Archive for the ‘Arcade Fire: The Suburbs’ Category

The Suburbs: The Wilderness Downtown

As smart and innovative as the Sprawl II dance-video is, Arcade Fire found a way to top themselves, with The Wilderness Downtown web experience.

wilderness_downtown

note the use of fractal-based ‘roots’ to form the words—
the sublime wonders of Nature!

This amazing interactive is based around the song We Used to Wait and therefore ties deeply into the underlying themes of The Suburbs—roads, connection to place, escape, youth, the wild, and interaction with technology—while at the same time being a potent showcase of digital wizardry (it was designed to highlight the capabilities of Google Chrome and HTML 5).

Unfortunately, TWD is custom-made to each user’s environment, so I can’t put up a video for you to watch; you’ll just have to try it yourself (although this page provides a decent overview). It’s recommended to use the address of your childhood home, which works really well if you grew up in the ever-shifting sprawl of American ’burb-land, because it’s quite likely that said environment no longer appears as you remember it (“this town’s so strange/they built it to change/and while we sleep we know the streets get rearranged”). Me, I grew up way out in the country, which doesn’t pack nearly the same punch.

Once your experience is compiled, we open with an anonymous, hooded young person running through the streets of The Suburbs. Based on the urgency expressed, he’s clearly not just out for a jog. What is he running from? As we’ve seen throughout the album, when the prevailing narrative of Modern Kids raised in the ’burbs is to seek escape by fleeing to the city only to return to the ’burbs as ‘adults’—who wouldn’t blame him for wanting to Get Out?
wilderness_downtown runner
Throughout, we follow our running figure from high overhead, drifting along with a flock of birds, as well as at street-level courtesy of Google.
Eventually, the video culminates with some very-likely eco imagery as the trailing birds begin to divebomb into the ground, causing trees to grow up beautifully and cover the map in a sea of rewilded green. Of course, this is really only effective if the map—and therefore your childhood home—is in a deforested suburb.
This all transpires over the song’s final section, in which Win implores us to “Wait for it!” As I’ve said before, the song is all about cultivating patience in the face of a technologically-increased pace of life, which brings us to The Wilderness Machine.
Now, back during the middle section of TWD—over the “I’m gonna write a letter to my true love, I’m gonna sign my name” verse—we took a break from watching our harried runner and were invited to “Write a postcard or advice to the younger You”, using super-cool fractal-roots. Now, while Arcade Fire was still touring to support The Suburbs, their concerts would coincide with appearances of said Machine—a steampunk-y contraption which would print out postcards submitted from TWD. While that alone is a great way to play around with the back-and-forth between digital and analog suggested by We Used to Wait, here’s the best part: the postcards that the Machine printed out were embedded with tree seeds!—so that you could take someone’s former self’s postcard home and reforest your own environment, thus bringing TWD’s video experience full circle into the real world.
And believe me, nothing cultivates patience like growing a tree.

The Suburbs: Sprawl II (the Video!)

Like the other examples of Arcade Fire’s multimedia collaborations with Vincent Morisset, the Sprawl II interactive video is incredible. I absolutely love the idea of using interaction to turn one’s computer into more than just a “black mirror.
However, it’s hard to convey a story or idea when you’re constantly getting stuck in herky-jerky mini-loops while you’re flailing about in front of your webcam.

And so, I’m going to focus on the ‘traditional’ music video.

We open with some long shots of generic dilapidated suburban wasteland, when Reginé Chassagne exits her bungalow, darling as always, even when clad in a cardboard dress and sporting giant vintage headphones—no white earbuds for her! I have to wonder about the paper dress: does Reginé wear it to associate herself and the band with recycling and general eco-ness? Or because it is simply easier to tear off later?
Anyway, we see that this decaying ’burb is also inhabited by anonymous men and women, made faceless by what looks like smears of oil paints. I’m going to go out on a limb and propose that these are the postmodern industrial wage slaves, suburban bluepill zombie captives of the ‘American Dream’. We see a couple dressed for a day at the office (“all those wasted lives in the wilderness downtown”) sit in their driveway, lifeless. Another woman waters her concrete mindlessly; Reginé happens by, singing her line about “just punching the clock”, and the woman begins to scratch at herself. Reginé then curtseys at the man and woman, who also start scratching and begin a rudimentary form of what we will later see as a big synchronized ‘burb-zombie dance.

So, just in this video’s first minute, we see Arcade Fire acting upon ‘burb-dwellers as a catalyst for change and liberation (“kicking up sparks to set the flames free”) against the crippling force of sedentary inertia.

Next we see the paper-mache bobbleheaded versions of Arcade Fire (last seen in these invitations for the Sprawl project) hanging out in an abandoned lot behind an apartment complex. For starters, they’re outside, not indoors where they would be at the mercy of any number of infotoxin-emitting glowing screens. Secondly, what are they doing in the abandoned lot? Playing in the tall weeds with a butterfly net! Exploring and enjoying Nature! Imagine that!

A moment later we see two of the bigheads pushing each other in a shopping cart in an empty carpark—repurposing a machine and using it not as intended (for fun instead of for consumption)!

Unfortunately, it looks like that’s about the extent of the analyzable material, because the rest of the video is all dancing. Nothing wrong with that! I think I do perceive a difference in the dancing styles of Regine and the faceless zombies—Reginé’s is smoother and more free-flowing, while theirs is frankly tortured-looking: much of their dancing looks like they’re trying to tear out of their skin or clothes. And who can blame them? In general, I think it’s safe to say that Reginé’s arm-flailing dancing is the authentic, polar opposite of the too-cool “kids standing with their arms folded tight”.

The Suburbs: The Suburbs Continued

If I could have it back
All the time that we wasted, I’d only waste it again

If I could have it back, you know I’d love to waste it again
Waste it again and again and again, I forgot to ask…

Sometimes I can’t believe it
I’m moving past the feeling again

This short track brings little material to the conceptual framework of the album, yet adds greatly to the album’s cinematic nature—it’s not a stretch to picture The Suburbs Continued playing over end credits. After evoking the black-and-white films of Golden Age Hollywood with a lush string section (perfectly exemplifying the song’s theme of nostalgia), Win wistfully thinks back to his formative adolescence. As I’ve said before, that time might’ve not have been ‘productive’ as we usually define it, but some good still came out of it: in a determinist sense, we are all products of our own wasted hours. Furthermore, for a lot of folks in this culture, the wasted hours are the ‘best years of our lives’ that we’re supposed to reminisce about and strive to relive once we’re out into the real world of wage-slavery: witness the former high school football star whose successful car dealership can never compare to his glory days as a quarterback. You know the type.

Finally, after a subwoofer-rattling rumble, the song (and the album) ends with a slow fade of Win and Reginé returning to The Suburbs’ chorus. This coda also works perfectly as an album opener as well (try it sometime!), underlining the viciously cyclical nature of the escape from and return to the ‘burbs tackled by the album.

And with that, we wrap up the eighteen monster tracks of The Suburbs. After all that Millennial angst, I think it’s time to take a well-deserved break to look at some recent cinema. But don’t worry, we’re not done with Arcade Fire by a long shot.

The Suburbs: ‘Sprawl II’

The Sprawl tunes are the album’s final duo, but interestingly enough they—unlike all the other two-part suites—don’t segue into each other; even stranger, it’s We Used to Wait that settles into Flatlands. It’s a weird choice given the pattern of the others, but alas. Musically, once this song gets pumping there’s a definite early-mid-Eighties influence; at times I think I hear strains from Blondie’s Heart of Glass. As I’ve noted earlier, the Sprawl suite is a musical inverse of the Half-Light suite, beginning with a bleak song and essentially ending the album with a song I almost hesitate to call buoyant.
I’ll admit: I was a latecomer to Arcade Fire. Seeing Reginé perform this song on an SNL rerun aired a few months after their controversial Grammy win was my introduction to the band. And the scary thing is, I almost didn’t watch it. I often fast-forward through SNL’s musical acts, but this time I dunno, maybe I let it play while I got up to grab a snack or something, but I remember picking out the word pretentious. Which is funny, because based on my very vague pop-cultural-osmosis understanding of Arcade Fire at the time (comprised of two items: they were from Montreal, and were an “indie” band, whatever that means), pretentious was the word I would’ve ignorantly used to describe them. How wrong I was! Anyway, hearing that P word piqued my interest, so I thought, “let’s see what these Canadian hipsters I’ve heard about can do”, sat down, and watched the performance. Twice. As I’ve said, it would figure that Mountains Beyond Mountains would be my introduction to the band, what with its throbby danceable beat, fem singer, and vaguely-eco lyrics. Although it would take like, four months before I took the next step and listened to The Suburbs in its entirety, I was hooked from the outset.

They heard me singing and they told me to stop,
Quit these pretentious things and just punch the clock
These days my life, I feel it has no purpose
But late at night the feelings swim to the surface
‘Cause on the surface the city lights shine
They’re calling at me, come and find your kind

Regarding the first three lines: this is an essential frustration of Our Culture, and especially for Millennial Young People in this culture. We are raised to follow our instinct for freedom and free expression, but as soon as we’re shoved out the door into ‘the real world’ we’re suddenly expected to conform and keep our heads down in order to get by (except maybe for on the weekends when we’re allowed to cut loose in socially-sanctioned opportunities for consumption). Those of us with little interest in entering the wage economy are continually dogged by bluepills to “figure out what we’re going to do with our lives”, who assume the only worthwhile employment is one in which we sell our time to others for money. We’re told that unless we’re ‘gainfully employed’, we’re wasting our time, purposeless. However, while we might not know “where to go or what to do” with our lives, we do know where we don’t want to go, what we don’t want to do.
We want to sing, to shout, to feel truly alive…but such nonsense is the realm of Lefties, Greenies, Hippies, Humanists, Liberals, Leavers, and all other manner of people closer to Wild than to Civilized on the domestication spectrum, those who still value life over Our Culture’s concept of ‘wealth’. They ask us why we can’t just be ‘normal’ like everyone else (i.e. turn off your brain and don’t think)?
The city lights shine superficially, yet still they call to these suburban youth. Even though they’re unhealthy, unsustainable-by-nature resource-vacuums, we are still drawn to cities, in hopes of finding our tribe and connecting with others like ourselves.

Sometimes I wonder if the world’s so small that we can never get away from the sprawl,
Living in the sprawl, dead shopping malls rise like mountains beyond mountains
And there’s no end in sight
I need the darkness, someone please cut the lights

I touched on this in Sprawl I, but I’ll leave it to Mr. Max Brooks to explain this pre-apocalyptic wasteland of modern civilization:

“Cities weren’t cities anymore, you know, they just grew out into this suburban sprawl. Mrs. Ruiz, one of our medics, called it “in-fill.” She was in real estate before the war and explained that the hottest properties were always the land between two existing cities. Freakin’ “in-fill,” we all learned to hate that term. For us, it meant clearing block after block of burbland before we could even think of establishing a quarantine perimeter. Fast-food joints, shopping centers, endless miles of cheap, cookie-cutter housing.” (World War Z, 317).

Based on sentiments suggested by Deep Blue, We Used to Wait, and others, I think it’s safe to assume that cutting the lights includes turning off one’s array of gadgets as well. As for needing someone to cut the lights, I think that’s where folks like Derrick Jensen step in.

Can we ever get away from the Sprawl, living in the Sprawl?

We rode our bikes to the nearest park
Sat under the swings and kissed in the dark
We shield our eyes from the police lights
(I’m pretty sure I’ve heard this as ‘You shield my eyes’, which is really sweet)
We run away, but we don’t know why

Besides the recurring use of the word sprawl, this scene is a pretty solid connection to the first part of this suite—both involve Kids riding bikes at night with police nearby. Why do the Kids in this song instinctively hide and run away from the cops? They’re just hanging out in a park at night, what’s the big deal? Why do we have such an inherent opposition to figures of authority in civilization? Do we know in our hearts that these systems are not acting for our own good? There’s a reason we refer to cops as ‘the long arm of the Law” (as the civilized Law incarnate, these officers are automatically set against the Wild folks who value life over money mentioned earlier).

Black river, your city lights shine
They’re screaming at us, “We don’t need your kind”

Where before the city lights shined and “[called] at me, now that our emblematic protagonist has successfully found her tribe in the urban jungle the lights shine and “[scream] at us. Is this the cycle for postpostmodern youth: born and raised in the suburbs, then drawn to—and subsequently repulsed from—cities, only to return back to the ’burbs to perpetuate the cycle? In an interview I did a few years ago, I suggested that this current batch of sub/urban Millennials should consider resettling in the country instead of in the Sprawl, where they just breed more White yuppie-hipster types.

Or as one reviewer described, the whole Sprawl suite is a “rumination on age and change, how children struggle for years to leave the suburbs for the city only to often welcome the return to the suburbs when the chance arises years later.”

Sometimes I wonder if the world’s so small, can we ever get away from the sprawl?

Me too, Reginé. Me too.

And don’t worry, I haven’t forgot about the wonderful video project for this song. It’ll eventually be covered along with the other audiovisual media the band has produced.

© Ed Graham Photo

Someone please cut the lights?

The Suburbs: ‘Sprawl I’

BLEAK. That’s the only word to describe Flatlands. As the lingering piano of We Used to Wait fades out, we hear a dreary wind begin to blow. Over this comes the slow scraping boom of dejected footsteps. And then that hypnotic lone guitar kicks in, and the bleakness level goes up to eleven. Win’s tortured vocals resonate with their existentially-heartsick plaintive-ness:

Took a drive into the sprawl, to find the house where we used to stay
Couldn’t read the number in the dark, you said, “Let’s save it for another day”

Why don’t they take a walk into the Sprawl? Remember, “first they build the roads, then they built the town;” believe me, the Sprawl is definitely not pedestrian-friendly. Together with the general bleakness of this track, this verse conjures up scenes from McCarthy’s The Road in my head:
The Road
Took a drive into the sprawl to find the places we used to play
It was the loneliest day of my life
You’re talking at me but I’m still far away
Let’s take a drive through the sprawl, through these towns they built to change
But then you said, the emotions are dead; it’s no wonder that you feel so strange

Damn!, this is some serious slit-your-wrists-depressing shit! Again, we see a reprise of one of the album’s underlying themes–connection to a place that doesn’t exist. What can these Kids (and all of Us, for that matter) do when faced with such a recklessly world-consuming, cannibalistic, unsustainable-by-principle, life-annihilating pathology of a culture? Once again, nothing in this system is made to endure or last—towns least of all. When their whole worldview is based on infinite expansion and growth (in what they don’t want to admit is a finite world), the prevailing paradigm isn’t to repair and keep it running (pre-WWII-like), but to tear down and put up a new one in its place. (Of course, sometimes they don’t tear the old one down at all, but still build a new one somewhere else, leaving the old empty husk to decay; more on that in Sprawl II.) Naturally, these things are all made disposably cheap in the first place to make it easy to throw out and replace, because [sarcasm] there couldn’t possibly be a limit to the resources it’ll take to make new ones[/sarcasm], and anyway, this is the way humans were meant to live, right?
When you’re up against The Mess, things can look pretty hopeless. That’s where Arcade Fire come in.

Win Butler isn't a cop, but he plays one on tv.

Win Butler isn’t a cop, but he plays one on tv.

Cops shone their lights on the reflectors of our bikes,
Said, “Do you kids know what time it is?”
“Well sir, it’s the first time I’ve felt like something is mine, like I have something to give”
The last defender of the sprawl said, “Well, where do you kids live?”
“Well sir, if you only knew, what the answer is worth, been searching every corner of the earth…”

Dialogue! Finally, some concrete lines we can put in the mouths of characters – cops and kids!
I wonder if this is this the same time as the earlier verses, when the singer and his friend drive into the sprawl looking for their houses? I’m inclined to think it’s not, and they’re revisiting a memory from their Wasted Hours. Supposedly, these questions are what the local cops in The Woodlands (the ’burb where the Brothers Butler grew up outside Houston) would ask Kids they’d harass.

Imagine this scene: the cops stop the kids (who are just killing time in the cul-de-sacs one night), ask them these questions, and our singer has the audacity to give these ridiculous replies (he’s been well-conditioned to respect the badge and always call cops Sir, which is always a good idea for one’s self-preservation)! I’m surprised the cops don’t face-plant him on the ground right then and there for such cheekiness. I dunno, maybe that happens in an apocryphal final verse.

A word on the cop’s title: Last Defender of The Sprawl. The police here are symbols and figureheads of the civilized system, the embodiment of the anti-tribal law begun with Hammurabi only 3,700 years ago. Don’t it seem strange how in basic Social Studies classes that’s like, the first thing worth mentioning after the so-called ‘discovery’ of agriculture?
Or, as one Songmeanings user expressed it:

“The last defender” is the last cop that was needed to keep the sprawl spreading, because in the past people were fighting against it, against streets and malls taking over the forest, against machines and technology taking over nature and life. The sprawl required defenders and these defenders were cops because the sprawl is basically private property taking over what’s left of our common Earth. Now people don’t fight that anymore, they have surrendered to it, to the vision of human emotion as something undesirable, to the idea of exploiting and making profit out of every single thing in this world.
So, there’s no need for those defenders, anymore. The one in the song is the last one. There’s no need to protect something that’s everywhere. The kids have been searching but there’s no place in the whole world that feels like home anymore.”
Well-put, Graphe.

The Suburbs: ‘We Used to Wait’

We Used to Wait (almost a suite in itself) functions as a companion piece to Deep Blue, dealing with similar themes of technology in recent decades. But while that song focused more on the actual technology itself, this track considers the side-effects of said technology’s now-omnipresence.
The song begins with a lone piano pounding away in A-minor, soon joined by Butler’s croon and sparse percussion; with the fourth line the mix adds an electronically pulsing organ:

I used to write, I used to write letters, I used to sign my name.
I used to sleep at night, before the flashing lights settled deep in my brain
But by the time we met, the times had already changed
(some really funky effects here)

So I never wrote a letter, I never took my true heart, I never wrote it down
So when the lights cut out I was lost standing in the wilderness downtown…

Win is singing here on two levels: on the surface, yes, it’s about how he no longer writes letters. But go a level deeper—and it’s a bit more sinister—and it’s a commentary on the sped-up pace of today’s world. If Arcade Fire’s songs are any indication, our media-oversaturated broadband culture is creating a generation of emotionally-numb insomniacs.

In that last line, why have the lights cut out? Is this a repetition of the violent wind/solar flare motif from Month of May? Did someone cut the lights (as Reginé pleads in Sprawl II)?
For that matter, what is ‘the wilderness downtown’ (besides an exceptional media experience we’ll look at later)? Is this perhaps sometime after, and we’re speaking of a literal, re-wilded city, the end result of the Wilderness Downtown video?:
City Reclaimed
Or is it a comment on the fact that in Our society, our educational system churns out graduates without the knowledge necessary for true survival (because in Our Culture, being able to survive amounts to being an obedient worker so you can collect green pieces of paper to exchange for rent and locked-up food) in the uncivilized Wild?

Now our lives are changing fast
Hope that something pure can last

Seems pretty self-explanatory.

Don’t it seem strange, how we used to wait for letters to arrive?
But what’s stranger still is how something so small can keep you alive

Indeed. I’ve been there, spending a summer waiting for a postcard from a distant like-minded lady-friend. And when those letters arrive, man, there’s the whole experience of it: opening the envelope, getting a waft of perfume, unfolding the pages, reading, the whisper of paper as you turn the pages, aahhhh… It’s the same with CDs; I’m not a vinyl snob in terms of sound (“but LPs sound so warm!” they all tell me), but I do like the ritual: admiring the square foot of album art, sliding the album out of the sleeves, putting it on the turntable, lowering the needle, and that sound as the needle drops. Ugh, there’s no permanence to electronic forms of books, music, correspondence—it’s just electrons zipping around; cut the power and it’s gone.

We used to wait, we used to waste hours just walking around
We used to wait, all those wasted lives in the wilderness downtown

There are those adolescent ‘wasted hours’ again. I’m still not sure what the wilderness he speaks of here is, because I’m really drawing a blank on all the wasted lives there. Some have suggested that the wasted lives are the corporate Suits, going to their soul-crushing cubicle jobs because they pay the bills, but being ultimately miserable and unfulfilled because they’re not “[writing] a letter to [their] true love”. Or as Eugene Hutz puts it: “zombies and willful slaves, living in their tiny private caves/crooked hands, digging up their graves”:

Okay, it's from a Pearl Jam video, but the idea is the same.

Okay, it’s from a Pearl Jam video, but the idea is the same.

I’m gonna write a letter to my true love, I’m gonna sign my name
Like a patient on a table I wanna walk again, gonna move through the pain

There’s a lotta talk on this album about moving past feelings and moving through pain. Huh.

We used to wait for it, now we’re screaming “Sing the chorus again”
I used to wait for it, Now I’m screaming “Sing the chorus again”
Wait for it!

Win now applies the immediate-gratification aspect of digital culture to his own circle of the music industry. I remember growing up, you’d hear a song on the radio, and you didn’t know when you’d hear it again; sometimes it felt like you could go years without hearing a particular song, and then one day there it was, outta the blue, and man, it just made your day. With a simple switch in pronoun, Butler admits that he’s not immune to this technological convenience either, but he doesn’t have to like it—remember, this is from the same guy who “don’t want it faster, don’t want it free”. In the end, the listener is urged to cultivate patience, and wait for it!

The Suburbs: ‘Deep Blue’

Here are my place and time
And here in my own skin, I can finally begin
Let the century pass me by
Standing under a night sky, tomorrow means nothing

It was with this song that I first started to suspect that there was an ‘Arcade Fire Sound’, which I can now articulate as ‘dystopian songs in A-minor with funky electronic backings’.
Once again, we have a reference to at long last being able to start or begin. Could it be that our singer—like that of The Smashing Pumpkins’ Muzzle, with its epiphanic climaxis at last at peace with his place in the world? After all, in the infinitude of multiverse, there can really only be one you in this time, this place.
As for that last line, the night sky falls neatly into the category of uncivilized Wild imagery; when you spend time soaking in the non-human world, you begin to realize how silly our attempts to control the flow of time really are. Spend an evening stargazing and tomorrow really does mean nothing. Here’s an experiment: go to bed early one night, then get up an hour or two before sunrise, and just watch and experience how the sky changes colour in the foredawn. There’s something sublime about the slow glow of a sunrise that the instantaneous flick of an electrically-charged liquid crystal can never capture.

I was only a child then feeling barely alive
when I heard a song from the speaker of a passing car
And prayed to a dying star, the memory’s fading
I can almost remember singing la la la, la la la la…

Now, another quintessential-Butler verse vignette: our singer as a boy (if it’s Win, this takes place in the ’80s), a car drives past, the radio plays some half-forgotten song. As for the identity of that song, Win has suggested that it might’ve been Depeche Mode, which would be pretty awesome if that’s the case. My real question is—what’s the dying star? Is it the general state of things, or our relationship with technology (because at its heart, that’s what this—and the next—song is all about)?

We watched the end of the century
Compressed on a tiny screen, a dead star collapsing,
and we could see that something was ending
Are you through pretending? We saw its signs in the suburbs!

Now, after turning the page of the millennial calendar, things are different. Glowing screens abound; people walk around all day with shiny devices stuck to their faces, cutting them off from all those around them; people experience life with gadget-screen as intermediary, recording and uploading every trifling moment of our lives. We’re connected, but we’re not connecting.
When our singer “was only a child”, the star (and the state of things) was merely dying; twenty-odd years (an entirely insignificant amount of time, on the planetary scale) later, that star has now died, and begun to collapse.
What could they see that was ending? While I’d like to say ‘the System’ or ‘the suburban way of life’, I think it would hit closer to the mark to say a world in which people were just people—we weren’t completely married to (and overly reliant upon) our beeping, glowing screens just quite yet.
I suppose it’s possible the Singularity is the endpoint of this path down which we’re blindly proceeding, but we must remember that it didn’t happen overnight, the signs were there in the ’burbs for all to see.

fate
You could never have predicted that it could see through you,
Kasparov, Deep Blue, 1996
Your mind’s pulling tricks now
The show is over so take a bow, we’re living in the shadows of…(something unintelligible)

Solid recent-history reference. For those of you who might not have been around or were busy watching MTV in 1996, Deep Blue was the IBM supercomputer that—with shades of Watson— saw through and beat chess champion Gary Kasparov in their first game. Granted, Kasparov eventually won the six-game match 4-2, but Deep Blue won the rematch 3½-2½ the following year.

Was Kasparov’s loss—to a machine—one of the “signs” seen in the suburbs?

The bit about living in the shadows is tricky, because it gets lost in the mix under the “la la la la” refrain; it might be “shadows of the night”, “shadows of the song”(that’d be a nice callback), or “shadows of the lie”, each of which could alter the interpretation of the song.

Hey, put the cellphone down for a while
In the night there is something wild, can you hear it breathing?
And hey, put the laptop down for a while
In the night there is something wild, I feel it, it’s leaving me

Note that they don’t sing, “Hey, throw the cellphone/laptop away”, just to “put [it] down for a while”. There’s nothing inherently wrong with the technology—cellphones and computers aren’t innately bad, if you use them to talk to friends and loved ones instead of playing Angry Birds or trolling the comment sections of Youtube—just don’t abuse and overdo it to the point of becoming grotesque and rococo, “where you have all this information that you don’t need or want but the medium is there so it’s filled up.”

(And yes, I’m completely aware of the irony that I’m writing this on my laptop, to be broadcast out into the electronic aether to be read by strangers. But at least when I’m done, I’m going to do just what Win and Regine say, and put the laptop down for a while, and go do some wood- and leatherworking with handtools.)