Was Fukushima Caused by "Japanese Culture"?

The official Diet-commissioned report on the Fukushima disaster was released about a week or so, and a fascinating catch was made by one Richard Katz on the Social Science Japan mailing list. The report is mostly a very specific account of communication failures and lapses in responsibility, but it seems that the English-language version of the report's executive summary lades on some generalizations condemning the root cause of the disaster as Japanese culture itself:

"[The disaster's] fundamental causes are to be found in the ingrained conventions of Japanese culture: our reflexive obedience;  our reluctance to question authority; our devotion to 'sticking with the program'; our groupism; and our insularity."

Katz and others have focused on the discrepancy between the English and Japanese versions of the report, with the reasonable assumption that the English version is specifically conceived as playing to foreign expectations.  But I'm more interested in the fundamental questions raised by the mere idea: how do these claims seem to define "Japanese culture," its limits and boundaries relative to other spheres of culture, and the way culture affects individual behavior?  The points made above seem focused on very local interpersonal behavior, relative to, say, a boss.  This is an important distinction from, for example, 'culture' in the more mediated sense, where it may be more difficult to make an argument for any such thing as a uniquely Japanese culture in an era of globalization.

Relevant sources at:

Asahi Shimbun
National Diet of Japan
Asia-Pacific Research Center, Stanford

A Note: Car Radio, Space, and Class

A sudden insight and clarification of the piece on car audio that I'm working on.  It all hinges on Zizek's notion of paraconsistent logic, transferred in a somewhat crudely metaphorical form to the social realm.  The car radio is an instance of technological work that, at the same time, helps extend the atomized form of the early 20th century suburban/suburbanizing white middle class into the space of the car, and also produces its obverse, in the form of car radios used as broadcasting platforms that disturb both urban and, later, suburban ideals of middle-classness as they are linked to quiet/the lack of disruptive 'noise.'   This is linked to the idea that even with the earliest forms of electronic networked communication, the middle classes/knowledge classes began to transcend or escape from the physical space of social life.  At the same time, the development of a working-class vernacular of car radio as noise producer was a work of bringing power and meaning back into space.

The middle classes used the car radio to connect themselves over great distances to projects of national identity and development - for instance, during World War II, radio listening was conceived as a kind of patriotic duty.  These were early experiences of networked identity.  By contrast, the subaltern-identified usage of car radio as a broadcasting platform in local space - specifically, in the emergence of the 'boom cars' that we're all so familiar with now - was a resistance to the networking of identity, and a reaffirmation of localized identities formed in physical spaces.  It was not just a rejection of and attack on middle-class cocooning, but the articulation of a different logic of community altogether.  It is crucial to this understanding that the main media channels for boom car culture were rarely actual radio broadcasts, but physical media, in an era that roughly coincided with the democratization of the production and distribution of these forms - the appearance first of the cassette, then later the CD, then the CDR.  These were not vast networks of high-speed, ephemeral, space-binding broadasts, but much more time-binding, coherent 'records' (in both senses) of highly developed, increasingly local worldviews.

But is there an inconsistency to using Zizek, who in his take on Hegel rejects the notion of socialized reason and history as a project of "The Cunning of Reason," in an argument that hinges on the presumption that these processes play out some sort of structural problem-solving?  I'm not sure.  More generally, I'm not ready to comment on the legitimacy of Zizek's notion of paraconsistent logic - I can frankly say that I know I am well inside that mindset, and I still don't have many of the tools that I'd need to take a step back and place it in the context of the history of ideas.

All of this came to me as I was reading the exchange between John Gray and Zizek in the New York Review of Books and Jacobin, respectively.

New Call of Duty Villian Based on Julian Assange

In case you hadn't already figured out that video games that put you in the shoes of an 'elite' soldier were always authoritarian wet dreams/fascist training tools, this one went ahead and made it a little clearer.

Black Ops New Villain "The Leader of the 99%"

Race and Technology: Okeh Records

Mamie Smith

I've just been poking through William Kenney's Recorded Music in American Life, and came upon a really amazing little tidbit.  Apparently Okeh records, which would go on to be early and vital popularizers of African-American music, were initially successful not because of their content - which at least in the early days Kenney characterizes as "uninspired" - but because of their technology.  The founder of the company pioneered a pressing process that allowed Okeh's records to be played on any turntable, whereas most companies at the time pressed in proprietary formats linked to phonographs that they also produced.  This was particularly important to the story of black music, because the Victor and Columbia companies, which held controlling intellectual property in the dominant lateral-cut pressing system, did not record black musicians due to supposed risks to the companies' respectability.

Okeh would go on, after the initial success bolstered by their technological leapfrogging of these barriers, to aggressively open markets in first Northern, then Southern black communities.  This began with Mamie Smith, but would culminate artistically with the recording of Louis Armstrong's Hot Fives and Sevens, which remain to this day one of the definitive statements of American musical culture.  This art might not exist today if not for the technological and structural paths of recorded sound development.

McLuhan would be delighted.

Actually Awesome Anarchism: Valve Software

Note: I now blog at Blownhorizonz.com.  It's much prettier to look at, and more focused on fun stuff like weird fiction, extreme music, and awesome art.  Also check out my Tumblr at blownhorizonz.tumblr.com.

In the semi-weekly discussion group run by the Tampa Anarchist Collective, we have several time broached the topic of examples of anarchistic ethics and practice that can be found in the world around us today - particularly those that don't explicitly declare themselves as such.  Many of these can be found in the world of software, particularly in the Open Source movement (file sharing communities are another one that has been thrown around, but I have some issues with that example as my views on copyright evolve).

Another sterling example has just come to my attention - Valve Software, probably the single most creative large video game studio in the world, is run on nonhierarchical syndicalist lines.  Projects are not assigned, but are created and spearheaded from the bottom up by self-constituted teams subject to flux.  There are even serious elements of communalism, as pay rates are at least in part based on a system of mutual value ratings.  You can read more about these practices at The Wall Street Journal and Develop Online.

The example does highlight a consistently emerging caveat - obviously, a software development company is generally staffed by people who are already highly trained, motivated, and disciplined.  And even within the company's own literature, there's an acknowledgment that when someone who doesn't fit that mold lands a job at the company, it can be disruptive and take some time to shake out.  Does this indicate that anarchism, for all its bottom-up rhetoric, works best at its highest level of institutional development when it's being used to organize the elite?  Regardless, it's yet another exciting sign that we're looking at the political philosophy of the 21st century.  Not only is it right - it works.

My New Yoga Culture Blog: Flexy Beast

For anyone potentially curious, I've started a series of posts on Yoga culture from a critical/cultural studies perspective, on a new blog tailored to the purpose.  As on this blog, a lot of the material there will amount to rough drafts of future essays/more polished work.  The first post on the series is about culture and personality in Yoga:


Yoga for Type-A Americans . . . and Type-A Indians?

Subverts Unite!

We've got a pretty great thing going here in Tampa, what with all the Free Skools, collective spaces, art warehouses, and various mishigas.  But somewhere beneath all that, there's something sinister . . . something bleak and desperate.  A perverse Dadaist conspiracy!  Evidence of it only surfaces in fits and starts, but here is the latest sign that something sinister is afoot, replete with mind-bending tone poems of Reichian Orgone Therapy, violent insurrection, and subconscious mental manipulation.

Subverts Unite!  Issue 2