argue that human development goes through a universal stage of domination of women, and from this arises the various heirarchical structures that give us racism, classism etc. Others might argue that the economic relations always come first, and that for example the economic forces unleashed by the development of agriculture favor the development of specific social forces (e.g forcing women to have more children in order to support population growth made possible by agriculture, or slavery to enable use of more land). Obviously most people see these things as interlinked or happening contemporaneously, and no one is ever silly enough to think that this stuff was all purposive (a group of farming men getting together and deciding to lock up their women, or whatever).

These origin stories don’t have much importance in day-to-day struggle, but they do and have been influential in major political movements in the past. For example, most of the streams of communist or anarchist radicalism believe that the economic forces of capitalism necessitate class and gender divisions and we can’t eliminate gender discrimination without destroying capitalism; but in contrast radical feminists often believe that you can’t reformulate the social organization of any system without first tackling the underlying gender discrimination that sustains all heirarchies. Obviously on a day-to-day basis we fight battles on the basis of the nature of the battles, so if an issue of equal pay is best won by union activism we organize that way, while if it requires a fundamental rethink of the way women and men interact at work we may fight it through education and awareness raising. But sometimes something big comes up in the ordinary day-to-day political hurdy-gurdy, and in order to deal with it we have to think about the underlying structures of society and what really drives our mainstream political ideas. Brexit and Trump are examples of this, and in many ways I think the radical left has failed to understand them by casting them as simple economic responses rather than manifestations of a deep underlying racism in these societies. In the case of Brexit there is a yearning for lost empire underlying the dreams of the little Englanders, and in the case of Trump I think we are seeing the final fight against the civil rights movement and, assuming the left wins, the burial of slavery apologia and confederate dead-ender ideology.

I used to think about the social order primarily in terms of the economic forces argument: that is, I used to think that when racist and sexist undercurrents reared their head in mainstream politics or pushed a surge of hatred through society, that they reflected some kneejerk, incoherent response to underlying economic forces. In this worldview we don’t have to tackle the deeper undercurrents of society’s problems, we just look for the economic pressures and fix them. Fixing economic pressures is easy, whereas tackling things like the social undercurrents of the alt-right’s hideous misogyny is hard. But then I came to Japan, and discovered that actually a functioning capitalist society with all the same economic pressures can have radically different approaches to the interaction between the sexes, and I started to understand that actually in many cases culture trumps economics, and understanding the cultural forces driving our social development is really important to being able to finally end many of the problems we face. I don’t know how a right-wing interpretation of these things would work, but the classical hard left really needs to adapt its analytical strategies to consider the deep undercurrents of social life. Similarly, when I came to Japan I realized that origin stories or analytical frameworks that posit universal underlying structures based on universally observable basic facts are useless, because actually there are huge differences in the way societies practice the same forms of discrimination, and these differences are relevant. In particular, radical feminist ideas about the origins of sexism and how sexism functions and is maintained fail dismally in the face of cultural differences that I think radical feminism, with its primarily American and British origins, doesn’t understand.

In this post I aim to discuss how I changed my mind about this in the light of Japanese gender relations, and how I came to realize the overwhelming importance of christianity’s sexual morals in generating western gender relations. As a result of coming to Japan I realized that if we want to change gender relations for the better in the west we need to – absolutely have to – crush the influence of Christianity on our culture. So first I want to explain the difference between the west and Japan on this issue, and then explain why I think it’s important.

Before I go onto the next section I want to stress that it is not my task here to present Japan as an ideal society or to say it is not sexist or women don’t have a hard time or there is no rape or anything like that. I just want to show how things are different.

How are Japanese gender relations different?

I think the very first thing that foreigners realize when they come to Japan is that it is safe. It’s safe for men, and every day I am so happy about the fact that physical confrontations don’t happen here, but the absolutely overriding difference in safety is noticed by women. There is no street harrassment and no public fear of rape. I live in an area surrounded by parks that are dark at night and it is absolutely normal to see women walking alone through those parks at midnight, with earphones in, alone, with no concern in the world. I know in the country that there are places where women don’t travel alone at night because of flashers and gropers, but in the city at least this absence of the threat of sexual violence is noteworthy. It’s not just a statistical anomaly brought about by underreporting or something, and everyone who lives here seems to feel it very quickly. And when come from a western country with a lot of interpersonal aggression and a lot of violence against women (like Australia) you really – I cannot stress this enough – you really don’t understand what a difference this makes until you experience it. Once you have experienced a world without this kind of behavior you just lose all tolerance for western approaches to it. When I look at the lockout laws being introduced in Australia to stop violence between drunk men in pubs I am just astounded that we ever as a society tolerated this kind of thing, or that we have to use such a ridiculously heavy-handed approach to stopping it – and I notice exactly the kind of problem I alluded to above. The lockout laws are an attempt to use economic and legal tools to stop an underlying socio-cultural problem. Tackling adult male violence is hard, but stopping them from getting drunk in public is easy. But these solutions don’t stop the problem, they just stop it manifesting.

Some other easily-grasped ways in which gender relations are different in Japan include:

  • There isn’t really any Japanese word for “cunt” that you can use as an insult, and in fact there are no insults based on sexual activity or sexuality. In Japan you don’t tell someone to fuck off, you don’t say they’re a fag, you don’t say that was a dick move – sex is just not a degrading or insulting thing here, and you can’t use it as such, and if you tried people just literally wouldn’t understand what you were saying (though they would think you were being very coarse)
  • As a result of this difference, two chapters of Dworkin’s famous book Intercourse – Dirt and Death – don’t really seem to apply in Japan. A whole section of the radical feminist understanding of the universality of women’s oppression is built on an explicitly christian framework that 120 million people don’t get
  • Japanese women seem to have a much greater ability to negotiate safer sex than western women. Obviously I don’t know what every Japanese woman is saying or doing in the bedroom but the statistics make it clear: the vast majority of Japanese women are not using the pill, but rates of teenage pregnancy are very very low, as are rates of pregnancy generally. The only way this is possible if Japanese women – even teenage girls – are able to negotiate the parameters of sexual activity more effectively than western women
  • Japanese attitudes towards casual sex are completely different to the west. The love hotel is a ubiquitous part of Japanese life and while westerners usually think this concept is disgusting and weird Japanese people in general have no real problem with it at all.
  • Japanese women often work in industries where western women can never be seen. In particular farming, transport, and even construction seem to have a higher prevalence of women workers. It’s not common, but not especially rare, to see female truck drivers, and female farmers are normal.
  • Japanese women’s sporting participation seems to be much higher than western women’s and much more widely respected, across a wider range of fields. In particular Japanese women’s participation in fighting sports – and non-participant women’s deep appreciation of fighting sports – is completely normal, while it remains a very modern phenomenon in the west
  • Attitudes towards sex work and all forms of the sex industry here are much more practical and non-judgmental
  • Small businesses almost universally don’t have men’s toilets. They have a women’s toilet and a shared toilet
  • Opposition to homosexuality appears to be minimal and based primarily on concerns about responsibility to family and society, not on fear and disgust

I think these differences in attitude are strong and they derive from an obvious source: Japan is a pagan society. It has no long-standing or deep-seated religious just-so stories about how everything is women’s fault and women are dirty and bad, and sex is a punishment from God. Attitudes towards sex in Japan are constructed around privacy and shame, whereas in the west they’re structured around guilt and sin. Indeed, if you dig into some of the attitudes towards sex that are similar between Japan and the west – the lack of mixed bathing, for example, or the weird video censorship – you will often find they’re a result of Japan reacting to western values either post-Meiji or after world war 2.

Another result of this difference in attitudes that I have noticed but which I can’t formulate easily into words is the difference in attitudes towards femininity. In the west femininity seems to be seen as this kind of act that women put on in their early 20s, and it is seen as a deceptive and manipulative cloak. To be taken seriously at work or as an adult a woman needs to divest herself of this feminine cloak (or, as it is generally described, these “wiles”) and behave seriously – it is seen as a kind of childlike deceit. In Japan it seems to be viewed as just a natural aspect of being a woman, not a deceptive trick, and women remaining feminine into their 50s and 60s is completely normal. I think this also means that women are not taken less seriously because they dress and act feminine, although this femininity may disadvantage them by drawing attention to their gender (which, as everyone knows, is discriminated against at work and home in Japan as everywhere). I think this difference in attitudes towards femininity explains why Japanese women have maintained a high level of style and attention to personal appearance separate to men even as women in the west have begun to favour jeans and t-shirts – Japanese women don’t need to hide or be ashamed of their femininity, because they don’t have to dress in men’s uniform to be taken seriously. This is also evident in sport, where Japanese athletes who are taken really seriously by the public (the Nadeshiko football team, for example, or the wrestling team) still dress and act feminine because they don’t have to hide this stuff in order to be taken seriously. It’s hard to draw these links because it’s all nebulous cultural stuff, not hard science, but I think the simple reason for this difference is the Genesis story. In Genesis a woman tricked a man into a sin, and as a result women can’t be trusted. Christianity tells us that performative femininity is a deception that leads men into trouble and danger – it’s literally wily. After 2000 years of that story (and all the stupid badly-done renaissance paintings of a wily girl tricking a dude) we get young men who know nothing about Christianity or feminism or indeed women saying that they can’t trust a girl who wears make up, they don’t like make up because it’s deceptive, etc. There’s a 2000 year long history of distrusting women’s wiles and tricks at work there, and I think it has a profound effect on the way women in the west present themselves at work and in politics.

I suspect also that in reaction to this notion of femininity as performative and deceptive, and out of deep-seated fears of homsexuality that are also grounded in biblical hatred, men overperform their masculinity. The result is street violence. I think in fact Japanese men are much more comfortable about their masculinity and feel no special need to display it, not because women have been held back and men thus don’t feel threatened, but because they haven’t been raised in a society where men have to constantly prove themselves as not feminine and not gay.

What does this mean for western views on sexism and racism?

Obviously I’m no cultural theorist and I’m definitely not an expert on Japanese culture and history; this is just my impression of the differences between the west and Japan from 10 years of living here. Obviously also these lines between ancient books and modern practice are mediated by thousands of years of cultural baggage, and there are other cultures at play in western countries that may still have a lingering influence on how sexism and racism develop. But I think the connections are there, and that even though we in the west like to fancy ourselves as enlightened and developed, we’re actually still wallowing in a swamp of barely-understood cultural norms that derive from what is, in essence, a very very bad place. When you step outside the christian world and spend some time looking in, you start to notice that actually a lot of our bad points are not universal, and I think they probably stem from our religious origins. Here I have given the example of gender relations but I think the same thing applies to race relations and probably the way we approach class, economic inequality and other -isms. But I think that the differences in gender relations are clearest because they are most noticable in day-to-day life, and perhaps also reflective of the most poisonous aspect of Christianity.

I have said before on this blog that I think western radical feminism is itself misogynist and conservative. This is because it’s really hard to escape the origins of your own culture, and the reality is that our culture has its origins in a deeply misogynist, poisonous text that is hateful and judgmental – the old testament of the bible. And while modern Christians try to pretend that they built their ideology on the new testament’s story of love, this new testament story is an evil story of child murder, with a side of nasty misogyny from some of the apostles, and it doesn’t do anything to leaven the nasty hatred of the old testament. Furthermore, while our modern Christian movement tries to pretend that it is all about love and light (and murdering your own son so you can be famous, then fetishizing his dead body), the actual origins of our cultural approach to sex and sexuality are all in the old testament, in the disgusting, judgmental and hateful texts of Genesis and Leviticus. Our fundamental origin story is designed around hating women, and making sex sinful and dirty. Much as we like to pretend that we’re free of religion, we’re not free of its cultural influences, but we need to be if we truly want to liberate women and men from the shackles it has imposed on our relations. But my experience in Japan shows that these ideas are not universal, they’re not fundamental parts of who we are as human beings or who we will become if we try – we can shake off these ancient rusty chains, and become better people. But in order to do that we need to confront the causes of some of our deepest, most secret problems, and for the left that means not assuming we can fix all our problems by fixing economic relations – we need to keep taking the fight to the bible, and to the deep-seated insecurities and social tics it has created in us.

And sometimes that means we need to recognize where our society is failing itself, and fight cultural battles on purely cultural grounds, because when we assume there is some economic force that created Trump or the modern Republican hate machine, we are guaranteed to fail. Sometimes hate is just hate, and sometimes we need to fight it on its own grounds.


About the picture: This is a picture a friend of mine took at a recent festival. It’s Seiko Omori, about whom I know nothing, and I think it’s a good example of the kind of Japanese cultural imagery that is a) really hard for westerners to understand at all and b) almost certain to be misunderstood and misinterpreted if we try to analyze all the imagery in terms of western notions of sex, sexism, women’s roles, pornography, or power.

 

Watching history being made

Watching history being made

Last night in the half-time of a televised rugby game I saw an interview by Japanese TV with Eddie Jones, recently retired coach of the Japan national rugby team. The Japanese team was the absolute standout entertainer of the recent world cup, beating South Africa in an incredibly tense and brilliantly played game of rugby, and becoming the first team in world cup history to fail to progress despite winning three games in the group phase. This team is half “foreign”, and the captain was a man called Michael Leitch, who came to Japan in high school and stayed to take them onto the world stage.

Eddie Jones was asked about Leitch in the interview, and after discussing his playing qualities (Leitch is a pretty good player), described some of his personal qualities: that he is humble, hard working, and able to unite the “foreign” and Japanese players in the Japan team through both his language skills and his attitude. Jones also stated that he thinks the Japanese national team will always be a mix of “foreigners” and Japanese nationals, and as a result the captain will always need to be someone who can unite disparate cultures, playing styles and attitudes to rugby.

It’s only sport but Eddie Jones here is saying a really important thing about the role of migrants in any society. Every society has its weaknesses – Japan’s size in rugby, the UK’s poor mathematics, Australia’s voracious need for foreign ideas – but usually people don’t recognize their own country’s shortcomings. Eddie Jones, a man with a connection to Japan but obviously not Japanese, can see a shortcoming and can state it, but in general we don’t see the problems in our own societies. In well-functioning societies migrants fill those gaps, make them work, and help a society to achieve great things in areas where it would be otherwise weak. Michael Leitch is a really good example of a migrant doing that in Japan, but from overseas the Japanese team is often seen as illegitimate because of this foreign component. In fact the Japanese team is standing out as a representative of how migrants can make every society better, as is Japanese Sumo (which has allowed foreigners to compete and has not had a Japanese grandmaster for something like 11 years). Rather than deserving scorn or belittlement for having “imported” big players, the Japanese rugby team is a sign of how the future of a better world will be.

As a foreigner in Japan I often notice the different things foreigners offer to Japan, and our unique role here. Obviously I get frustrated with things when I don’t understand them or I am just culturally unable to handle them, and I’m sure Japanese get frustrated with me for being different and wrong; but also I appreciate the new insight Japan gives me into how to live and behave, and I think just as much Japanese people appreciate being able to change their modes of behavior and interaction to deal with a direct and frank Australian style of working and communicating. I say to people new to Japan from overseas: there are 120 million Japanese, they don’t need another Japanese person doing it badly. Following Japanese manners and customs is obviously important, but Japan needs your newness and (from their perspective) uniqueness much more than they need you to become like them. Living in a foreign country that is completely different to my own, I have very quickly come to realize that integration is a myth, and multiculturalism is the only realistic way that foreigners can become part of another society. The Japanese rugby team is a really good example of how that acceptance of and engagement with foreign ideas can improve a culture, and a great example of how the proper acceptance of foreigners into society can lead to huge new achievements.

Of course for every success story of immigration there is no doubt a downside – the cross-national marriage that failed, the criminal, the person who just didn’t fit in and made everyone uncomfortable. It’s inevitable that a project as challenging as welcoming complete strangers into your home will go wrong. But society is very good at absorbing and cushioning failure – that’s why we have it – and all those failures are of no consequence compared to the successes. Japan’s rugby team is a really good example of how those successes can benefit a nation.

We live in a time when immigration and especially refugees have become a controversial and scary topic. As a foreigner living as a migrant in a country completely different to my own, this fear of foreigners has special salience – it is scary and dangerous to think that it might one day come here, to this place that has welcomed me. I also think it’s a thing of the past, a strange and anachronistic spasm of old racism that is doomed in this modern world. I hope the Japanese rugby team’s successes can hasten its death, and make their small contribution to building a better world, with cultural differences but no borders.

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