booty made out of straws so you can SUCK MY ASS
Looking at your grades at the end of the year like
I can’t stand these fucking people with these fucking family window stickers on their cars a murderer is gonna come into your fucking house and you’re gonna try to hide your kids in the fucking closet and he’s gonna be like naw bitch I saw your fucking mini van I know you have six more kids where are they
When I close my laptop, it goes to sleep. It’s a curiously domestic metaphor but it also implies that sleep in humans and other animals is just a kind of low-power standby mode. (Do computers dream of electric sleep?) Last year, Apple announced a twist on this idea: a new feature for the Mac operating system called “Power Nap”. Using Power Nap, your computer can do important things even while asleep, receiving updates and performing backups.
The name Power Nap comes from the term describing the thrusting executive’s purported ability to catch a restorative forty winks in 20 minutes but the functioning of Apple’s feature symbolically implies a yet more ultra-modern and frankly inhuman aspiration: to be “productive” even while dozing. It is the uncanny technological embodiment of the dream most blatantly sold to us by those work-from-home scams online, which promise that you can “make money even while you sleep”.
Sleep, indeed, is a standing affront to capitalism. That is the argument of Jonathan Crary’s provocative and fascinating essay, which takes “24/7” as a spectral umbrella term for round-the-clock consumption and production in today’s world. The human power nap is a macho response to what Crary notes is the alarming shrinkage of sleep in modernity. “The average North American adult now sleeps approximately six and a half hours a night,” he observes, which is “an erosion from eight hours a generation ago” and “ten hours in the early 20th century”.
Back in 1996, Stanley Coren’s book Sleep Thieves blamed insufficient rest for industrial disasters such as the Chernobyl meltdown. Crary is worried about the encroachment on sleep because it represents one of the last remaining zones of dissidence, of anti-productivity and even of solidarity. Isn’t it quite disgusting that, as he notices, public benches are now deliberately engineered to prevent human beings from sleeping on them?
While Apple-branded machines that take working Power Naps are figured as a more efficient species of people, people themselves are increasingly represented as apparatuses to be acted on by machines. Take the popular internet parlance of getting “eyeballs”, which means reaching an audience. “The term ‘eyeballs’ for the site of control,” Crary writes, “repositions human vision as a motor activity that can be subjected to external direction or stimuli … The eye is dislodged from the realm of optics and made into an intermediary element of a circuit whose end result is always a motor response of the body to electronic solicitation.”
You can’t get more “eyeballs” if the people to whose brains the eyeballs are physically connected are asleep. Hence the interest – currently military; before long surely commercial, too – in removing our need for sleep with drugs or other modifications. Then we would be more like efficient machines, able to “interact” with (or labour among) electronic media all day and all night. (It is strange, once you think about it, that the phrase “He’s a machine” is now supposed to be a compliment in the sporting arena and the workplace.)
An interesting read, including, in particular, this bit:
“We demand that sex speak the truth… and we demand that it tell us our truth, or rather, the deeply buried truth of that truth about ourselves which we think we possess in our immediate consciousness.”
― Michel Foucault, The History of Sexuality
And broke the toys you were fondest of,
And are a little tired now;
Tired of things that break, and—
So am I.
|—||e.e. cummings (via observando)|
how difficult it is to remain just one person,
for our house is open, there are no keys in the doors,
and invisible guests come in and out at will.
|—||Czesław Miłosz (via observando)|
“The “feminine” woman is forever static and childlike. She is like the ballerina in an old-fashioned music box, her unchanging features tiny and girlish, her voice tinkly, her body stuck on a pin, rotating in a spiral that will never grow.”
— Susan Faludi, Backlash