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I don’t believe in blind idealism: An interview with Katarzyna Boni
The author of "Auroville: The City Made of Dreams" talks about the difficulties of establishing (and writing about) utopian societies.
And is creating alternative realities something only cult leaders do? Stasia Budzisz discussed these and other questions with Katarzyna Boni, whose reportage Auroville: The City Made of Dreams was published in Polish in June 2020.
Stasia Budzisz: You came across one of the communities of Auroville, the city of the future, by accident in 2009. You knew nothing about it, but what you found frightened you, and you decided to run away. What happened there?
Katarzyna Boni: I was travelling alone around the south of India. At some point, I felt that my journey made no sense; all I did was check the landmarks off a list from a travel guide. I figured it was the right moment to try some volunteering. I found a local community that planted trees and decided to join it. And so I ended up in Auroville, although the community was located on the outskirts rather than in the city itself. When choosing a project to volunteer on, I didn't even know I was applying to an Aurovillian community – I just liked the idea of planting trees in exchange for food and shelter. I only learned about Auroville itself from my pocket guide. Two weeks in, I didn't want to stay for a moment longer. I ran away to the Himalayas, at the exact opposite end of India. Several factors had prompted my reaction. First of all, I was at a stage of my life where I was changing jobs. I wasn't yet in my thirties; I was still trying to give shape to my identity. I knew my dreams, but didn't really know what to do with myself and what path to follow in order to get there. In the community, I met people whose situation was similar to mine, except they genuinely believed this place was going to save them. And I am severely allergic to this way of thinking, as I don't believe in blind idealism. Back then, I saw Auroville as a settlement established by Americans and the French, convinced that communism was the best thing to happen to us because they forgot to ask Poles about the reality of it. I was cynical and mocking about Auroville.
You wrote that you wondered whether Auroville was a cult, and yet several years later, you went back there and wrote a book about a utopia. How did you come up with that idea?
The idea to write a book around this topic had been there for a long time; I even set up a whole separate project about it. But then I started working on a reportage in Japan – Ganbare! – and it consumed all my attention. I decided that my 'utopias' could wait and I shelved them for later. Then, just as Ganbare! was published, I got back on track with that topic. At first I thought I would write about various places that try to bring utopian ideas to life and are currently on different levels of realization. I was interested in the energy found at various stages of making a dream reality, how this energy changes over time, and how dreams and reality start to influence one another. At some point, I had a several-pages long list, including intentional communities and ideas for whole new nations (such as Liberland). I thought I would visit several places and then see what I might write. I wanted to visit South Korea, where a city of the future was created based on technology to facilitate every aspect of life. To me, Songdo is at the very beginning of its journey towards fulfilling this utopian dream. I wanted to visit Christiania which, as it seemed to me, was near the end of this road. I perceived Christiania as a ripe dream, if not overripe. I don't know how much of it was true, since I never ended up visiting. Auroville was supposed to be the place to illustrate a dream in the process of being realized. I started with it, and once I took a good look at it from up close, I decided it deserved its own book. I think I made the right decision.
Why do you think that?
Auroville is one grand experiment. People came to the desert with their children and started establishing a new city, this new world from which a new kind of human was supposed to emerge. Auroville turned 50 in 2018, and I was curious about its children and who they grew up to be. What worked out, and what didn't. I no longer needed other stages of utopias to describe what I found interesting.
Generating a new human species does sound a bit frightening and cult-like.
I had the same impression, which was why I ran away from Auroville the first time I was there. Once I returned, I knew I would have to face my reluctance. Indeed, some people there spoke in a very cult-like way. One of my interviewees said Auroville is inhabited by 12 clans that, in his opinion, provide a very natural way of distributing social roles within a community. There was a clan of priests, a clan of businesspeople, a clan of farmers. Still, Auroville is definitely not a cult. There is no initiation ceremony required for someone to stay there, even if they live there for a year, as I did. The trial period one has to undergo is a time you need to understand what the point is of working for this community. I recently spoke to an Aurovillian about how they're handling the COVID pandemic. I asked whether the city helps the businesses (which are, in fact, owned by the city, since due to a governmental solution, Auroville is a foundation with an array of non-governmental organizations underneath. Were the taxes lowered, for example? My goodness, did she take an offence! "Kasia, what are you talking about? It's Auroville that needs me now, not the other way round. Now more than ever." I realized that, once again, I had missed the fundamental truth about Auroville: it's the citizens who make the city, and they are not 'made' by it.
Auroville is not meant to provide a comfortable life; all it gives to its people is the means of basic survival, and everyone must take care of the rest. It is the citizens' responsibility to make sure that Auroville – the idea in which they believe – survives. Therefore, the question Aurovillians ask themselves is "How can I support my community?" rather than "What can I get out of my community now?" It's the complete opposite of the situation we are experiencing here, but I would not call it a cult. Those people have an idea that they believe in, and they understand it's not possible to achieve it from the position of making demands. They have to roll up their sleeves and work for it. As for a new species of human, it all depends on how literally we read into this concept. Siri Aurobindo, an Indian philosopher from the University of Cambridge, whose thought served as the blueprint for Auroville, insisted that humans are not the final stage of evolution and that something else will appear after us. However, Aurobindo considered it from the perspective of consciousness rather than biology, as he believed we can still become better versions of ourselves. That's how I see it. But in the 1970s, some people believed their children's consciousness was already more advanced than everyone else's. I'm pretty sure they were soon cured of that conviction. Today, nobody means a new species of human literally.
What image of Auroville did you have in your mind when you returned to this city to write a book about it?
I tried to keep my mind open, although I was going there with my own thesis. While my work on the book about Japan had taught me that such preconceived notions tend to go down quickly, I still need them for inspiration and ideas; they draw me into a new subject. The starting point was the dreams that shape reality. In Auroville, it's perceptible. Before the humans arrived, there was nothing there, just emptiness. Dreams and reality were my first lead. Then, I wanted to see what they managed to achieve within those 50 years and what they did not; whether our society could learn from it, too.
In your book's title, you refer to Auroville as The City Made of Dreams. Why did you choose dreams as the starting concept?
I wanted to write about a place in which one can see how dreams shape reality, and how reality shapes dreams, as well as see the moment in which the dream is no longer just that. It's the moment when the reality has changed your goal so much, it's no longer what it was when you were at the beginning of your journey. What to do then? Will you decide that you have changed along with your dream and want to keep going at it, despite it being different? Do you stick to it or leave it all and change your life again?
How much time did you spend in Auroville?
One year, not including my first time there in 2008, but it was not a year all in one go – I split it into several visits. Initially, I thought I'd make it three stays – two months long each time – but after my first visit, I already knew that was way too little time. The first visit allowed me to get into the community, but it was still just scratching the surface. I was only beginning to realize who was who and which issues I found interesting, but I didn't even manage to conduct one interview. Not because the people of Auroville are wary of strangers or don't want to talk to outsiders. They are simply very busy. Sometimes, they told me they could meet me in three months from now, which was why I needed more time. Aurovillians don't have whole days at their disposal to spend talking to reporters and journalists, of whom many visit. The city saw a surge of journalists in 2018 when it was celebrating 50 years of existence. I was in a more comfortable situation, as I had arrived in Auroville a year before. It was a good time to start working on my project. Over the course of my first two months there, I realized the subject could fill the entire book. The next two months gave me my first interactions with the main characters of the story. That was when I decided to go back there for eight more months – also because I just wanted to experience normal life in Auroville. Did you know that in total, I spent four years working on this subject?
That's a long time. You wrote that at some point, you thought about staying in Auroville for good.
If you live somewhere for a year and, due to the nature of your job, you try to get to know it in-depth, understand it, learn as much as possible about it, at some point, you get really drawn in. It's natural to ask yourself whether you would like to stay there.
You had to dig deep into the memories of Aurovillians, but in your book, you point out that those who reach the community today are not focused on the city's past. Where did you find documents on the history part of your book if they don't teach the history of Auroville in their schools?
I did it bit by bit, in snippets. Of course, I looked for information in books about the first years of Auroville – in the Pioneer's biographies and in my interviews with them. However, some things reached me as single sentences, dropped during my trips around Auroville, for example. This way, I learned about the conflict that divided the community in the 1970s, and I started researching it. If you keep asking, then sooner or later you will get some answers. But at first I didn't even know myself what I was looking for. I grasped at various threads, arranged meetings and interviews, not knowing whether they'd take me anywhere at all. I often felt like I was stumbling in the dark. On the one hand, I knew what interested me and what questions to ask. On the other hand, I had no idea where it was going to lead me and what story I was going to tell. As if I was wandering around a labyrinth with many exits, each of them leading towards a completely different landscape. This experience was radically different from what I discovered when working on Ganbare!. In that book, it was obvious that I was writing about ways of handling trauma and loss. That was the core of my conversations and the people I chose to feature in that book. And here, everyone – not only an Aurovillian but someone just passing through Auroville as well – could be a potential character. The breakthrough came when I met Auroson, the first child of Auroville. He was the first aurochild and the first new human.
When exactly did you meet?
I found out about him during my second visit to Auroville. We made contact, but we did not meet at that time. In November 2017, when I came over for eight months, we were already in touch on a regular basis. We talked for many hours, and we became friends.
Who were your sources?
I divided them into two groups: those who could tell me their personal stories and those who could explain how Auroville handles the development of society. That is – how Aurovillians work on changing the system, how they look for solutions and which solutions have already been put to the test. When talking to the former, I wanted to know what made them come to Auroville. I also looked for people from both sides of the conflict that divided the community. I was very fortunate, since many of the Pioneers came back to celebrate the city's 50th anniversary. Most of those interviews did not appear in the book since they were very similar and repetitive: arrival at the city, meeting the Mother, transformation, then life in the desert. As for the latter group, I wanted to know what Auroville does about various areas of life that it wants to improve, such as education, management, economy, architecture, culture, health and nutrition. I tried to meet with the people responsible for urban planning, with farmers, teachers, mediators, and with people who were brought up in Auroville since early childhood, at various stages of its existence. In order to draw in the children, I organized a creative writing class in one of the schools, but it was not very successful. Only one girl came back.
Thank you. Discouraging people from writing is a very useful thing to do.
In your book, you admitted that you didn't talk to everyone you wanted to interview. You didn't find the courage to chat to Jurgen, even though you had spent several months waiting for him in a café. It's a very honest admission for a reporter. Did you get cold feet?
I turned out to be a reporter who's afraid of people. No, I did not speak to him. At that moment, it was more than I could have dealt with. It's not like I was waiting there just for him. The 'café', or rather a tea-serving booth, was a place I had already frequented earlier, before someone said: "Oh, you must talk to Jurgen." I started coming more often, Jurgen was never there, and when he finally showed up, I was taken by surprise, so instead of coming up to him and introducing myself, I just kept on drinking my tea. I was not in the mood for talking, and I found him a little intimidating, too. I could have always spoken with him later, after all. This happened several times. In the end, I found it embarrassing to start a conversation at that point. What would I even say? "You know what, Jurgen, I've been sitting here smiling at you, and it's lovely to drink tea in silence together, but I'm actually a reporter and I've heard of you before. Could we talk about your life now?" I realized that I don't have to come up to him. That not everything in my life has to revolve around doing research for my book. Sometimes, it's good to let it go. I felt similar about a certain woman. I waited three months to talk to her, and then it turned out I couldn't make conversation with her – she just frightened me.
Did you learn any other hard lessons while writing about Auroville?
It was difficult to decide whom I should describe and how to do it. I resolved not to write about my friends (whose stories were fascinating, and I would have loved to tell them, but I could not do it precisely because of our friendship). The relationship you establish with someone as a book interviewee is different than a relationship with a friend. This could also lead to a grudge; perhaps some of the things they shared were said in confidence granted by our friendship, and only some were meant for publication? It was also important for them to know whether I viewed them as friends or just book material. Auroson was the only exception to this rule, but our relationship was clear from the very beginning. Still, we became very close and sometimes I was not quite sure whether I was talking to him as a reporter or as a friend.
In Auroville, I came across one more difficulty that I didn't have to deal with in Japan: here, many people simply refused to meet with me. In Japan, it was also easier for me to conduct the interviews, as they were all focused on just one topic. I arrived at a place wrecked by a tsunami, a place recovering from a trauma. Both I and the main characters of my book were clear on what we were going to discuss. In Auroville, it was much more difficult. I had to serve as a guide to a conversation whose topic was incredibly broad. I sought out turning points in a person's life, something that made them chase their dreams, but I also looked for something that defined them, showed who they were, where they started and where they arrived. So I could have said: "Tell me all about your life, since your birth until now, and only then will I start asking you more detailed questions." Of course, this was usually impossible. Therefore, the course of the interviews usually depended on how aware my interviewees were of the turning points of their lives.
In Japan, it was obvious that our conversations were all built around the events of 11th March 2011 and everything that came after. People exposed their emotions in front of me, but they did not have to look for some meta-level inside themselves that would allow them to view their lives from an observer's perspective. My role is to facilitate entering that level with my questions. In Japan, I knew what questions to ask. In Auroville, I had no idea.
On top of that, the question about the meaning of our existence was always hanging right there in front of us, and that's the most difficult question to handle, as it provokes banalities. Especially when writing a reportage on spirituality. There was one more problem at hand – I realized I find it easier to write about strong, painful emotions. They're so overwhelming that they turn out to be enough to draw readers into the story. In Auroville, there is no drama. All we get is mundane day-to-day life. I had to problematize it and find a way of describing it so that it remained interesting and absorbing, despite its lack of emotional highs and lows.
Do you think Auroville's existence makes sense today?
Yes and no. I think it depends on how we approach this city. After all, we don't need Auroville to change the world or to work on becoming better versions of ourselves. It's not like the world won't survive without it. Auroville has no importance to the world. Seeing how India – and the world in general – has moved forwards, we must keep in mind that Auroville has become somewhat stagnant, especially when it comes to technology. Still, just because I lived there doesn't mean I understand everything that happens there. I keep asking questions. I think that Auroville is not pointless, because there are people still coming there today, wanting to try the thing it has to offer. This way, they can take something out of it, other than various ecological solutions – for example, they can discover that they don't need Auroville to change. But this city provides an impulse, teaching them to ask the right questions. In my opinion, Auroville shows that change, while being slow and difficult, is actually possible. It requires enormous open-mindedness, endurance and conviction. The fact that changes happen so slowly is less comforting; today, we need changes to take place much more swiftly. But perhaps it would happen faster if more people worked to make them come true?
So how is the 1968 utopia different from the 2018 utopia?
The premise remains the same, but it's the concept that was successful, not the city itself. The final vision is so vague that everything can work out – there is no ultimate goal, no ideal you strive to achieve. All we get is a clue: creating a place of human unity. Of course, it was said in advance that the city would reach its peak once it housed 50,000 people. Next, we would have to set up more communities until they covered the entire globe. But this recipe provided no measures. You have to try and figure it out yourself to make it happen. Auroville is not an escape from reality, because here, everyone takes responsibility for their actions. Everything is clear from the very beginning. Even the omnipresent Mother had no rigid guidelines to follow.
What was your relationship with Mother?
I don't want to say who Mother was. But it is thanks to her that Auroville exists at all today. She convinced UNESCO and 124 countries to support its conception. She was a charismatic woman, a woman who could change people's lives with just one look. She kept on changing their lives even after she passed away – many Aurovillians insist they can still feel Mother looking after them. I didn't manage to establish a relationship with Mother. It's not like I didn't try to. Today I think I respect her, although I did not like her at first. I had my doubts about her, precisely because I saw her as a cult guru. Even though she is no longer alive, everyone – even those who are not very religious – keep referring to her words. I found Mother unsettling. Perhaps it was because I had never met someone so charismatic, even though I know such people do exist. She could evoke genuinely extreme emotions in people. When telling me about their meetings with Mother, Aurovillians had tears in their eyes. And yet, I didn't trust her, as I didn't trust the whole narrative that grew around her. On top of it, she stared at me from the photographs almost everywhere I went. As if she actually was the Mother of the People. I felt invigilated. I saw no love in her gaze.
Sometimes, people who have met John Paul II say they experienced similar emotions.
Yes, I also thought of this comparison when I was thinking about other charismatic people I might know. I think that meetings with John Paul II evoked similar emotions: elation, understanding, forgiveness, acceptance, concern, tenderness, love. People who describe their experience of meeting a person they considered charismatic often report it in a very similar way. I did not feel comfortable around Mother, but I knew I could not write my book without her.
The structure of your book is very purposeful. From the very beginning, we don't know what to expect and how the story will unfold. Was that your conscious writing choice when you started to put it all together?
No, it emerged during the writing process. I knew I wanted to write the story of a city through the stories of its people and that each of these stories had to push the city's story forward. But I had no idea what the final form would be. It was the same with Ganbare! – I had two drafts ready before I understood how to make a book out of them. In this case, there were even more drafts to work on.
Your book ends with a brutal statement about what life is.
Perhaps I needed Auroville to understand that.
Parts of this interview have been edited and condensed for clarity and brevity.
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Northwell Health is using insights from website traffic to forecast COVID-19 hospitalizations two weeks in the future.
- The machine-learning algorithm works by analyzing the online behavior of visitors to the Northwell Health website and comparing that data to future COVID-19 hospitalizations.
- The tool, which uses anonymized data, has so far predicted hospitalizations with an accuracy rate of 80 percent.
- Machine-learning tools are helping health-care professionals worldwide better constrain and treat COVID-19.
The value of forecasting<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTA0Njk2OC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMzM2NDQzOH0.rid9regiDaKczCCKBsu7wrHkNQ64Vz_XcOEZIzAhzgM/img.jpg?width=980" id="2bb93" class="rm-shortcode" data-rm-shortcode-id="31345afbdf2bd408fd3e9f31520c445a" data-rm-shortcode-name="rebelmouse-image" data-width="1546" data-height="1056" />
Northwell emergency departments use the dashboard to monitor in real time.
Credit: Northwell Health<p>One unique benefit of forecasting COVID-19 hospitalizations is that it allows health systems to better prepare, manage and allocate resources. For example, if the tool forecasted a surge in COVID-19 hospitalizations in two weeks, Northwell Health could begin:</p><ul><li>Making space for an influx of patients</li><li>Moving personal protective equipment to where it's most needed</li><li>Strategically allocating staff during the predicted surge</li><li>Increasing the number of tests offered to asymptomatic patients</li></ul><p>The health-care field is increasingly using machine learning. It's already helping doctors develop <a href="https://care.diabetesjournals.org/content/early/2020/06/09/dc19-1870" target="_blank">personalized care plans for diabetes patients</a>, improving cancer screening techniques, and enabling mental health professionals to better predict which patients are at <a href="https://healthitanalytics.com/news/ehr-data-fuels-accurate-predictive-analytics-for-suicide-risk" target="_blank" rel="noopener noreferrer">elevated risk of suicide</a>, to name a few applications.</p><p>Health systems around the world have already begun exploring how <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7315944/" target="_blank" rel="noopener noreferrer">machine learning can help battle the pandemic</a>, including better COVID-19 screening, diagnosis, contact tracing, and drug and vaccine development.</p><p>Cruzen said these kinds of tools represent a shift in how health systems can tackle a wide variety of problems.</p><p>"Health care has always used the past to predict the future, but not in this mathematical way," Cruzen said. "I think [Northwell Health's new predictive tool] really is a great first example of how we should be attacking a lot of things as we go forward."</p>
Making machine-learning tools openly accessible<p>Northwell Health has made its predictive tool <a href="https://github.com/northwell-health/covid-web-data-predictor" target="_blank">available for free</a> to any health system that wishes to utilize it.</p><p>"COVID is everybody's problem, and I think developing tools that can be used to help others is sort of why people go into health care," Dr. Cruzen said. "It was really consistent with our mission."</p><p>Open collaboration is something the world's governments and health systems should be striving for during the pandemic, said Michael Dowling, Northwell Health's president and CEO.</p><p>"Whenever you develop anything and somebody else gets it, they improve it and they continue to make it better," Dowling said. "As a country, we lack data. I believe very, very strongly that we should have been and should be now working with other countries, including China, including the European Union, including England and others to figure out how to develop a health surveillance system so you can anticipate way in advance when these things are going to occur."</p><p>In all, Northwell Health has treated more than 112,000 COVID patients. During the pandemic, Dowling said he's seen an outpouring of goodwill, collaboration, and sacrifice from the community and the tens of thousands of staff who work across Northwell.</p><p>"COVID has changed our perspective on everything—and not just those of us in health care, because it has disrupted everybody's life," Dowling said. "It has demonstrated the value of community, how we help one another."</p>
It's hard to stop looking back and forth between these faces and the busts they came from.
- A quarantine project gone wild produces the possibly realistic faces of ancient Roman rulers.
- A designer worked with a machine learning app to produce the images.
- It's impossible to know if they're accurate, but they sure look plausible.
How the Roman emperors got faced<a href="https://payload.cargocollective.com/1/6/201108/14127595/2K-ENGLISH-24x36-Educational_v8_WATERMARKED_2000.jpg" ><img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQ2NDk2MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyOTUzMzIxMX0.OwHMrgKu4pzu0eCsmOUjybdkTcSlJpL_uWDCF2djRfc/img.jpg?width=980" id="775ca" class="rm-shortcode" data-rm-shortcode-id="436000b6976931b8320313478c624c82" data-rm-shortcode-name="rebelmouse-image" alt="lineup of emperor faces" data-width="1440" data-height="963" /></a>
Credit: Daniel Voshart<p>Voshart's imaginings began with an AI/neural-net program called <a href="https://www.artbreeder.com" target="_blank">Artbreeder</a>. The freemium online app intelligently generates new images from existing ones and can combine multiple images into…well, who knows. It's addictive — people have so far used it to generate nearly 72.7 million images, says the site — and it's easy to see how Voshart fell down the rabbit hole.</p><p>The Roman emperor project began with Voshart feeding Artbreeder images of 800 busts. Obviously, not all busts have weathered the centuries equally. Voshart told <a href="https://www.livescience.com/ai-roman-emperor-portraits.html" target="_blank" rel="noopener noreferrer">Live Science</a>, "There is a rule of thumb in computer programming called 'garbage in garbage out,' and it applies to Artbreeder. A well-lit, well-sculpted bust with little damage and standard face features is going to be quite easy to get a result." Fortunately, there were multiple busts for some of the emperors, and different angles of busts captured in different photographs.</p><p>For the renderings Artbreeder produced, each face required some 15-16 hours of additional input from Voshart, who was left to deduce/guess such details as hair and skin coloring, though in many cases, an individual's features suggested likely pigmentations. Voshart was also aided by written descriptions of some of the rulers.</p><p>There's no way to know for sure how frequently Voshart's guesses hit their marks. It is obviously the case, though, that his interpretations look incredibly plausible when you compare one of his emperors to the sculpture(s) from which it was derived.</p><p>For an in-depth description of Voshart's process, check out his posts on <a href="https://medium.com/@voshart/photoreal-roman-emperor-project-236be7f06c8f" target="_blank">Medium</a> or on his <a href="https://voshart.com/ROMAN-EMPEROR-PROJECT" target="_blank" rel="noopener noreferrer">website</a>.</p><p>It's fascinating to feel like you're face-to-face with these ancient and sometimes notorious figures. Here are two examples, along with some of what we think we know about the men behind the faces.</p>
Caligula<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQ2NDk4Mi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY3MzQ1NTE5NX0.LiTmhPQlygl9Fa9lxay8PFPCSqShv4ELxbBRFkOW_qM/img.jpg?width=980" id="7bae0" class="rm-shortcode" data-rm-shortcode-id="ce795c554490fe0a36a8714b86f55b16" data-rm-shortcode-name="rebelmouse-image" data-width="992" data-height="558" />
One of numerous sculptures of Caligula, left
Nero<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQ2NTAwMC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1NTQ2ODU0NX0.AgYuQZzRQCanqehSI5UeakpxU8fwLagMc_POH7xB3-M/img.jpg?width=980" id="a8825" class="rm-shortcode" data-rm-shortcode-id="9e0593d79c591c97af4bd70f3423885e" data-rm-shortcode-name="rebelmouse-image" data-width="992" data-height="558" />
One of numerous sculptures of Nero, left
A new study proposes mysterious axions may be found in X-rays coming from a cluster of neutron stars.
Are Axions Dark Matter?<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="5e35ce24a5b17102bfce5ae6aecc7c14"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/e7yXqF32Yvw?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>
New research suggests you can't fake your emotional state to improve your work life — you have to feel it.
What is deep acting?<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTQ1NDk2OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNTY5MzA0Nn0._s7aP25Es1CInq51pbzGrUj3GtOIRWBHZxCBFnbyXY8/img.jpg?width=1245&coordinates=333%2C-1%2C333%2C-1&height=700" id="ddf09" class="rm-shortcode" data-rm-shortcode-id="9dc42c4d6a8e372ad7b72907b46ecd3f" data-rm-shortcode-name="rebelmouse-image" data-width="1245" data-height="700" />
Arlie Russell Hochschild (pictured) laid out the concept of emotional labor in her 1983 book, "The Managed Heart."
Credit: Wikimedia Commons<p>Deep and surface acting are the principal components of emotional labor, a buzz phrase you have likely seen flitting about the Twittersphere. Today, "<a href="https://www.bbc.co.uk/bbcthree/article/5ea9f140-f722-4214-bb57-8b84f9418a7e" target="_blank">emotional labor</a>" has been adopted by groups as diverse as family counselors, academic feminists, and corporate CEOs, and each has redefined it with a patented spin. But while the phrase has splintered into a smorgasbord of pop-psychological arguments, its initial usage was more specific.</p><p>First coined by sociologist Arlie Russell Hochschild in her 1983 book, "<a href="https://www.ucpress.edu/book/9780520272941/the-managed-heart" target="_blank">The Managed Heart</a>," emotional labor describes the work we do to regulate our emotions on the job. Hochschild's go-to example is the flight attendant, who is tasked with being "nicer than natural" to enhance the customer experience. While at work, flight attendants are expected to smile and be exceedingly helpful even if they are wrestling with personal issues, the passengers are rude, and that one kid just upchucked down the center aisle. Hochschild's counterpart to the flight attendant is the bill collector, who must instead be "nastier than natural."</p><p>Such personas may serve an organization's mission or commercial interests, but if they cause emotional dissonance, they can potentially lead to high emotional costs for the employee—bringing us back to deep and surface acting.</p><p>Deep acting is the process by which people modify their emotions to match their expected role. Deep actors still encounter the negative emotions, but they devise ways to <a href="http://www.selfinjury.bctr.cornell.edu/perch/resources/what-is-emotion-regulationsinfo-brief.pdf" target="_blank">regulate those emotions</a> and return to the desired state. Flight attendants may modify their internal state by talking through harsh emotions (say, with a coworker), focusing on life's benefits (next stop Paris!), physically expressing their desired emotion (smiling and deep breaths), or recontextualizing an inauspicious situation (not the kid's fault he got sick).</p><p>Conversely, surface acting occurs when employees display ersatz emotions to match those expected by their role. These actors are the waiters who smile despite being crushed by the stress of a dinner rush. They are the CEOs who wear a confident swagger despite feelings of inauthenticity. And they are the bouncers who must maintain a steely edge despite humming show tunes in their heart of hearts.</p><p>As we'll see in the research, surface acting can degrade our mental well-being. This deterioration can be especially true of people who must contend with negative emotions or situations inside while displaying an elated mood outside. Hochschild argues such emotional labor can lead to exhaustion and self-estrangement—that is, surface actors erect a bulwark against anger, fear, and stress, but that disconnect estranges them from the emotions that allow them to connect with others and live fulfilling lives.</p>
Don't fake it till you make it<p>Most studies on emotional labor have focused on customer service for the obvious reason that such jobs prescribe emotional states—service with a smile or, if you're in the bouncing business, a scowl. But <a href="https://eller.arizona.edu/people/allison-s-gabriel" target="_blank">Allison Gabriel</a>, associate professor of management and organizations at the University of Arizona's Eller College of Management, wanted to explore how employees used emotional labor strategies in their intra-office interactions and which strategies proved most beneficial.</p><p>"What we wanted to know is whether people choose to engage in emotion regulation when interacting with their co-workers, why they choose to regulate their emotions if there is no formal rule requiring them to do so, and what benefits, if any, they get out of this effort," Gabriel said in <a href="https://www.sciencedaily.com/releases/2020/01/200117162703.htm" target="_blank">a press release</a>.</p><p>Across three studies, she and her colleagues surveyed more than 2,500 full-time employees on their emotional regulation with coworkers. The survey asked participants to agree or disagree with statements such as "I try to experience the emotions that I show to my coworkers" or "I fake a good mood when interacting with my coworkers." Other statements gauged the outcomes of such strategies—for example, "I feel emotionally drained at work." Participants were drawn from industries as varied as education, engineering, and financial services.</p><p>The results, <a href="https://psycnet.apa.org/doiLanding?doi=10.1037%2Fapl0000473" target="_blank" rel="noopener noreferrer">published in the Journal of Applied Psychology</a>, revealed four different emotional strategies. "Deep actors" engaged in high levels of deep acting; "low actors" leaned more heavily on surface acting. Meanwhile, "non-actors" engaged in negligible amounts of emotional labor, while "regulators" switched between both. The survey also revealed two drivers for such strategies: prosocial and impression management motives. The former aimed to cultivate positive relationships, the latter to present a positive front.</p><p>The researchers found deep actors were driven by prosocial motives and enjoyed advantages from their strategy of choice. These actors reported lower levels of fatigue, fewer feelings of inauthenticity, improved coworker trust, and advanced progress toward career goals. </p><p>As Gabriel told <a href="https://www.psypost.org/2021/01/new-psychology-research-suggests-deep-acting-can-reduce-fatigue-and-improve-your-work-life-59081" target="_blank" rel="noopener noreferrer">PsyPost in an interview</a>: "So, it's a win-win-win in terms of feeling good, performing well, and having positive coworker interactions."</p><p>Non-actors did not report the emotional exhaustion of their low-actor peers, but they also didn't enjoy the social gains of the deep actors. Finally, the regulators showed that the flip-flopping between surface and deep acting drained emotional reserves and strained office relationships.</p><p>"I think the 'fake it until you make it' idea suggests a survival tactic at work," Gabriel noted. "Maybe plastering on a smile to simply get out of an interaction is easier in the short run, but long term, it will undermine efforts to improve your health and the relationships you have at work. </p><p>"It all boils down to, 'Let's be nice to each other.' Not only will people feel better, but people's performance and social relationships can also improve."</p>
You'll be glad ya' decided to smile<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="88a0a6a8d1c1abfcf7b1aca8e71247c6"><iframe type="lazy-iframe" data-runner-src="https://www.youtube.com/embed/QOSgpq9EGSw?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>But as with any research that relies on self-reported data, there are confounders here to untangle. Even during anonymous studies, participants may select socially acceptable answers over honest ones. They may further interpret their goal progress and coworker interactions more favorably than is accurate. And certain work conditions may not produce the same effects, such as toxic work environments or those that require employees to project negative emotions.</p><p>There also remains the question of the causal mechanism. If surface acting—or switching between surface and deep acting—is more mentally taxing than genuinely feeling an emotion, then what physiological process causes this fatigue? <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2019.00151/full" target="_blank">One study published in the <em>Frontiers in Human Neuroscience</em></a><em> </em>measured hemoglobin density in participants' brains using an fNIRS while they expressed emotions facially. The researchers found no significant difference in energy consumed in the prefrontal cortex by those asked to deep act or surface act (though, this study too is limited by a lack of real-life task).<br></p><p>With that said, Gabriel's studies reinforce much of the current research on emotional labor. <a href="https://journals.sagepub.com/doi/abs/10.1177/2041386611417746" target="_blank">A 2011 meta-analysis</a> found that "discordant emotional labor states" (read: surface acting) were associated with harmful effects on well-being and performance. The analysis found no such consequences for deep acting. <a href="https://doi.apa.org/doiLanding?doi=10.1037%2Fa0022876" target="_blank" rel="noopener noreferrer">Another meta-analysis</a> found an association between surface acting and impaired well-being, job attitudes, and performance outcomes. Conversely, deep acting was associated with improved emotional performance.</p><p>So, although there's still much to learn on the emotional labor front, it seems Van Dyke's advice to a Leigh was half correct. We should put on a happy face, but it will <a href="https://bigthink.com/design-for-good/everything-you-should-know-about-happiness-in-one-infographic" target="_self">only help if we can feel it</a>.</p>
Archaeologists discover a cave painting of a wild pig that is now the world's oldest dated work of representational art.