After much debate, it’s recently been revealed that Japanese pop star, Aimi Eguchi, is a digital composite. That is, she’s not human, has never been human and she isn’t even a she but an it. Or, perhaps, some strange combination of the two.
Like Dr. Frankenstein plundering graves for spare parts, music producer Yasushi Akimoto, plundered the faces of his pop group, AKB 48 for their “best” features then cobbled them into a digital composite, screamed “IT LIVES!” and used the creature to sell candy.
While it’s tempting to contrast this robot with the lack of them at Fukushima, to reflect on the human ability to build a candy-selling, pop-star with our total failure to build a machine capable of cleaning up the inevitable, industrial disasters created by our popbot culture and candy economy, thinking on this subject for more than a moment will waste your time (you already know just how fucked up our priorities are) and might even cause an internal narration that culminates in a mental hemorrhage of the ‘Ain’t Japan Kooky’ variety. But you’d only be comforting yourself with the ludicrous and smirking judgments of a techno-primitive upon their more advanced, yet no more depraved, cousin. Judgments the savage only feels entitled to make by virtue of their primitiveness and only feels the need to make because an honest assessment would make their own failings too clear. It is a man with a sword, judging one with a gun.
After all, we in the west made our Lady Gaga out of a composite of various pop stars, built and distributed her music, while being completely unable and/or unwilling to clean up the oil spills that must result from such large projects in object worship. That Japan creates their pop stars on computers and produces their little sugar-packed balls of artificial flavor with nuclear reactors, is just a warning from our future and a science fiction metaphor for our present.
Not that we’ll listen.
It’s not fucking pop, after all.